The Trials of Oscar Wilde

The portrait of a world more than the image of a great writer. the motif - the subtle, fine performance of Peter Finch and the chance to have as partner Lionel Jeffreys. because the purpose is not only to give a film about errors or sins or judgement but about the spirit of a world, looking to give to appearences the lead importance. it is not the picture of a victim but the exploration of the mechanism of a society. that could be the motif for who you feel the work of Peter Finch as more than the exposure of Oscar Wilde life traits. it is a proposition for understand. the forms and rules and expectations of a world defined by strong rules . and an existence less than idealistic you imagine. but loyal, too loyal to his principles. a must see film. for performances, for story. and, maybe, for the subtle moral behind the first impressions.

For a movie made in 1960, The Trials of Oscar Wilde was probably ahead of its time, given the general taboo against open discussion of homosexuality in that era. Just guessing, but it also may have gained the inordinate attention of the censors (such as the old Catholic Legion of Decency). I first became aware of it only the other day (Sept. 2005), when it was shown on Turner Classic Movies here in the USA. I can't believe this was the first time that a relatively tame, 45-year-old movie has been shown on American TV, but I wonder. The movie tiptoes diplomatically around the "elephant in the room," but its central theme and the intent of the producers are clear enough for adult moviegoers. (I can't remember the word "homosexual" being uttered in the dialogue, but there were unmistakable surrogates, such as "sodomite.") As a heterosexual, far be it from me to ask this question, but notwithstanding Peter Finch's fine performance in the lead role, isn't his movie "Wilde" a more masculine portrayal than the historical Wilde? Perhaps this was also a necessary concession to the time in which it was made. In any case, I also offer this spelling nitpick: the Encyclopaedia Britannica (1982) refers to Wilde's nemesis as the "Marquess of Queensberry," not "Queensbury." Also, the rules of boxing are the "Marquess of Queensberry rules."

It is sometimes said of London buses that you can wait ages for one and then two come along at once. So it is with films about Oscar Wilde. The world waited sixty years for a film about him, and then two came along in the same year, "The Trials of Oscar Wilde" starring Peter Finch and "Oscar Wilde" starring Robert Morley. There was, of course, a third version in the late nineties, "Wilde" starring Stephen Fry.

I have never seen the Morley film, but "The Trials" has a lot in common with "Wilde". Both tell the same story of Wilde's friendship with the handsome but spoilt young aristocrat Lord Alfred Douglas ("Bosie"), and of how Wilde was pressured into bringing an ill-advised libel suit against Bosie's father, the Marquess of Queensberry, who had accused him of sodomy. As a result of the failure of that lawsuit, Wilde was arrested, charged with gross indecency and sentenced to two years imprisonment. Although the two films acknowledge different source material, "Wilde" is clearly indebted to "The Trials"; the two films have a number of scenes in common. In places the dialogue is almost word-for-word the same.

There are, however, a number of differences of emphasis. "The Trials", as its name might suggest, places a greater emphasis on the legal aspects of Wilde's case, with a greater number of courtroom scenes. (The word "trials" clearly has two meanings here; it is used both in its legal sense and in the sense of "sufferings"). It omits, however, details of Wilde's life in Paris after his release, and places less emphasis on his relationship with his wife Constance and with his children.

There are some notable acting performances in "The Trials", especially from James Mason as Queensberry's lawyer Edward Carson and Lionel Jeffries as the splenetic Marquess himself, a man eaten up with rage and hatred; I preferred Jeffries to Tom Wilkinson who played this role in "Wilde". John Fraser, on the other hand, was not as good as Jude Law as Bosie. Peter Finch was a gifted actor, but I certainly preferred Fry's interpretation of the title role. Whereas Fry made Wilde witty, but also kindly, sensitive and generous, Finch's Wilde came across as too much the dandy, a man who, although capable of impulsive generosity, often used his wit as a mask to hide his true feelings. Only towards the end of the film, when he realises that he is in danger of imprisonment, does he become more emotional.

