Hey Luke, this was great fun to read. And insightful. I’m trying to remember when I first saw the film…it must have been on TV when I was about 16/17…was it twinned with The Trials of Oscar Wilde (Yvonne Mitchell as Constance…very touching…) in a kind of wild Wilde-fest? Or I could be merging the two?
I dig your points re Hurd Hadfield…they something of the same torpidity that Keane Reeves can sometimes do so interestingly.
Thank you, as ever. Now it's interesting that you mention Keanu Reeves, as I may well do a Knock Knock (2015) post. A very different film. And you're right. Mr Reeves is kinda lobotomised.
I thoroughly enjoyed reading every word Luke, a tremendous insight and Oscar certainly gave us much to think about. I loved this film and I spotted a little mention of one of my rainy afternoon favourites... Footsteps in the Fog !
And p.s. That late 1880s Jekyll and Hyde era is fascinating for so many reasons...especially this obsession with the East End. Punch magazine is especially illuminating...
Iconic Wilde offered food for thought, inspiring The Portrait of Jennifer too, an American film about a changing portrait, a tale of the supernatural a L'Americaine!
Thanks for highlighting this film. Despite being eighty years old, this remains the best version of the book on film. The script takes quite a few liberties - on grounds of taste and decency (according to 1940 standards) as well as the artistic. Using the repeating quote from Omar Khayyám, that doesn't appear in Wilde's book, is a stroke of genius.
Angela Lansbury as Sibyl (now a music hall singer) is a revelation. Hurd Hatfied is exactly as you say... interesting but nonetheless well cast. George Sanders is, I think, the other stand-out performance. The sets and general evocation of Victorian London are exquisite - only the shoulder pads rather let the side down, but nothing's perfect is it?
Hey Luke, this was great fun to read. And insightful. I’m trying to remember when I first saw the film…it must have been on TV when I was about 16/17…was it twinned with The Trials of Oscar Wilde (Yvonne Mitchell as Constance…very touching…) in a kind of wild Wilde-fest? Or I could be merging the two?
I dig your points re Hurd Hadfield…they something of the same torpidity that Keane Reeves can sometimes do so interestingly.
Thank you, as ever. Now it's interesting that you mention Keanu Reeves, as I may well do a Knock Knock (2015) post. A very different film. And you're right. Mr Reeves is kinda lobotomised.
I thoroughly enjoyed reading every word Luke, a tremendous insight and Oscar certainly gave us much to think about. I loved this film and I spotted a little mention of one of my rainy afternoon favourites... Footsteps in the Fog !
Thank you as always! Would you like me to cover Footsteps in the Fog at some point?
Oh my goodness I'd love to see this film covered Luke, it's one of my favourites!! Perfect for a rainy Sunday afternoon!!
That's EXACTLY what it is. Four o' clock on a rainy Sunday.
And p.s. That late 1880s Jekyll and Hyde era is fascinating for so many reasons...especially this obsession with the East End. Punch magazine is especially illuminating...
Oh my goodness yes, Punch Magazine..now there's a thing!!!
Iconic Wilde offered food for thought, inspiring The Portrait of Jennifer too, an American film about a changing portrait, a tale of the supernatural a L'Americaine!
Thank you! Have yet to see that one. Now on my list. And it's a long list...
If you're going to have a literary obsession Omar Khayyam's not a bad one to have.
Thanks for highlighting this film. Despite being eighty years old, this remains the best version of the book on film. The script takes quite a few liberties - on grounds of taste and decency (according to 1940 standards) as well as the artistic. Using the repeating quote from Omar Khayyám, that doesn't appear in Wilde's book, is a stroke of genius.
Angela Lansbury as Sibyl (now a music hall singer) is a revelation. Hurd Hatfied is exactly as you say... interesting but nonetheless well cast. George Sanders is, I think, the other stand-out performance. The sets and general evocation of Victorian London are exquisite - only the shoulder pads rather let the side down, but nothing's perfect is it?
Albert Lewin seems to have been obsessed with Omar Khayyam. Also used to great effect, of course, in Pandora & The Flying Dutchman.