The Picture of Dorian Gray has been filmed a number of times in the silent era in 1910, 1913, 1915, 1916, 1917 and 1918. The classic adaptation is generally regarded as the MGM version The Picture of Dorian Gray (1945) starring Hurd Hatfield, although this is a somewhat staid film when seen today. Other versions include Dorian Grey (1970), producer Harry Alan Towers sexploitation version; The Picture of Dorian Grey (1973), a tv adaptation produced by Dan Curtis starring Shane Briant; The Sins of Dorian Grey (1983), a modernised tv movie where Dorian is made into a woman played by Belinda Bauer; Dorian/Pact with the Devil (2001); The Picture of Dorian Gray (2004) starring Josh Duhamel; and The Picture of Dorian Gray (2006). Dorian Gray even turns up as one of The League of Extraordinary Gentlemen (2003) played by Stuart Townsend and as a regular character in the tv series Penny Dreadful (2014-6) played by Reeve Carney, while variations on the plot appear in episodes of Blakes 7 (1978-81) and Star Trek: The Next Generation (1987-94).
This new version of the story was conducted by Oliver Parker. Parker is a former actor who began directing films with the Shakespeare adaptation Othello (1995) and has since conducted several adaptations of Oscar Wildes works including An Ideal Husband (1999) and The Importance of Being Earnest (2002), as well as subsequently Johnny English Reborn (2011) and Dads Army (2016). The film is co-produced by the revived Ealing Films, the British company that produced a number of classic comedies during the 1940s and 50s including Kind Hearts and Coronets (1949), The Lavender Hill Mob (1951), The Man in the White Suit (1951) and the original The Ladykillers (1955).
While most of the previous adaptations of the story have opted for staid depictions of Victoriana, Dorian Gray 2009 plants the story inside a lush, exquisitely detailed recreation of the period. This adopts the modern take on the period look, which is to show Victoriana in grim, brooding and darkly downbeat colours. It is a world that seems universally dark and grim very little of the film ever seems to take place in daylight, for instance. This sense of period is one of the best aspects of the production. Where most other adaptations of the story exist in a nebulous Victorian era and never tie it to the passing of time beyond showing the supporting characters getting older, this version locks the story into the historical time period and extends events from around the fin du siecle era the book was written through the turn of the century and even into World War I.
Toby Finlays adaptation of the Oscar Wilde story is exceptional, getting very much inside the sense of hypocrisy and obsession with ones station that was a central aspect of Victorian society. Finlay keeps great faith to Oscar Wilde for the most part, altering some scenes such as eliminating the character of the chemist that Dorian blackmails to dispose of Basils body. The Sybil Vane scenes has been changed somewhat she now becomes suicidal after she surrenders her virginity to him and then finds that he is unfaithful, rather than as Wilde had it where she gave up acting out of her love for him causing him to lose interest in what attracted him and reject her, while here she now drowns herself rather than drinks acid. The most substantial differences from the book are in the latter section where the film introduces the character of Wottons daughter Emily (who does not exist in the book) and Dorians seduction of her, whereas in the book this character was written as a ministers daughter. Also in the film it is Wotton who destroys the portrait rather than Dorian doing so out of shame at the sins he has conducted.
Oliver Parker does a fine job of portraying Dorians decadence and corruption in fact, has far more freedom to portray such things than Oscar Wilde himself did. Dorians descent into sin goes by degrees first cigarettes, followed by drinking in low-life Whitechapel bars, cavorting with prostitutes and then branching out into more serious vices such as smoking opium, unfaithfulness, breaking the heart of an innocent woman who has surrendered her virginity to him, even what appears to be BDSM and eventually murder. There is a fine scene where Ben Barnes appears at a society function, seduces the innocent daughter upstairs, followed by her mother (Caroline Goodall) when she comes up to express her outrage at what he has done as all the while the daughter hides under the bed. There is even the frank suggestion that Dorian swings both ways (which Oscar Wilde was ever so fearful of coming out and saying) in a scene where he seduces Ben Chaplin.
Cast in the role of Dorian Gray is British actor Ben Barnes who became a handsome new Hollywood face and was splashed across every trendy magazine with his appearance as the title prince in The Chronicles of Narina: Prince Caspian (2008), only to then promptly vanish from screens. Barnes certainly has the impossibly handsome looks that the part of Dorian requires. Prince Caspian indicated that Barnes seemed to lack much beyond that. Here however, Barnes holds his end of things up and shows us that he is more than capable of covering the range of the role all the way from impossibly handsome youth to cruelly debauched. Cast in the role of Dorians best friend and fellow debaucher is Colin Firth (who was also in Oliver Parkers The Importance of Being Earnest). Firth plays the part at almost opposite remove from the handsome, genial roles one has become used to him in, giving the part a persuasively diabolic charisma. He gets the lions share of Oscar Wildes acidicly barbed witticisms and has a field day with them. The increasingly underrated Rebecca Hall has a lovely innocence and forthright strength as Colin Firths daughter.
(Nominee for Best Adapted Screenplay and Best Supporting Actor (Colin Firth) at this sites Best of 2009 Awards).