framptonhollis Last night, I read Oscar Wilde's classic comedy 'The Importance of Being Earnest' for the first time after having wished to read it for quite some time, and it really was a delightful experience. I was excited to soon after see the widely praised 1952 film adaptation of the same name, which I did today, and my excitement was met with a wonderful little movie that stayed greatly true to the source material. Perhaps one could say it is so close to the source material there is little point in it really being a film, but the thing is the performances here are quite splendid, as are the technical aspects of the film, though they are quite subtle and minimalistic. The technicolor cinematography is astonishing for the eyes, and the acting on all fronts captures Wilde's wondrous wit well. Some performances I could dare claim are absolutely perfect, the two coming first to mine being the performances from Michael Denison and Edith Evans who embody almost exactly what it seems Oscar Wilde would have had in mind. Obviously, it is wonderfully written and very funny, and makes up a very entertaining and enjoyable 95 minutes.

bluecrab22 I have seen the 2002 remake of "Earnest" (very good), I have seen it performed on the stage (also very good), but this 1952 film version is now my favorite. I saw it for the first time only last night. Wonderful performances all around, with Edith Evans' presence being especially commanding. It doesn't hurt one bit that both Joan Greenwood and Dorothy Tutin look almost impossibly beautiful. There is not one word of wasted dialog. I don't know if the film was remastered or otherwise reprocessed, but the colors and picture were sharp (via cable TV). It looks like a DVD that cleaned up the the original was made in 2002 - I may have to have that! If you get a chance to see a stage production of this, do so.

T Y I saw this a billion years ago on TV with a friend. We both enjoyed it. I was happy to see it released on Criterion, but it really doesn't hold up.It takes a very slight idea and converts it into polite fare. But one would have to value the dull, superficial, unexamined, boozhie lives these characters aspire to, to enjoy the movie. With characters willing to make lifelong commitments to someone they've known for less than a day, or reverse firmly-held convictions a few times in half an hour, Wilde is mocking every one of these conventional figures. I feel his contempt, and I find it legitimate. So it's hard to get worked up about plot resolution when I never valued A marrying B, or the like, even as a flimsy pretext to tease out a few jokes. The supposedly intricate plot barely reaches a mild muddle, before it's remedy is being engineered. You'll be taking mental note that we don't construct jokes like this anymore, as the characters spin their wheels to escape paper-thin conflicts.The Dorian Gray movie is a mixed bag but the George Sanders role is the single best embodiment of Wilde's mischievous wit. And 'An Ideal Husband' is a different genre but is more enjoyable.

Neil Doyle THE IMPORTANCE OF BEING EARNEST has had several reincarnations on film but this British version from the '50s, directed by Anthony Asquith and starring MICHAEL REDGRAVE (as one of the men assuming the name Earnest), is one of the most satisfying because of a splendid cast.The Victorian comedy of manners includes impeccable performances from EDITH EVANS as Lady Bracknell and MARGARET RUTHERFORD as Miss Prism with a delightful leading lady role for JOAN GREENWOOD, as one of the young ladies confused by identity crisis. MICHAEL DENISON is the snobbish other man using the name "Earnest".So many typical Oscar Wilde witticisms come through in the dialog, so fast and furious that it's impossible to remember all of the very quotable comments made by the participants in this wonderfully played farce. I love one particular line: "One should always bring one's diary along when traveling by train. It gives you something sensational to read." Summing up: What's in a name? Plenty.Just as wonderful as the more recent version with Rupert Everett. Asquith's clever direction is right on target to spice up the comedy from beginning to end with sparkling performances, as only the British can do. Benjamin Frankel's sprightly score is an added delight.