A Disappointing Continuation

Good films always raise compelling questions, whether the format is fiction or documentary fact.

I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

One of the worst ways to make a cult movie is to set out to make a cult movie.

Just as R.L. Stevenson's quintessential dual-personality tale was revamped by Hammer as DR. JEKYLL AND SISTER HYDE (1971), it was not inconceivable that Oscar Wilde's similar narrative would be rethought on distaff lines. The result is quite tolerable under the circumstances but, emanating from the Rankin/Bass stable (renowned for animated kiddie fare!), it was deemed to have merely scraped the surface of what was basically a critique of the moral decay overtaking Victorian society (epitomized by the notorious Jack The Ripper killings). Not unexpectedly, then, the theme of the novel was updated to contemporary times and transposed to the glitzy fashion world of L.A. (making the whole feel rather like a typical "Emmanuelle" entry but without the copious nudity!): here, the protagonist becomes a modeling celebrity but, unwisely, the all-important "picture" is made out to be screen-test footage, cue unconvincing make-up effects to illustrate its increasing degeneration and, played over and over during the course of the movie, it proves quite enervating! Therein, however, lays its major problem: since the plot is supposed to unfold in the space of 30 years, the look (sets, costumes, hairstyles) throughout never changes to reflect this passage of time, which history books attest to having been pretty considerable! Anyway, the film essentially rests on the shoulders of its variable cast – led by Anthony Perkins in the Lord Henry Wotton persona (creatively redubbed Henry Lord!) and Belinda Bauer (not too bad considering, but perhaps managing best the bitchy aspects of the title role, and which would subsequently typecast her!). Olga Karlatos appears as Perkins' wife and rival(!) for Dorian's services (and affections?), Joseph Bottoms the pseudo-singer/pianist who captures her heart if only for a little while (precipitating his suicide) and Michael Ironside is the photographer eventually reduced to 'cleaning up' after her. For what it is worth, we are even treated to a cheesy title song which, again, is picked up ad nauseam along the way!

A beautiful modernized version of the Oscar Wilde classic, in which Belinda Bauer gives a moving and poignant performance as the title character, here a female model led astray by the temptations of evil in a sharp allegory of the real-life corruption of celebrity culture and the rich and famous. Anthony Perkins also gives a memorable performance as Henry Lord, the movie's answer to Wilde's legendary Lord Henry Wotton, here a fashion tycoon who takes advantage of Dorian's youthful naivety to seduce her into his corrupt view of life. Despite the modern setting, the storyline's structure is surprisingly close to Wilde's original novel with almost every character, major and minor, given a modern-day equivalent in the narrative. Dorian's gradual descent into total corruption and malevolence is depicted perfectly, as is the eventual destruction of the world and people around her.A haunting, eerie and dreamlike atmosphere prevails throughout the movie, and the film's answer to the novel's portrait- a screen test on a gigantic screen that grows more repulsive with each sin Dorian commits- is genuinely creepy and disturbing. The beautiful and haunting theme song, sung exquisitely by Lisa D'Albello, is truly stunning and enhances the film's captivating atmosphere perfectly. As each cast member turns in an excellent performance, the film should have the viewer literally on the edge of their seat as it approaches its destructive climax, ending of course on a tragic note that strangely leaves us feeling somehow more sorry for the debased Dorian, and even for Henry (who seems to have mellowed from his corrupt ways after witnessing Dorian's decline), than in the novel.While some viewers may naturally object to the radical shift in style from Wilde's classic, along with the feminization and thus heterosexualization of the lead character, and of course the absence of Wilde's legendary quotes, this should not dissuade anyone from viewing the film, which is executed as perfectly as could have been possible. Although the film was made for the big screen, it was unfortunately only ever shown on TV due to lack of interest and is virtually unknown to this day. This is a shame, for The Sins of Dorian Gray is a truly beautiful, moving and haunting film that ranks easily among the best ever filmic interpretations of Wilde's novel. A true overlooked work of beauty that should not be missed.

I have always admired the work of Oscar Wilde, and 'The Picture of Dorian Gray' has been one of my favourite examples of his work, since I read it at about aged 12.It has been made into films a few times, with varying degrees of success.The earlier 1945 film version with Hurd Hatfield and George Sanders was the epitome, in my opinion, and has yet to be equalled.This 1980's TV-movie version is another attempt, and is certainly off-beat. It moves the tale up into the (late) 20th century, and this poses some stretching of the imagination when it comes to the characters, although it would have made location shooting a lot simpler....In this version, the most obvious deviation was the choice of making Dorian a female, played quite well by the gorgeous Belinda Bauer, who we had seen earlier, in 'Archer, Fugitive of the Empire'.In this case, the 'picture' of Dorian is a film screen test on celluloid that she makes at the beginning, and after she makes her wish for eternal youth and beauty, she feels that she must secrete this film away, and protect it, so that no ill will happen to her.After this, she goes off and seduces whomever she fancies, drinks and parties just as she wishes, while the cine film slowly assumes the ageing and the scars of her debauchery. Meanwhile, all her friends and colleagues around her age at their natural paces, and they cannot believe that Dorian is still young and beautiful.Occasionally, she sets up the projector, and in the privacy of her own home, plays the screen test. In each subsequent re-playing, her image is noticeably older and more depraved looking. Towards the end, the image is almost unbelievably ugly and dishevelled, and this of course, brings things to a head, as expected.I found the film to be completely likable, and the characters were good to watch, although a little contrived. Never mind, this IS a B-grade TV movie.Anthony Perkins plays Anthony Perkins to a tee in this one....you just sit there, waiting for the Norman Bates character to appear, but it doesn't. It's one of his 'goodie' roles.....I still have this on Beta (Say What?) tape, and I haven't watched it for about 15 years, so tonight, I'll open a bottle of Cabernet Sauvignon, and run that film just one more time.......for the buzz.And for Belinda..."The Opener of the Way is Waiting"

Dorian Gray (female) started to age just like the real Dorian Gray (male) in Oscar Wild's novel. Disappointingly boring. This flick deserves one out of ten.