Rather than exploit the classic tale for its horrific aspect (the moral corruption of an apparently ideal young man), this adaptation looks to the philosophical or intellectual side of things: what are the natures of good and evil; does it really matter if we are one or the other; isn't human life and society just a sham on so many levels we may as well do what we like?
Most of this debate takes place in scenes between the artist Hallward (Brett) and Henry Wootton (Gielgud). And the debate goes on at length, several times through the production. Hallward is sincere and human, while Wootton is cynical and superficial and insists in talking in aphorisms (fine in small doses, but when every line becomes a piece of carefully crafted repartee, it feels overdone). Between them they battle for the soul of their mutual friend Dorian Gray (Firth).
In my view this adaptation falls short in breaking the classic writer's rule: "show, don't tell". We are told that Gray is engaging in the most disgraceful activities, that he is banned from some houses, that people actively avoid him, but when Firth appears you can't take this anything like seriously. He is rather camp, and behaves like a teenager in a sulk now and again, but there are no signs of him revelling in cruelty and immorality behind that eternal, androgenous beauty.
A few years after this, the BBC produced an adaptation of 'Dr Jekyll and Mr Hyde' with David Hemmings. Taking a more graphic view of Hyde's crimes give this story (which has a very similar theme) far more impact.
Most of this debate takes place in scenes between the artist Hallward (Brett) and Henry Wootton (Gielgud). And the debate goes on at length, several times through the production. Hallward is sincere and human, while Wootton is cynical and superficial and insists in talking in aphorisms (fine in small doses, but when every line becomes a piece of carefully crafted repartee, it feels overdone). Between them they battle for the soul of their mutual friend Dorian Gray (Firth).
In my view this adaptation falls short in breaking the classic writer's rule: "show, don't tell". We are told that Gray is engaging in the most disgraceful activities, that he is banned from some houses, that people actively avoid him, but when Firth appears you can't take this anything like seriously. He is rather camp, and behaves like a teenager in a sulk now and again, but there are no signs of him revelling in cruelty and immorality behind that eternal, androgenous beauty.
A few years after this, the BBC produced an adaptation of 'Dr Jekyll and Mr Hyde' with David Hemmings. Taking a more graphic view of Hyde's crimes give this story (which has a very similar theme) far more impact.