THE TRIALS OF OSCAR WILDE

UK, 1960, 123 minutes, Colour.
Peter Finch, Yvonne Mitchell, James Mason, Nigel Patrick, Lionel Jeffries, John Fraser, Sonia Dresdell, Maxine Audley, James Booth.
Directed by Irving Allen and Ken Hughes.

It is a strange phenomenon but quite often in cinema history, two films on the same subject emerge at the same time. This happened in 1960, the sixtieth anniversary of the death of Oscar Wilde. This film, also known as The Man with the Green Carnation, was a big-budget film with Peter Finch as Oscar Wilde. At the same time, Gregory Ratoff directed a black and white feature, with smaller budget, with Robert Morley in the central role. Both of them are well worth seeing in terms of the portrait of the character of Oscar Wilde, the accusations against him, his behaviour in the trial, his status as a man around town and a playwright in London, as a prisoner in Paris dying in poverty in 1900.

Peter Finch is an interesting choice and portrays the flamboyance of Oscar Wilde, delivering his witticisms right throughout the film. Robert Morley, on the other hand, has something of the presence and girth as well as the aristocratic style of delivery, with a touch of camp.

Criticisms of the film at the time were that because they were not so explicit in presenting what really happened in the affair between and Oscar Wilde and Lord Douglas, Bosie, the impact of the jury’s decision is more difficult to understand. In Brian Gilbert’s 1977 film, Wilde, with Stephen Fry perfect in the role of Oscar Wilde, presence and delivery, the scenes are much more explicit and the impact of the Marquis of Queensberry’s reaction to his son’s behaviour, his condemnation of Wilde make much more sense.

While Tom Wilkinson was the Marquis of Queensberry in 1997, Edward Chapman is the blustering Marquis with Robert Morley, Lionel Jeffries is all bluster with Peter Finch. John Fraser is Bosie with Peter Finch, John Neville with Robert Morley and, later, Jude Law with Stephen Fry.

Each film has a very strong supporting cast including James Mason as Sir Edward Carson (Ralph Richardson with Robert Morley). Sonya Dresdell appears as Wilde’s mother, while Vanessa Redgrave had the role in 1997. Actresses who performed as Constant Wilde are Yvonne Mitchell here, Phyllis Calvert with Robert Morley and Jennifer Ely with Stephen Fry.

Irving Allen directed a number of small films. Ken Hughes began his work in English cinema in the 1950s with very small-budget films, although he did make a gangster contemporary version of Macbeth, Joe Macbeth with Paul Douglas and Jan Sterling. However, with The Trials of Oscar Wilde, he moved into bigger-budget films including a remake of Of Human Bondage with Kim Novak and Lawrence Harvey, was one of the contributors to Casino Royale and was most successful with Chitty Chitty Bang Bang and Cromwell. He had less success during the 1970s making a sequel to Alfie, Alfie Darling and the extraordinary film with an embalmed Mae West, Sextette in 1978. Gregory Ratoff on the other hand had been making films in Hollywood from the 1930s including Intermezzo, The Aspen Papers and many other interesting films.

The three films are complementary and throw light on performances of Wilde’s plays. There have been several versions of The Importance of Being Earnest, the classic version in the 1950s and the rather tongue-in-cheek and somewhat lewd version in 2002. There have been several versions of An Ideal Husband, in the 40s with Paulette Goddard and in 1999 a fine version with Cate Blanchett and Jeremy Northam. There have also been versions of Lady Windermere’s Fan. His other works include Salome (filmed by Ken Russell as Salome’s Last Dance with Glenda Jackson) and The Picture of Dorian Gray, filmed many times.

1. The emphasis of the title on Wilde and especially his trials and the issues of the titles? The alternate title of 'The Man With the Green Carnation' and its emphasis on Wilde’s presentation of himself? Audience interest in Oscar Wilde, the Victorian Age, the homosexual issues?

2. The film's use of wide screen, colour? The atmosphere of the credits, the lavish re-creation of the late 19th. century world and society, the world of the theatre, Wilde’s home, the courts, prisons? The importance of an authentic atmosphere for the issues of the film?

