OSCAR WILDE
UK, 1960, 98 Minutes, Black and white.
Robert Morley, Phyllis Calvert, John Neville, Ralph Richardson, Dennis Price.
Directed by Gregory Ratoff.
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. The Trials of Oscar Wilde, 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. What atmosphere and dramatic impact did the flashback structure have? The significance of the poem read with the scene of Oscar Wilde's grave?
2. What was the atmosphere of the whole film, an objective biography of Wilde? An impression of him?
3. The film's establishing Wilde as a person, Robert Morley's presence, his performance, his epigrammatic style, his relationship with and love for his wife and children, his moral theories, his aesthetic theories, his views about affection, love and relationships along D.H. Lawrence lines?
4. The audiences' response to Oscar Wilde as a person? His reputation over the years? As a person, as a poet, as a playwright, as an expresser of the art theories of the nineteenth century?
5. The film's establishing Wilde as a successful playwright? The early sequences in the theatre, at the receptions afterwards?
6. Lord Alfred Douglas as a person? His being shown admiring Wilde in the theatre? His approach to Wilde in friendship? The Oxford situation, the homosexual situation, Wilde's handling of the blackmailing letters, the growing dependence of one on the other?
7. Why did Wilde become infatuated with Lord Douglas? did Wilde depend on him? What interested him in Lord Douglas? Why did Lord Douglas depend on Wilde? The visiting the London dens, peoples' attitudes and their reputations?
8. The mania of the Marquis of Queensbury? Why was he obsessed? His son? his main motivation in being a friend to Wilde? to put down his father?
9. The dramatic impact of the court case in the forcing Wilde to prosecute his father, why did Wilde not see the dangers in this? The interrogation by the prosecutor and its direct and accusing tone? The inability of defence to help him? Carson's ridiculing of Wilde? The relentless nature of the evidence, and Wilde's attitudes, his being shaken?
10. The withdrawing of the case? the change of Wilde's attitudes?
11. His becoming a victim? The pathos of his arrest? with the knowledge of his wife, and the attitude of his son? How hard was it for Oscar Wilde to have to face his family?
12. The effect of the film's short treatment of the prison term? What was this effect? How destructive?
13. On leaving prison, how could he resume his life? Did he have any option except to leave England?
14. Why was he left so alone in Paris? How was this symbolised in Robbie Ross's visit to him and his leaving him alone? The ironic statement of his theories in the Paris tavern? His being let completely alone and his defiant laughter? What had happened to Wilde?
15. How did the film use Wilde's novel The Picture of Dorian Gray in its presentation of Wilde and his seeking for youth, happiness and beauty?
16. Was this a helpful biography of Wilde? Did it show insight into human nature? Was it a warning? Did it illustrate well the atmosphere of English society at the end of the 19th century?
