Director Pierre Boutron had been bold enough to adapt Oscar Wilde's philosophical and fantastical novel for the theatre, before turning his play into a theatrical movie, both successfully.
First of all, the director managed to bring to life a very dense text while remaining faithful to the content and spirit of the book, and restore both the psychological richness and the satirical charge against Victorian England of the original work.
The staging is also done in a creative and clever way with the use of stage depth, the different frames, candles, mirrors and multiple reflections.
A special distinction goes to Patrice Alexsandre here, who excels in the difficult role of a character as ambivalent as Dorian Gray (or grey, as opposed to black & white). The actor himself seems to have come straight out of that era, with his natural elegance and distinction, his slender figure, the disenchantment in his gaze. Although he is the witness of the decay that is destroying his soul, he nevertheless shows a gradual, spiritual maturity that will eventually distinguish him from Lord Henry, who only ages badly, stubbornly rejecting any life lesson, right up to the end.
Raymond Gerôme's brilliant performance really brings out a convincing historical and social dimension to the character of Lord Henry.
Also remarkable is the key outdoor scene of the final encounter between Basil and Dorian, almost like a duel, and also like a struggle within themselves. The chilling atmosphere and dialogue, alternating from up and down the staircase, foreshadow the tragic, inescapable downfall of the two characters. Like the shadows and lights between each street lamp in the alleyway that leads to Dorian's house, as well as the flickering candles on the set, the painter, still under the influence of his model, stumbles and staggers before the ultimate, tragic revelation.
The lovers of aphorisms, witticisms and paradoxes will appreciate this theatrical, intimate and timeless version of Wilde's work.
First of all, the director managed to bring to life a very dense text while remaining faithful to the content and spirit of the book, and restore both the psychological richness and the satirical charge against Victorian England of the original work.
The staging is also done in a creative and clever way with the use of stage depth, the different frames, candles, mirrors and multiple reflections.
A special distinction goes to Patrice Alexsandre here, who excels in the difficult role of a character as ambivalent as Dorian Gray (or grey, as opposed to black & white). The actor himself seems to have come straight out of that era, with his natural elegance and distinction, his slender figure, the disenchantment in his gaze. Although he is the witness of the decay that is destroying his soul, he nevertheless shows a gradual, spiritual maturity that will eventually distinguish him from Lord Henry, who only ages badly, stubbornly rejecting any life lesson, right up to the end.
Raymond Gerôme's brilliant performance really brings out a convincing historical and social dimension to the character of Lord Henry.
Also remarkable is the key outdoor scene of the final encounter between Basil and Dorian, almost like a duel, and also like a struggle within themselves. The chilling atmosphere and dialogue, alternating from up and down the staircase, foreshadow the tragic, inescapable downfall of the two characters. Like the shadows and lights between each street lamp in the alleyway that leads to Dorian's house, as well as the flickering candles on the set, the painter, still under the influence of his model, stumbles and staggers before the ultimate, tragic revelation.
The lovers of aphorisms, witticisms and paradoxes will appreciate this theatrical, intimate and timeless version of Wilde's work.
