MGLFF Review: Picture of Dorian Gray

Details

April 27 at 7:30 p.m. at the Gusman Center for the Performing Arts, 174 E. Flagler St., Miami

Related Content

• Blue Sky Food by the Pound: A Cuban Speaks Out
  November 5, 2010
• Safe House: Ryan Reynolds's bod is the asset in this men-on-the-run thriller
  February 9, 2012
• "Shame": Michael Fassbender's Extreme Sex Addiction
  December 1, 2011
• Azalia Snail
  July 8, 2010
• Nick Curly Brings the Sound of Mannheim to Space February 5
  January 27, 2011

More About

• Duncan Roy
• Oscar Wilde
• Dorian Gray
• Henry Wotton
• David Gallagher

Like this Story?

Sign up for the Events Newsletter: What's happening in town? From underground club nights to the biggest outdoor festivals, our top picks for the week's best events will always keep you in on the action.

Privacy Policy Cancel Continue

No doubt Oscar Wilde would have approved of director Duncan Roy relocating the setting of his Victorian-era Faustian exploration of youth, vanity, lust, and power to modern-day New York City. His superficial social-climbing stud — who now employs a multiscreen art installation, rather than a portrait, to prevent his beauty from fading — is very much at home practicing his scandalous ways in the city that never sleeps. Nor would Wilde have begrudged Roy the freedom to explicitly explore the homoerotic themes and ideals that he could only hint at in his book. Otherwise this remains pretty much your great-grandfather's Picture of Dorian Gray. Except that Roy's artistic aspirations get the better of him: His use of split-screen imagery is effective in chronicling the consequences of his subject's increasingly devilish behavior, but this Dorian Gray is just too plodding, pretentious, and humorless for its own good. It makes matters worse that the uncomfortable-looking David Gallagher offers a stiff and joyless portrait of the most hedonistic of literature's bad boys. At least there's Christian Camargo, who deliciously delivers the wittiest and most perverse of Wilde's lines with smug superiority as the manipulative Henry Wotton. "All art is useless," Wotton declares. Too bad Roy fails to mount a more persuasive argument to prove him wrong.