The Picture of Dorian Gray (1945) 7.6
A corrupt young man somehow keeps his youthful beauty, but a special painting gradually reveals his inner ugliness to all. Director:Albert Lewin |
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The Picture of Dorian Gray (1945) 7.6
A corrupt young man somehow keeps his youthful beauty, but a special painting gradually reveals his inner ugliness to all. Director:Albert Lewin |
|
0Share... |
Cast overview, first billed only: | |||
George Sanders | ... | ||
Hurd Hatfield | ... | ||
Donna Reed | ... | ||
Angela Lansbury | ... | ||
Peter Lawford | ... | ||
Lowell Gilmore | ... | ||
Richard Fraser | ... | ||
Douglas Walton | ... | ||
Morton Lowry | ... | ||
Miles Mander | ... |
Sir Robert Bentley
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Lydia Bilbrook | ... | ||
Mary Forbes | ... | ||
Robert Greig | ... |
Sir Thomas
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Moyna MacGill | ... | ||
Billy Bevan | ... |
Malvolio Jones - Chairman
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In 1886, in the Victorian London, the corrupt Lord Henry Wotton meets the pure Dorian Gray posing for talented painter Basil Hallward. Basil paints Dorian's portrait and gives the beautiful painting and an Egyptian sculpture of a cat to him while Henry corrupts his mind and soul telling that Dorian should seek pleasure in life. Dorian wishes that his portrait could age instead of him. Dorian goes to a side show in the Two Turtles in the poor neighborhood of London and he falls in love with the singer Sibyl Vane. Dorian decides to get married with her and tells to Lord Henry that convinces him to test the honor of Sibyl. Dorian Gray leaves Sibyl and travels abroad and when he returns to London, Lord Henry tells him that Sibyl committed suicide for love. Along the years, Dorian's friends age while he is still the same, but his picture discloses his evilness and corruptive life. Can he still have salvation or is his soul trapped in the doomed painting? Written by Claudio Carvalho, Rio de Janeiro, Brazil
This wonderfully atmospheric retelling of Oscar Wilde's chilling novel is one of the best horror films ever made. It outdoes DRACULA and FRANKENSTEIN because it is about a man -- not a monster. Yet the monster IS the man -- and hides within all of us. The story works even more effectively than the similar plot in Robert Louis Stevenson's STRANGE CASE OF DR. JEKYLL AND MR HYDE because here we have the dual sides of a man portrayed not as two separate characters but as two reflecting images -- like two mirrors facing each other, sending the images out to infinity. The painting itself is one of the most horrifing images ever created in films -- a surreal reflection of what each of us can become if we lose our humanity and replace it with careless egotism.