RL Political Humor Quick Hits 24

This edition looks at what not to say if you are a politician and a new small tourist attraction in China. Alcohol and Politics Makes For Interesting News And the reward for political idiot of the week goes to Sheboygan, WI mayor Bob Ryan for making sexually explicit remarks about his…wait for it….sister-in-law: Awkward! Entering rehab in 3..2..1… On a side note, I wonder which insult the sister thought was worse… Sister: “He said what??!!” Wife: “You are meaty around the ed

Marxist on the Mic: Hip Hop Soul-cialism

Paul Scott - Since the early part of the 20th century the best way to diss a politician was to call him a “Socialist.” Even the mere suggestion of a dude being red was sure to guarantee a 20% drop in the polls. This is what the Conservatives are counting on as they continuously sling “Commie” accusations at President Obama. While the President’s so called “socialist” programs may not play in Peoria, they seem to be a big hit in the ‘hood. For most middle class Americans who are heavily inv

An Ideal Husband

An Ideal Husband

Sexy leading man Rupert Everett heads an acclaimed all-star cast in this wonderfully witty story of decadence, romance, and scandal! Sir Robert is a highly respected politician whose spotless reputation is the pride of his beautiful wife (Cate Blanchett ) and adoring sister (Minnie Driver). But when an old acquaintance (Julianne Moore) threatens to reveal a dark secret from Robert’s past, only his womanizing party-loving best friend Goring (Everett) is scheming and dishonest enough to come to his aid.

User Ratings and Reviews

4 Stars Any Oscar Wilde is good…
And “An Ideal Husband” is no exception. This comedic morality play takes on courtship, blackmail and mistaken identities like only Oscar Wilde can. The film features an all-star cast who can deliver on the roles assigned to them. There was only one major divergence from the original play–but overall, the film is true to Wilde’s script and humor.

“An Ideal Husband” is well worth watching more than once. If you are an Oscar Wilde fan, this lesser-known play is a worthwhile addition to your DVD collection.

5 Stars Update version
An updated version of Oscar Wilde story. Very well done. I must dig it out and watch it again.

5 Stars Fabulous Adaptation
It is always impossible to adapt a play to the screen without making some changes- and that was also true in this case. To which the only proper response is to say- so what? Did they keep the spirit and main ideas? Is it largely the same story? And in the case of any Oscar Wilde play- did they keep as much of the language, the dialogue and the wit as was possible? In this film the answer to all of these questions was a resounding YES- if Oscar Wilde had been available, this is what he would have done to turn his play into a film- especially given the extraordinary loads of talent he would have had to work with. There is not a single character here who was not perfectly cast and who did not deliver a pitch perfect performance. Oscar would have been very proud of this film. We probably watch this fabulous movie about four times a year. Even the DVD was very well done. This is one fabulous, beautiful movie. You will love it- it is an absolute must buy.

4 Stars An almost ideal husband
Everybody likes Oscar Wilde. Some even feel sorry for him. But he doesn’t need our pity: we need his wise and witty insight.

Oliver Parker really likes Oscar Wilde. He’s done An Ideal Husband in 1999 (director, screenplay, and plays a character called Bunbury); The Importance of Being Ernest in 2002, (director and screenplay); and is working on his version of Dorian Gray which will be released in 2009. This is a look at the 1999 film.

It’s probable that the big screen treatment and some well known actors will bring an audience to Wilde’s plays that would never attend a theatre performance of them, let alone read them (the texts are available as a free download at www.manybooks.com). But a cinematic treatment must in some sense be an adaptation, not merely a performance, so something is gained and something is lost.

Oscar Wilde turned from prose to theatre in 1891 and after writing some lesser plays, in 1895 produced his two best works, An Ideal Husband and The Importance of Being Ernest. Then he was attacked because of his homosexuality (probably bisexuality) tried (there were three trials and two acquittals before the prosecution succeeded), sent to prison, bankrupted, separated from his family and driven, ill, into exile, where he soon died. The punishment is a landmark of legal injustice. Before his destruction Wilde created a theatre that excelled that of Congreve and Sheridan. He exhibited a mastery of construction and a brilliance in dialogue that have never been excelled in English dramatic literature. He also revealed, beneath the surface brilliance, an astonishing understanding of human nature. These two plays are characterised by witty insight and entertaining wisdom.

Adapting such precisely constructed works is like disassembling a watch and putting the parts in a wall clock. Each of the parts might well work, but the clock may not tell the right time. Before looking at Parker’s adaption it is worth noting how An Ideal Husband has been treated by other film makers. Alexander Korda’s 1947 version with Paulette Goddard as Cheveley is an adaptation that remains poised between film and stage and succeeds as neither. Rudolph Cartier directed a version for the BBC in 1969 with Jeremy Brett and Margaret Leighton. This version managed to bring out both the drama and the comedy of the play (Wilde as successfully merges genres as does Shakespeare) and is a stage version with the only filmic contribution the fluid camera movement. This version is probably the best acted one. The 1998 version directed by Bill Cartlidge, with Jonathan Firth and Prunella Scales, is much too static to be successful, though some performances are very good.

Parker’s 1999 version stars Cate Blanchett and Jeremy Northam as the Chilterns, Minnie Driver as Mabel, Rupert Everett as Goring and Julianne Moore as Cheveley. Parker rewrites the script, leaving out episodes and putting in several of his own. His film includes extensive location shots and very effective use of the sets and costumes available.

Two things emerge from Parker’s rewrite. Firstly, he’s not nearly as good a dramatist as Wilde. Some Parker episodes, such as Sir Robert’s speech before Parliament or Lady Chiltern’s admission of having told a lie, I found embarrassingly awkward. Insertion of location shots I thought sometimes ruined the pace of an episode, with more than once a street or countryside scene interrupting a fast paced dialogue.

Secondly, Parker is turning what is originally a witty and exciting drama into a romantic comedy. Marketing, I suppose.

What concerned me more was the actor’s delivery of their lines. Avoiding the over precise, clipped enunciation common in Wilde meant to tell us we are hearing epigrams, the actors in this film frequently murmur or whisper to one another and just as frequently speak without moving their lips. I don’t want to have the play stop while an actor delivers a witty line but I do want to hear the remark.

These things have been done to get away from theatre (Errgh!) and present the audience with something they are familiar with in the cinema. By and large it works, largely by effective acting. All of the principals are good, though I don’t agree with some of the direction they get. This is a good introduction to Wilde. I think anyone who likes it will like the BBC version (now available on DVD) better . And the plays are good to read.

Parker’s Ernest suffers from the same pros and cons as his Husband. Again, the BBC version is the one I prefer. Directed by Stuart Burge in 1986, it stars Joan Plowright as Bracknell, Paul McGann as Worthing and Rupert Frazer as Algernon Moncrieff. This in my view excels the famous Anthony Asquith 1952 version with Edith Evans and Michael Redgrave. Both of these last two are filmed plays and the films work very well, the groundwork having been done for the directors by Wilde’s masterly construction.

5 Stars Truly enjoyable!
Seeing the cast list and being a huge Oscar Wilde fan, I knew I had to see this, and I was not disappointed. Rupert Everett was made to play this part, and the Julianne Moore plays the manipulator perfectly. The costumes and beauty of the set just add to the overall splendor of this loely film. For anyone who loves film adaptations of “Emma”, “Cold Comfort Farm”, or “I Capture the Castle”, this is for you!

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