THE PICTURE OF DORIAN GRAY (1945), is a film that will forever follow me no matter where I go in my film memory or in my memories of my Mom.
Every CINEMA COFFEE I do, I particularly choose a film that is a direct reflection of what film watching was/is for my Mom and I. Films that were us, be it by quoting regularly, watching regularly, or both. Though our taste was an array. From THE MATRIX Trilogy (the green and the red pill was real talk tho) to Mae West. From GILDA to GOODFELLAS. Modern to classic, our face was in the place.
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Writing these pieces as much as I have, I've had time to be fully aware of all the film memories I have. Not that I wasn't aware of this while it was happening, but now not being able to do it in the physical sense anymore, weighs the thought and memory on your mind in a strikingly different way, and it seems to have made up ninety-five percent of my life. The other five percent being all the other stuff that gets in the way. And of that ninety-five percent, one hundred percent of those memories belong to my Mom and I.
Dating back to family movie nights on the weekend with my Mom and Dad, or one particular outing that stands out above the rest in my mind, of my Mom taking me to the movie theater during the summer when I was a kid. The two of us walking to the theater next to the subdivision we lived in while my Dad, the owner of his own construction company, was out on the job. My grand adventure!
But classic film watching, to the extent it became, however, stemmed from me. Which is a story we've spoke of before (see IT NEVER ENDS), hearing my Mom tell others how "my daughter got me into movies the way I am," is one thing. But for her to tell me personally just during idle conversation between she and I, is a highlight in my mind, and is the greatest film compliment I could ever receive.
But classic film watching, to the extent it became, however, stemmed from me. Which is a story we've spoke of before (see IT NEVER ENDS), hearing my Mom tell others how "my daughter got me into movies the way I am," is one thing. But for her to tell me personally just during idle conversation between she and I, is a highlight in my mind, and is the greatest film compliment I could ever receive.
My Mom and I stumbled upon THE PICTURE OF DORIAN GRAY one night several years ago while up late watching the lineup on TCM, as became the norm.
There was an *instant* connection between film and film fan. Cinema.
From this film, Hurd Hatfield became a household name and Angela Lansbury became more than 'Murder, She Wrote', she became "Sibyl" from THE PICTURE OF DORIAN GRAY, where she soon became (to us) "Nancy" from GASLIGHT (1944).
There was an *instant* connection between film and film fan. Cinema.
From this film, Hurd Hatfield became a household name and Angela Lansbury became more than 'Murder, She Wrote', she became "Sibyl" from THE PICTURE OF DORIAN GRAY, where she soon became (to us) "Nancy" from GASLIGHT (1944).
With those two films alone, *anything* else Angela Lansbury did outside of those were secondary. THE PICTURE OF DORIAN GRAY and GASLIGHT, for us, made a whole career! She is magnetic in both. I dare you to walk away not talking about Dame Lansbury after watching either film. It is her, to me, you remember long after the film is over, and still talk about the next time you see the film.
Though neither of us were fool enough to pass up on Boyer. Ever. And to hear my Mom say "Charles Boyer" by name in voice of Charles Boyer is like magic. Cracked me up every single time. But where she and I were concerned, we'd always find the humor and comedy in one another … Not always so much with other people though. Often were our side-eyes made infamous ...
Though neither of us were fool enough to pass up on Boyer. Ever. And to hear my Mom say "Charles Boyer" by name in voice of Charles Boyer is like magic. Cracked me up every single time. But where she and I were concerned, we'd always find the humor and comedy in one another … Not always so much with other people though. Often were our side-eyes made infamous ...
… which luckily, my Mom in particular, was able to do in such a way which drew laughter than offense. Often drawing others into a "we need to get on your level" esque response. Which my Mom would make you "note to self" if you couldn't keep up with her dialogue or track of thought. With her, you had to think quick, she didn't have time for you to catch up and think about a good comeback later. There were times she was even too quick for me. Gosh, I miss my Mom.
As with films like GILDA, ARSENIC AND OLD LACE, GASLIGHT (1944), TOMBSTONE, WUTHERING HEIGHTS (1939), 3:10 TO YUMA (2007), SCARFACE (1981), THE WOMEN (1940), THE GODFATHER, NIGHT MUST FALL (1937), CHICAGO, CASABLANCA, SHADOW OF A DOUBT, FANNY (1961), joined by new discoveries like THREE ON A MATCH and RED-HEADED WOMAN, (you get the point … films) so THE PICTURE OF DORIAN GRAY became. These were in the graduating class of films that were *never* missed in the house where she or I were concerned. Never mind owning them on DVD or having them recorded on the DVR. If it's being aired, then it's being set, and if it's being set, it's being watched, even in the background while activities were happening, while working, writing, cooking, or while crafting.
"What are you?"
Dorian Gray: "I'm complicated." |
The beauty we found in director Albert Lewin's "Dorian Gray" was an equation we couldn't seem to find in any other film adaptations to Oscar Wilde's story. Even watching the more recent adapt in 2009 with Ben Barnes during our Saturday Nite Movie Night watch. Although, hate us for it, we loved watching Stuart Townsend as Dorian in Sean Connery's last feature film, LEAGUE OF EXTRAORDINARY GENTLEMEN (2003), a film we enjoyed in general itself, and oh, how we'd always hope for Sir Connery to return onscreen someday.
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Whether it's its simplicity in its quietness, the cinematography done beautifully by Harry Stradling (DARK JOURNEY (1937), PYGMALION (1938), SUSPICION (1941), A STREETCAR NAMED DESIRE (1951), AUNTIE MAME (1958)), Hurd Hatfield's striking appearance and structure as Dorian himself, the ensemble cast of George Sanders and his voice, Angela Lansbury, Donna Reed, Peter Lawford, with the narration by Sir Cedric Hardwicke, the real life mother/daughter connection with Angela's own mother in the role of her onscreen mother, Moyna MacGill, or Oscar Wilde's story and words itself … No matter what it is, whatever draws you in as a spectator on your own, it captures you away to 1886 England and keeps you there for the next 110 minutes in the lavish MGM stylized sets under the direction of Albert Lewin.
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The screenwriter, producer, director, whom only had six films in his feature film directorial career, two being "accompanying pieces" to "Dorian Gray" in a Sanders/Lewin collaboration, THE MOON AND SIXPENCE (1942) and THE PRIVATE AFFAIRS OF BEL AMI (1947), both recommends if unseen, the latter too co-starring Angela Lansbury, just as striking in this film as the character "Clotilde de Marelle", along with Ann Dvorak and Warren William (this Warren's last, passing away in 1948).
If you've followed along with me during my CINEMA COFFEE journey, you know by now, I don't give too much of the story away, not only was this something my mother and I took *seriously*, I've also learned not to take for granted everyone reading my posts have seen the film in topic, no matter how well known the film is, though, I'm sorry, I can't deal, #SpoilerAlert by now the horse head in THE GODFATHER I'm sure isn't a surprise seen or unseen … "I'm gonna make him an offer he can't refuse." (insert my side-eye look).
That being said, all I will say about the painting is, if you're as inquisitive as to if it still exists, just as the painting from LAURA (1944) of Gene Tierney, yes, it does. A portrait once in the possession of the actor painted and starring as "Dorian", Hurd Hatfield himself. As of 2015, from the Collection of Robert Hatfield Ellsworth, the portrait was put up for auction at Christie's in New York, selling for $149,000.
Take a time-out from all the stuff that gets in the way and make time for THE PICTURE OF DORIAN GRAY with a cup of café, coco, or chai … #ForMyMom. The door is always open.