The greatest difference between the two films is that "The Trials" does not actually admit that Wilde was a homosexual. The impression is given that he may well have been the victim of unfounded gossip, of a deliberate conspiracy led by Queensberry to blacken his name and of perjured evidence given by the prosecution witnesses in court. In reality, there can be no doubt that Wilde was gay, and the Stephen Fry version of his life is quite explicit on this point. Queensberry's accusations were largely true, and in denying them Wilde perjured himself. It has become a received idea to say that he was the victim of the ignorant prejudices of the Victorian era and to congratulate ourselves (rather smugly) that we are today altogether more liberal and enlightened. This attitude, however, ignores the fact that for all his talents and his good qualities Wilde had a strongly self-destructive side to his nature. As some of his lovers were below the age of consent, if he were living in the first decade of the twenty-first century rather than the last decade of the nineteenth, he might actually receive, given contemporary anxieties about paedophilia, a longer prison term than two years. Even if he avoided a jail sentence for sex with minors, he would certainly receive one for perjury.

It is precisely because "Wilde" is more honest about its subject that it is the better film. Peter Finch's Wilde is the innocent victim of other men's villainy; Stephen Fry's Wilde is a tragic hero, a great man undone by a flaw in his character. Although he is more seriously flawed than Finch's character, however, he is also more human and lovable, and his story seems more tragic.

"The Trials", however, probably went as far as any film could in dealing with the subject of homosexuality. For many years it had been taboo in the cinema; a film on this subject would have been unthinkable in the Britain of, say, 1930, or even 1950. By the early sixties the moral climate had become slightly more liberal; the influential film "Victim", which some credit with helping to bring about the legalisation of homosexual acts between consenting adults, was to come out in 1961, a year after "The Trials". In 1960, however, homosexuality was still a criminal offence, and there was a limit to how far it could be freely discussed in the cinema. Seen in this light, "The Trials", although in some respects disappointing, can be seen as a brave attempt to tackle a sensitive topic. 7/10

First of all I like the way the authentic witticisms of Oscar Wilde have been woven into the script. His sarcastic and pointed remarks derived from a keen observation of the morals, pomposity and hypocrisy of late Victorian England make for intelligent and amusing dialogue between the characters.

Peter Finch (Oscar Wilde) delivers lines with a certain flourish, but I think he could be even more flamboyant for such a man was Wilde. John Fraser plays the moody Bosie as Oscar's current lover with a balanced mixture of effeminate charm and petulance. Best acting role is that of Lionel Jeffreys as the Marquis of Queensbury. Make no mistake his character comes through loud and clear. He gives a remarkable portrayal of his utter disgust when his 21 year old son Bosie defies him and continues his relationship with Oscar, a man of middle age and married. All London is gossiping and there is much clicking of tongues. Mrs. Wilde played by beautiful Yvonne Mitchell stands by in utter dismay and disapproval.

The courtroom scene gives Oscar the opportunity to deliver more witty lines and to describe his inner feelings about true love...interesting because one is not too sure what he is about to say next. One gets the feeling that Oscar has chosen the path of self-destruction...or is he just being his theatrical self?

After he does his prison sentence with hard labour he is supposed to look tired and ill, but I fail to notice much of a change in his demeanour. He should be much paler with a worn down look. This would command more sympathy. Oscar's sexual adventures around the streets of London are not discussed to any extent nor portrayed in this film. If they had been given more prominence we would perhaps have felt justified in agreeing with the jury's decision. As it is , the sordid details of his sexual encounters are played down and because the film is presented in this way we feel rather sad that this great playwright both loving and generous should suffer so much at the hands of those who tried to destroy him.

One never quite believes the character given a rather masculine portrayal by Peter Finch is involved in a love affair with the young Lord Alfred Douglas, but the tentative treatment of the film's subject matter is understandable since homosexuality was still illegal in Britain at the time of its release. More importantly, however, is how effectively the film relates the story of a man who is ruined by a society which can be so hateful. Although Wilde is portrayed at first as an arrogant and indulgent celebrity, as his love for his family and his torn loyalties are revealed it becomes hard for one to feel no sadness as he is made to pay with public disgrace and a jail sentence. John Fraser is perfectly cast as the spoilt and manipulative Douglas.