AVALIAÇÃO DA IMDb
5,8/10
1,4 mil
SUA AVALIAÇÃO
Adicionar um enredo no seu idiomaA corrupt young man seemingly sells his soul to eternally retain his youthful beauty, all while a special painting gradually reveals his inner ugliness to all.A corrupt young man seemingly sells his soul to eternally retain his youthful beauty, all while a special painting gradually reveals his inner ugliness to all.A corrupt young man seemingly sells his soul to eternally retain his youthful beauty, all while a special painting gradually reveals his inner ugliness to all.
- Direção
- Roteiristas
- Artistas
Stuart Brisbane Colin
- Party Guest
- (não creditado)
Franz Colangeli
- Party Guest
- (não creditado)
Peter Evans
- Man on Street
- (não creditado)
Ferruccio Fregonese
- Party Guest
- (não creditado)
Iris Fry
- Charity Worker
- (não creditado)
Margherita Horowitz
- Party Guest
- (não creditado)
Juba Kennerley
- Art Gallery Visitor
- (não creditado)
Avaliações em destaque
Massimo Dallamano's Dorian Gray is a REALLY kitsch version of Oscar Wilde's classic tale, set in 'swinging' London, with funky music, gaudy fashion, and decadent sexually-liberated characters of all persuasions. Helmut Berger is the beautiful young Gray, who sells his soul so that his portrait will age and decay while he himself stays eternally youthful; Richard Todd is artist Basil, who captures the likeness of Gray so perfectly that his subject becomes obsessed with his own attractiveness; and Herbert Lom is influential art dealer Henry Watton, who leads Gray astray by telling him to make the most of his youth and yield to temptation. Marie Liljedahl plays stage actress Sybil, who falls for Dorian, but finds herself abandoned once Gray gets a taste of the high life.
Dallamano keeps the film moving at a decent pace, and his cast all put in entertaining performances, with Lom being particularly fun as the corruptor of youth, providing the film's funniest moment (unintentionally so) when he pops up in Dorian's shower, bar of soap in hand. Isa Miranda is also a hoot as ageing millionairess Mrs. Ruxton, who Dorian reluctantly treats to a spot of back-door sex in a stable. Perhaps the best thing about the film is the hideous '70s clothing, especially Berger's wardrobe: his blue velvet shirt and shorts two piece is quite the fashion statement, but it pales in comparison to the zebra stripe coat, brown flares, foppish hat and cravat ensemble that he opts for in the final act. Talking of zebra stripes, they must have been popular back then - Dorian's apartment is adorned with zebra pattern curtains, and not one, but two zebra skin rugs. Other animal-based decorations include a lion skin rug (you can never have too many dead animal skins to lounge on) and an elephant tusk picture frame. How tasteful!
7.5/10, rounded up to 8 for Liljedahl, who is gorgeous (and not averse to taking her clothes off), and for the hilarious pair of mincing queens outside the Black Cock nightclub (I kid you not!).
Dallamano keeps the film moving at a decent pace, and his cast all put in entertaining performances, with Lom being particularly fun as the corruptor of youth, providing the film's funniest moment (unintentionally so) when he pops up in Dorian's shower, bar of soap in hand. Isa Miranda is also a hoot as ageing millionairess Mrs. Ruxton, who Dorian reluctantly treats to a spot of back-door sex in a stable. Perhaps the best thing about the film is the hideous '70s clothing, especially Berger's wardrobe: his blue velvet shirt and shorts two piece is quite the fashion statement, but it pales in comparison to the zebra stripe coat, brown flares, foppish hat and cravat ensemble that he opts for in the final act. Talking of zebra stripes, they must have been popular back then - Dorian's apartment is adorned with zebra pattern curtains, and not one, but two zebra skin rugs. Other animal-based decorations include a lion skin rug (you can never have too many dead animal skins to lounge on) and an elephant tusk picture frame. How tasteful!
7.5/10, rounded up to 8 for Liljedahl, who is gorgeous (and not averse to taking her clothes off), and for the hilarious pair of mincing queens outside the Black Cock nightclub (I kid you not!).
Updated to the Swinging Sixties, produced by infamous exploitation guru Harry Alan Towers and directed by a one-time cameraman from 'spaghetti' Westerns, this is - incredibly enough! - one of the best versions of Oscar Wilde's oft-filmed Decadent classic. At the very least, such a hedonistic decade allows for a frank portrayal of Dorian's bisexuality, promiscuity and drug addiction - hinted at so strongly in the novel, but barely glimpsed in Albert Lewin's 1945 film classic.
Its trump card is the presence of gorgeous Helmut Berger as 'the god named Dorian' (to quote the Italian title). If there was ever a more inspired bit of casting in film history, I can't think of it right now. Best known as the protege of Luchino Visconti, the beauteous Berger here proves himself as an actor in his own right. In or out of his deliciously camp Carnaby Street wardrobe, Berger glows with golden-limbed hedonism and seductive evil!
Backing him up is a splendid supporting cast. Herbert Lom as the sinister gay aesthete Lord Henry Wotton, whose barbed witticisms are lifted directly from Wilde. Margaret Lee and Eleonora Rossi Drago as two Sapphic jet-setters. Isa Miranda as a raunchy and vulgar American millionairess. (Her outfits would make Fellini blush for shame!) Not too sure about Euro-porn starlet Marie Liljedahl and Richard Todd is a bore as the painter Basil Hallward.
But even when the acting falters, the outrageously kitsch costumes and settings make this film a visual delight! Will I ever recover from that first sight of Dorian's zebra-lined 60s shag pad? Somehow I doubt it. This whole film is sleazy, trashy, vulgar, over-the-top...a shameless piece of camp on every level. Poor old Oscar Wilde would have adored every minute of it! And so do I!
