The Importance of Being Earnest (1952)

In truth, there is barely enough story here to make a film.

It was OK. I don't see why everyone loves it so much. It wasn't very smart or deep or well-directed.

an ambitious but ultimately ineffective debut endeavor.

if their story seems completely bonkers, almost like a feverish work of fiction, you ain't heard nothing yet.

Last night, I read Oscar Wilde's classic comedy 'The Importance of Being Earnest' for the first time after having wished to read it for quite some time, and it really was a delightful experience. I was excited to soon after see the widely praised 1952 film adaptation of the same name, which I did today, and my excitement was met with a wonderful little movie that stayed greatly true to the source material. Perhaps one could say it is so close to the source material there is little point in it really being a film, but the thing is the performances here are quite splendid, as are the technical aspects of the film, though they are quite subtle and minimalistic. The technicolor cinematography is astonishing for the eyes, and the acting on all fronts captures Wilde's wondrous wit well. Some performances I could dare claim are absolutely perfect, the two coming first to mine being the performances from Michael Denison and Edith Evans who embody almost exactly what it seems Oscar Wilde would have had in mind. Obviously, it is wonderfully written and very funny, and makes up a very entertaining and enjoyable 95 minutes.

As with all categories of movies, and their many subgroups, satire isn't for everyone. And, judging from a few reviews on IMDb, if one doesn't get the satire, the humor may be lost as well. But many of us do relish satire – especially the wit and farcical spoofing in great works such as "The Importance of Being Earnest." So, the humor isn't lost on us in the satire, but is brought home boisterously and subtly, straightforward and by innuendo, in words and in looks. Make no bones about it – this is a satire on high society of England in the late 19th century. The language, dress, customs and mores of the time are all part of the story. So, they are dated, as they should be. Any retelling of this work that eschews the time-specific of the story, will naturally lose the satire. For, placed in a modern setting, or otherwise changed, the satire of Wilde's play loses its bite and sarcasm; and the script then becomes just a running dialog of jokes or puns. This 1952 rendition of Oscar Wilde's play is the best of any movie made for presenting this satire as one would hear and see it live on stage. I think the film even gives us an advantage over the stage. We can see actor's expressions quite vividly. Director Anthony Asquith uses his excellent camera work in many instances to show us close-ups of a range of expressions in the reactions between actors. These instances enhance the wit and humor of the barbs or bon mots just delivered.All aspects of this 1952 film are superior. The screenplay, cinematography, costumes, makeup, sets, and directing and editing are superb. But most of all, this film has an outstanding cast of actors – from all the leads to the smallest supporting roles. Each person gives something special to his or her character. The key focus of Wilde's satire here is in the person of Lady Bracknell. Edith Evans excels in the role of the domineering, nonsensical society matriarch. She gives hubris to the contemptible icon of high English society of the late 19th century. Her exaggerated portrayal fits well the obnoxious, autocrat that Wilde puts at the center of his mockery of upper English society of the time.The Michaels – Redgrave and Dennison, excel in their roles as Jack Worthing and Algernon Moncrieff. They play perfectly off each other throughout the film. It's with Redgrave especially, that the humor of some of the witty lines is made all the more laughable by the expressions we see on his face. Dennison adds a very pleasing bounciness that gives life to the otherwise idle lifestyle of Algy. But I think the ladies again steal center stage in this wonderful spoof. Joan Greenwood plays the best possible snobbish, pretentious, hilarious Gwendolen that I can imagine has ever been done live or on film. She is riotously funny as the snooty, arrogant and pompous object of Jack's romantic affections. And Dorothy Tutin gives an excellent portrayal of the demure, innocent but silly Cecily. She just isn't quite the snob, nor is she quite as pompous, for her youth and lack of experience that Gwendolen has had.The wonderful Margaret Rutherford is Miss Prism. She brings smiles to our faces with her humorous lines and expressions. And Miles Malleson is a nice match for her as Canon Chasuble. Was Wilde giving us a touch of his wit also in the choice of some of the names of his characters? A chasuble is the outer vestment worn by clergy in the Anglican and Catholic churches. And a prism is a type of lens through which objects take on many different shapes and colors. The actors who play the butlers and man-servants are very funny in their roles as well. One other thing that bears comment is Redgrave's age. A couple of reviewers said he was too old for the part – although they liked him in it. Modern movie buffs would do well to note that people – men, especially -- 100 and more years ago generally looked much older than they do today. Since the mid-20th century, the physical appearances of Western men have gotten younger. Look at old high school photos to see that most teenagers a century or more ago looked more mature than they do today. Most 65-year-old men today don't show as much age as did 50-year- old men in the past. So, the 44-year old Redgrave in 1952 could very likely pass for a man 28 or 35 in the previous century. "The Importance of Being Earnest" is one of the finest satires on society ever written and put on film. And this 1952 movie is the best ever made of the great Oscar Wilde farce. It's a wonderful treat from start to finish. But I warn anyone who may not enjoy satire – you may find yourself laughing at lines you don't think should be funny.

I saw this a billion years ago on TV with a friend. We both enjoyed it. I was happy to see it released on Criterion, but it really doesn't hold up.It takes a very slight idea and converts it into polite fare. But one would have to value the dull, superficial, unexamined, boozhie lives these characters aspire to, to enjoy the movie. With characters willing to make lifelong commitments to someone they've known for less than a day, or reverse firmly-held convictions a few times in half an hour, Wilde is mocking every one of these conventional figures. I feel his contempt, and I find it legitimate. So it's hard to get worked up about plot resolution when I never valued A marrying B, or the like, even as a flimsy pretext to tease out a few jokes. The supposedly intricate plot barely reaches a mild muddle, before it's remedy is being engineered. You'll be taking mental note that we don't construct jokes like this anymore, as the characters spin their wheels to escape paper-thin conflicts.The Dorian Gray movie is a mixed bag but the George Sanders role is the single best embodiment of Wilde's mischievous wit. And 'An Ideal Husband' is a different genre but is more enjoyable.

THE IMPORTANCE OF BEING EARNEST has had several reincarnations on film but this British version from the '50s, directed by Anthony Asquith and starring MICHAEL REDGRAVE (as one of the men assuming the name Earnest), is one of the most satisfying because of a splendid cast.The Victorian comedy of manners includes impeccable performances from EDITH EVANS as Lady Bracknell and MARGARET RUTHERFORD as Miss Prism with a delightful leading lady role for JOAN GREENWOOD, as one of the young ladies confused by identity crisis. MICHAEL DENISON is the snobbish other man using the name "Earnest".So many typical Oscar Wilde witticisms come through in the dialog, so fast and furious that it's impossible to remember all of the very quotable comments made by the participants in this wonderfully played farce. I love one particular line: "One should always bring one's diary along when traveling by train. It gives you something sensational to read." Summing up: What's in a name? Plenty.Just as wonderful as the more recent version with Rupert Everett. Asquith's clever direction is right on target to spice up the comedy from beginning to end with sparkling performances, as only the British can do. Benjamin Frankel's sprightly score is an added delight.