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The
Importance of Being Earnest
Review
by Andrew L. Urban:
Oscar Wilde's classic play is perhaps the most subtle satire ever
written, the most witty dialogue and the most fragile of dramatic
creations. Fragile, by the way, is the name taken by the
production company, and I can only assume it was for this reason.
But do not read fragile for weakness; fragile as in delicate,
light, sensitive to outside elements, easily misinterpreted. For
those familiar with the play (or the 50s film adaptation) the
lines will resonate with crystal clarity, and every line in this
script is a gem. What will matter to those of us who know the work
is how it is reconceived. Any action or attitude that juts a
fraction too far out will spoil it; anyone who doesn't get the
intricate structure of English society a century ago will ruin it;
any scene that detracts even slightly from the atmosphere will
damage it. So good on you, Oliver Parker and cast, for maintaining
the work that Wilde created and for giving us a new millennium's
view of it. Not that it has aged: Oscar Wilde was an incredibly
gifted observer of human nature, and had the ability to write
about us with a deceptively amusing wit. The stage play will
always remain more dramatic and screamingly amusing, but this film
allows a huge audience to take part in one of Wilde's sweetest
jokes. Make sure you partake.
Review by Louise Keller:
Elegance never goes out of style - and neither does Oscar Wilde!
Oh the joys of the English language, when used with wit and
playful bemusement. Frivolous and fanciful, The Importance of
Being Earnest is a timeless comedy of errors, whose mistaken
identities are brought vividly to life by a pedigree cast,
enabling yet another generation to savour Wilde's wit. It's a
lively piece of dizzy delights and although we have heard so many
of the lines before, they are always fresh. I could happily sit
through the film again tomorrow just to hear all the lines again.
Lines like ' To lose one parent may be regarded as a misfortune;
to lose both looks like carelessness.' The outcome of the story is
never in question, and the many joys lie in the characterisations,
the intelligence, the humour and transportation to a time and
place when class, position and money rule. It's a frolicsome ball
of fluff that is just so darned enjoyable. I hoped it would never
end. Oliver Parker's script is true to Wilde's play, Charlie
Mole's music is light and mischievous and Luciana Arrighi's
splendid production design satisfies our every expectation of
gorgeous, decadent settings and costumes. Colin Firth is at his
sublime best and together with the elegant Rupert Everett, make a
delectable pair. Add the wonderful Judi Dench (plus delightful
cameos from Edward Fox as the pessimistic butler, Tom Wilkinson as
the bumbling clergyman whose heart is revealed in his sketchbook
and Anna Massey's potty governess). Frances O'Connor and Reese
Witherspoon are enchanting additions as the objects of desire. The
proceedings are driven right to the edge of the ridiculous,
allowing us to feel as though we have indulged in a gourmet soufflé.
Light as a feather, yet concocted with the very best ingredients.
It's frolicsome conjecture at its best.
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