THE SECRET OF DORIAN GRAY

UK/Italy/West Germany, 1970, 101 minutes, Colour.
Helmut Berger, Richard Todd, Herbert Lom, Margaret Lee, Maria Rohm, Beryl Cunningham, Isa Miranda, Eleanora Rossi Drago, Marie Liljedahl.
Directed by Massimo Dellamano.


The Secret of Dorian Gray is loosely, very loosely, based on Oscar Wilde’s novel. This is a sexploitation variation (although some of the cast, including Richard Todd, said they did not realise this at the time of shooting it). Helmut Berger had appeared for Luchino Visconti in The Damned in 1968 and was to appear in his Ludwig. Berger became something of a gay screen icon. However, he is supported by such respectable stars as Richard Todd and Herbert Lom as well as several veteran Italian actresses.

The film focuses on the sexual perspectives of the Dorian Gray story and his eternal youth as well as his relationships.

Direction is by cinematographer Massimo Dellamano who made a number of exploitation films at this time including Venus in Furs and A Black Veil for Lisa.

1. This film was based on and English classic. How much influence did the original have? The previous film version?

2. The value of a remake, the value of a remake transferred to the 1970s? The titles: the original German 'The Picture of Dorlan Gray', the English 'The Secret of Dorian Gray', the Italian 'The God Called Dorian'. The indication of attitudes of the film-makers from these titles?

3. How effective was the fable in the late 19th century? Corresponding to Oscar Wilde's interests and philosophy? A fable for the decadance of the late 19th century, exterior refinment, interior corruption? The relevance of this to the 20th century? To the 1970s? The film declared that this was an allegory updated. How effective was the updating, the application of the allegory?

4. Did the film explore evil and corruption? Henry Wotton and his expression of the philosophy of good and evil, morality and immorality? How did the film exploit its theme?

5. Helmut Berger and his appearance and style as Dorian Gray? A potentially decadent young man? Initial strengths and weaknesses of character, youth, the world in which he lived, the initial impression from the nightclub? His amoral attitudes, swinging style? The importance of the portrait, his relationship with Basil? The portrait and its impact on bis life? The portrait corrupting as he remained the same? The effect on him with the gulling of conscience, the relying on externals and the ignoring of interior corruption and its consequences? The people with whom he mixed, his relationship with Henry Wotton and his sister, Mrs Ruxton? His using and abusing people? The decadent atmosphere, sexuality, homosexuality? The quality of pleasure that he derived from this decadent life? Decadence leading to violence? An allegory of the downfall of an ordinary young man?

6. The portrait of Basil, as a man, friendship with Dorlan, rich type, his painting of the portrait? His influence on Dorian's life, their clashes? Painting the portrait to give Dorian some life and yet it being the cause of his death?

7. Henry Wotton and his influence on Dorian's life, his wealth, homosexuality, philosophy of good and evil and pleasure, his continually tempting Dorian, tempting him to sell himself? Henry Wotton as an elegant corrupt man? The equivalent also of a portrait?

8. The films presentation of women, Gwendoline and her relationship with Henry, her voracious attitude towards Dorian? Mrs Ruxton and her wealth, sexuality, the gross exercise of sexuality, for instance at the races? Their hold on Dorian, his use and abuse of then?

9. The contrast with Sybil and her refinement, her love for Dorian, innocence, Shakespeare, the fulfilment of their law on the stage and the background of Romeo and Juliet? (Appropriate, pretentious?) Their clashes and her not understanding, the pathos of her suicide? Its effect and lack of effect on Dorian?

10. How well did the film trace his decline, the corruption in the portrait?

11. The final irony of his encounter with Gladys and Alan, his destruction of them both?

12. Was the ending inevitable? His violence against himself, bringing about his own destruction and death? A pathos fable?