Its trump card is the presence of gorgeous Helmut Berger as 'the god named Dorian' (to quote the Italian title). If there was ever a more inspired bit of casting in film history, I can't think of it right now. Best known as the protege of Luchino Visconti, the beauteous Berger here proves himself as an actor in his own right. In or out of his deliciously camp Carnaby Street wardrobe, Berger glows with golden-limbed hedonism and seductive evil!
Backing him up is a splendid supporting cast. Herbert Lom as the sinister gay aesthete Lord Henry Wotton, whose barbed witticisms are lifted directly from Wilde. Margaret Lee and Eleonora Rossi Drago as two Sapphic jet-setters. Isa Miranda as a raunchy and vulgar American millionairess. (Her outfits would make Fellini blush for shame!) Not too sure about Euro-porn starlet Marie Liljedahl and Richard Todd is a bore as the painter Basil Hallward.
But even when the acting falters, the outrageously kitsch costumes and settings make this film a visual delight! Will I ever recover from that first sight of Dorian's zebra-lined 60s shag pad? Somehow I doubt it. This whole film is sleazy, trashy, vulgar, over-the-top...a shameless piece of camp on every level. Poor old Oscar Wilde would have adored every minute of it! And so do I!
One of inspired versions of the novel by Oscar Wilde. For the fair portraits of Dorian, Harry and Basil, Richard Todd offering the perfect tones for his character. For the portrait itself and its last form of degradation. For the revelation of soul to Basil and scene of murder. For the hunting scenes and for the way to reflect his character proposed by Helmut Berger.
Not the last , for the images of sin and the more realistic and profound exploration of the relation with Sybill ( not the last, for wise solution of her last gesture ).
In short, provocative, no doubts, but well integrated in the frame of 1970 sexual revolution One of fundamental good points - the manner to craft his Henry Wotton of brilliant Herbert Lom.
Not the last , for the images of sin and the more realistic and profound exploration of the relation with Sybill ( not the last, for wise solution of her last gesture ).
In short, provocative, no doubts, but well integrated in the frame of 1970 sexual revolution One of fundamental good points - the manner to craft his Henry Wotton of brilliant Herbert Lom.
The story is familiar - Oscar Wilde's Dorian Gray wishes his painting would grow old whilst he remain young. This film version certainly does not equal the production quality of Albert Lewin's "The Picture of Dorian Gray" (1945), but it is superior in several other ways.
Foremost, the casting of Helmut Berger as Dorian is perfect. Mr. Berger has the "beautiful/handsome" balance necessary to essay the role; he matches his looks with a fine performance, taking Dorian from youth to decadence. Richard Todd (as Basil) and Herbert Lom (as Henry) support Berger well. Dorian's decadent slide is more appropriately depicted in this "modernized" version; however, the sexual situations run on way too long - for a time, the screen is filled with one sexual romp after another; and, the film loses focus. The sexual situations must have been very risqué at the time, but "Dorian Gray" is not "X-rated". The film may remain titillating because there are numerous sexual escapades; and, Mr. Berger and the women are very attractive.
The final "confrontation" between Dorian and Basil is used to effectively begin this version with a flashback; it might have helped to begin the 1945 version in this manner. The passage of time could have been better depicted during the early part (the 1940s-1950s) of this 1970 version, but the 1960s look terrific. The aging of Dorian's portrait is much more realistic in this version, and it somehow seems much truer to the spirit of Oscar Wilde's original work.
******* Dorian Gray (4/24/70) Massimo Dallamano ~ Helmut Berger, Herbert Lom, Richard Todd, Marie Liljedahl
Foremost, the casting of Helmut Berger as Dorian is perfect. Mr. Berger has the "beautiful/handsome" balance necessary to essay the role; he matches his looks with a fine performance, taking Dorian from youth to decadence. Richard Todd (as Basil) and Herbert Lom (as Henry) support Berger well. Dorian's decadent slide is more appropriately depicted in this "modernized" version; however, the sexual situations run on way too long - for a time, the screen is filled with one sexual romp after another; and, the film loses focus. The sexual situations must have been very risqué at the time, but "Dorian Gray" is not "X-rated". The film may remain titillating because there are numerous sexual escapades; and, Mr. Berger and the women are very attractive.
The final "confrontation" between Dorian and Basil is used to effectively begin this version with a flashback; it might have helped to begin the 1945 version in this manner. The passage of time could have been better depicted during the early part (the 1940s-1950s) of this 1970 version, but the 1960s look terrific. The aging of Dorian's portrait is much more realistic in this version, and it somehow seems much truer to the spirit of Oscar Wilde's original work.
******* Dorian Gray (4/24/70) Massimo Dallamano ~ Helmut Berger, Herbert Lom, Richard Todd, Marie Liljedahl
I was certain that no cinematic representation would do justice to the book. However, the clever idea of making a contemporary film made it interesting and original. Even the focus on Helmut Berger looks is not faulty, since this is the spirit of the book. Thankfully, all the girls were also very pretty. Although it's no masterpiece on its own right, Oscar Wilde would have liked it.
Você sabia?
- CuriosidadesRichard Todd said in interviews that he had no idea this film featured nudity until he discovered it was playing at a well-known porn cinema in London.
- ConexõesFeatured in Trailer Trauma 2: Drive-In Monsterama (2016)
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- El retrato de Dorian Gray
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- Tempo de duração
- 1 h 41 min(101 min)
- Mixagem de som
- Proporção
- 1.66 : 1
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