3. The film's use of biography and dramatic sources, the insight from Wilde’s own son? A just presentation of Wilde and his times?

4. The focus on the person of Wilde, the quality of Peter Finch's performance? The film as a tribute, a study of success and failure, an insight into the ruin of an important man?

5. The presentation of the Victorian world? Its standards of behaviour? Its surface respectability, its wit and appreciation of art, its attitude to law, strict interpretation of law and external morals, suppressed sexuality, madness and sexuality and bad family relationships? The film as a critique of so much underlying the Victorian era?

6. The atmosphere of the opening of the film, the success of Wilde’s plays, the establishing of himself as a success? His response to the audience, his poses and witticisms, his being pleased with himself? Audience adulation
and his reputation? The presentation of his family, the initial presentation of Bosie as being at his side? Wilde’s press conference and the exchange of witticism and his popularity?

7. The particular qualities that Peter Finch offered in his interpretation of Wilde? The presentation of Wilde as a public figure, as a success, as an open kind of character to everyone’s the tribute of the Prince of Wales, his private world and the writing of plays, his creativity and the effort, his going away to Brighton and his coping with illness and creativity? The private world of his marriage, his love for Constance and her patience, his appreciation of Ada and her advice, the advice of Robbie Ross and his management? His love for his children and his reading the fairy tale to them?

8. The character of Bosie and his influence in Wilde’s life? His character? Wilde's fascination with him, his relationship? Bosie’s extravagance and reliance on Wilde? the sexual relationship? Bosie and his relationship to his father and his strong reaction to him? The question of Wilde's giving up Bosie or not? His explanations, the importance of Bosie’s intrusion when Wilde was ill and writing Earnest? The importance of the death of Bosie’s brother and the home scenes? Wilde's compassionate intervention?

9. The importance of the character of the Marquis of Queensberry, his reputation, his reaction and the detail of his public attacks, his motive for writing the note? His presence at the theatre at the premiere of 'The Importance of Being Earnest? his humiliation and his revenge? The importance of his being arrested and his role in the court case?

10. The insight into the issues in the discussion about the case, especially with Sir Edward Clarke and the preparation of the strategy? Clarke’s trust of Wilde and his later helping him?

11. The presentation of the cases Wilde’s flippancy and his wit, his not realising the serious issues and how serious Carson was? The character of Carson and his attack, his puritanical and narrow use of literature and Wilde’s letters? The poems and the letters, the discussion about art? Its corrupting and its beauty? The importance of the witnesses, Wood etc., and Bosie's not appearing? The case a foregone conclusion and Wildels strategy in withdrawing the charges? The effect on him and his family? Constance, on Clarke?

12, The background with Wood and the presentation of the other men with whom Wilde had liaisons? Wood and his blackmail and yet the fascination for Wilde? Wood's appearance in the court?

13. The importance of the second case? The attack of the prosecutor? The issues of indecency and friendship? The impact of Wilde’s famous speech and the justification of his attitudes? The effect on the court? The drawn jury?

14. The second case, the condemnation, the importance of Wilde’s visit to his mother and her reaction and strength, his brother? Constance and her response, the irony of the auction and the Marquis of Queensberry publicly ridiculing him? Friendship, Justice and its execution?

15. The impact of the condemnation on Wilde? That a man like this with his reputation could be sent to prison? The handling of the prison scenes, the effect upon a sensitive man, hard labour, the visit of Constance and her not wanting the children to be with him, her parcel? The news and impact of his mother's death?

16. The pathos of his relief, Constance being there, welcoming him, helping him abroad, the supportive presence of
Ada and Robbie? The irony of Bosie's arrogant arrival at the station and their all ignoring him? The significance of the final confrontation between Bosie and Wilde?

17. How much insight into the Victorian era and its personalities, and standards, morals, law did the film offer?

18. The film as a portrait of an artist, his creative and artistic temperament, the pressures, human relationships?

19. The film's comment on the interrelationship between law and morality? Morality in the private conscience? Law and its administration, prying into private lives, the administration of justice in the private area?