Two clips and interviews and Italian press Eagle Pictures uploaded on his official channel
youtube
other two clips taken from Italian Dorian Gray we know very well:
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Here is the official Italian press, with reviews of Dorian Gray appeared in major newspapers.
Wilde's novel is almost an horror
(Maurizio Porro, Il Corriere della Sera )
For the third time grappling with Oscar Wilde, Oliver Parker takes the first step with a false adaptation of the famous horror almost Faustian novel with the painting ages in the attic. With appropriate additions and the mood a little paranormal movie betrays snobbish perversion of the original. Ben Barnes seems to happen there for the event and be trusted by Colin Firth, his friend. But it's all glossy and well known, the least possible wild liberty and sensuality and sin no real c 'is the shadow. Rated 5
Dorian Gray si rivolta nella tomba
(Maurizio Cabona, Il Giornale )
Fare di Dorian Gray un Vittorio Sgarbi inglese è l'abominio di Oliver Parker. Del resto è coerente: suoi erano uno dei peggiori adattamenti cinematografici di Shakespeare, Othello , e i noiosi Un marito ideale e L'importanza di chiamarsi Ernest , ispirati sempre da Wilde. Nel ruolo di Gray, Ben Barnes non ha nulla di diabolico e nemmeno di seducente; per un ruolo così occorreva il Delon dei vent'anni. Mentore di Gray e alter ego di Wilde è Colin Firth, che qui spreca il rispetto che s'era guadagnato nella carriera.
"Dorian Gray", a game as kids
(Francesco Alo, The Messenger )
The Picture of Dorian Gray for Victorian society was one that American Psycho was for the 'America master of the world in 1991. Epic novel that destroyed an era. Wilde's work with the film becomes once revived production Ealing here dealing with a horror for teenagers. It 'just a game as kids, from perbenino star Ben Barnes, already seen it The Chronicles of Narnia , which at times of maximum destruction looks like a boy scout who decided to kill a lizard. Beside him another good-natured that would make the bad: Colin Firth with a beard too fake and not credible when he says to Wilde: "Sacred objects are the only ones worth profane" or "The only way to get rid of a temptation is to yield." Firth is the Lord who brings the young Dorian to the hedonistic destruction. Then the actor has second thoughts and, as has always been impeccable, good guy returns in a second part that betrays the source with fictional characters (the daughter of Lord Wotton) and a final noisy. Some Irish writer would say, "Nothing is as dangerous as wanting to be too modern. It may become unfashionable."
(Alessio Guzzano, City )
Oscar Wilde said that "the only way to get rid of temptation is to yield." And as a director of delicious decadence, which it did with the comedies of the Sublime cinepratica Dandy, allowed a nefarious debutante writer put his hand - tamper - the novel of 1890, a masterpiece devoted to the worship of eternal youth and beauty and absolute (then) cloudy. "He who digs beneath the surface do so at your own risk" always warned Wilde. Imagine those who shovel reckless sensuality between aphorisms and high risk, until it touches the bottom of vulgarity. The result is a supernatural horror with strong colors that hints at Bluebeard: the portrait that ages instead of the most desired child ribolle di pustole in soffitta mentre personaggi (inventati e/o storpiati) forzano la porta per affrontarlo. Musica a palla e pallose orge perverso/chic (D&G non sono solo le iniziali di Dorian Gray). Protagonista piallato: Ben Barnes, che viene da Narnia, non ha né gli occhi (azzurri), né i capelli (biondi), né le labbra (scarlatte), né il fascino inconscio (e quindi violento) del putto originale. Sembra Silver di "XFactor". Chi frequenta queste righe sa che ci piace chi 'tarantina' i classici o shakera Shakespeare. Ma per aggiungere bellezza, non per inquinarla.
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