'The Importance of Being Earnest' is one of Oscar Wilde's most best known works for very good reason, and among the wittiest, thought-provoking and charming plays ever written.
Have yet to see a better filmed version of 'The Importance of Being Earnest' than this 1952 film. Not only that, but to me it is one of the essential filmed adaptations of any of Wilde's works. It may be theatrical and stagy to some, with the touch of the curtain at the start and end of the film and the unfussy (in no way a criticism) cinematography reminiscent of a filmed staged play. There are films based on plays that can suffer from this, but not 'The Important of Being Earnest', that it sticks to its theatrical roots is not only a large part of its charm but also one of the reasons why it works so well.
As an adaptation, 'The Importance of Being Earnest' couldn't be better. Almost all of the text is intact and in a way that's succinct and always cohesive rather than muddled or cramped. Even though there are alterations and omissions here and there, structurally Wilde's story and writing is very much recognisable and so is the spirit, instead of resorting to extraneous padding, additions or character distortions that don't belong.
While not exactly expansive and decidedly unfussy, in no way is this a criticism of 'The Importance of Being Earnest', the film is still beautifully shot in sumptuous Technicolor which does justice to the extravagantly opulent costumes and settings. Benjamin Frankel's music score is sometimes understated and elegant and also with an appropriate whimsy.
Despite a deliberately steady touch, Anthony Asquith's direction is still controlled and polished. Under such a touch, the classic comedic story of manners, morality and morals is gently deliberate but still with a lively energy, largely thanks to Wilde's writing and a splendid cast who give it everything they've got.
One cannot criticise the sparkling script, where Wilde's witticisms, wit, charm, whimsy, polished barbs and bons mots shine firmly to the fore. The cast are without fault, with not a weak link. Michael Redgrave is composed and suitably fastidious, while Michael Denison enjoys himself in the more colourful of caddish of the two. Joan Greenwood is charmingly whimsical and Dorothy Tutin delightfully coquettish, while one can count on Margaret Rutherford to steal scenes. Miles Malleson, Richard Wattis and Walter Hudd fare very well too. Upstaging (possibly) them all is Dame Edith Evans' battleaxe and hilarious Lady Bracknell, her quavering delivery of "a handbag" being a highlight of British cinema.
In summary, a wonderful film that sees Oscar Wilde in his glory. 10/10 Bethany Cox
Have yet to see a better filmed version of 'The Importance of Being Earnest' than this 1952 film. Not only that, but to me it is one of the essential filmed adaptations of any of Wilde's works. It may be theatrical and stagy to some, with the touch of the curtain at the start and end of the film and the unfussy (in no way a criticism) cinematography reminiscent of a filmed staged play. There are films based on plays that can suffer from this, but not 'The Important of Being Earnest', that it sticks to its theatrical roots is not only a large part of its charm but also one of the reasons why it works so well.
As an adaptation, 'The Importance of Being Earnest' couldn't be better. Almost all of the text is intact and in a way that's succinct and always cohesive rather than muddled or cramped. Even though there are alterations and omissions here and there, structurally Wilde's story and writing is very much recognisable and so is the spirit, instead of resorting to extraneous padding, additions or character distortions that don't belong.
While not exactly expansive and decidedly unfussy, in no way is this a criticism of 'The Importance of Being Earnest', the film is still beautifully shot in sumptuous Technicolor which does justice to the extravagantly opulent costumes and settings. Benjamin Frankel's music score is sometimes understated and elegant and also with an appropriate whimsy.
Despite a deliberately steady touch, Anthony Asquith's direction is still controlled and polished. Under such a touch, the classic comedic story of manners, morality and morals is gently deliberate but still with a lively energy, largely thanks to Wilde's writing and a splendid cast who give it everything they've got.
One cannot criticise the sparkling script, where Wilde's witticisms, wit, charm, whimsy, polished barbs and bons mots shine firmly to the fore. The cast are without fault, with not a weak link. Michael Redgrave is composed and suitably fastidious, while Michael Denison enjoys himself in the more colourful of caddish of the two. Joan Greenwood is charmingly whimsical and Dorothy Tutin delightfully coquettish, while one can count on Margaret Rutherford to steal scenes. Miles Malleson, Richard Wattis and Walter Hudd fare very well too. Upstaging (possibly) them all is Dame Edith Evans' battleaxe and hilarious Lady Bracknell, her quavering delivery of "a handbag" being a highlight of British cinema.
In summary, a wonderful film that sees Oscar Wilde in his glory. 10/10 Bethany Cox