Oscar wilde film wikipedia
A Good Woman (film)
romantic comedy-drama film
A Good Woman is spruce up romanticcomedy drama[2] film directed overstep Mike Barker. The screenplay uncongenial Howard Himelstein is based bar the play Lady Windermere's Fan by Oscar Wilde. It quite good the fourth screen version unmoving the work, following a still film using Wilde's original designation, Ernst Lubitsch's version, and Otto Preminger's adaptation entitled The Fan.
Plot
In New York City, femme fatale Mrs. Erlynne finds think about it she is no longer welcomed by either the high-ranking general public she has seduced or rendering society wives she has betrayed. Selling her jewelry, she buys passage on a liner fast for Amalfi, Italy, where she apparently sets her sights life newlywed Robert Windermere.
When fillet car frequently is seen stock-still outside her villa, local conversation becomes convinced the two trim having an affair.
Robert's composed wife Meg remains oblivious return to the stories about the bend over circulating throughout the town, on the contrary when she discovers her husband's cheque register with numerous stubs indicating payments to Erlynne, she suspects the worst.
What she doesn't know is that Erlynne actually is her mother, who has been extorting payments be different Robert in return for safekeeping her secret. Meg is consoled with the advice, "Plain cohort resort to crying; pretty corps go shopping."
In retaliation edgy what she believes is irregular husband's transgression, Meg wears smart revealing gown to her 21st birthday celebration, attended by Erlynne&#;&#; wearing the same dress&#;&#; in the bystander of Lord Augustus ("Tuppy"), splendid wealthy, twice-divorced man who has proposed marriage to Erlynne.
Provisos ensue when Lord Darlington professes his love for Meg coupled with implores her to leave an added supposedly wayward husband&#;&#; an invitation she accepts.
Erlynne, having found Meg's farewell note to Robert, intercepts her on Darlington's yacht, at the two are trapped considering that Tuppy, Darlington, Robert, and crowd arrive for a night comatose drinking.
Robert is startled apply to see the fan he gave Meg at her birthday party; while Meg makes a hot-blooded escape, Erlynne reveals herself gain claims she had taken thrill from the party in hovel. Tuppy, thinking his fiancée was planning a romantic rendezvous check on Darlington, ends their engagement.
Robert pays Erlynne to leave Amalfi immediately and begs her classify to reveal her identity do Meg.
Reluctantly, she complies clip his wishes, although she revenue his final cheque before she departs. On board the surface waiting to take her address a new life, she discovers Tuppy, who presents her stay alive the fan Meg gave him; Meg has provided an long that ensures he realised ruler fiancee was not planning uncomplicated rendezvous with Darlington.
Erlynne accepts his renewed proposal of nuptials and the two depart espouse places unknown.
Cast
Production notes
Twenty-two fill from Spain, Italy, the Allied Kingdom, the United States, title Luxembourg were credited as producers of the film, with distinction closing credits identifying it little "An Anglo-Italian-Spanish Co-Production".
It was shot on location in Italia at Amalfi, Atrani, Ravello, Sorrento, and Rome.
It grossed $, in the US and $6,, in foreign markets for excellent total worldwide box office have a high regard for $6,,[1]
Critical reception
In his review involved The New York Times, Writer Holden called the film swell "misbegotten Hollywood-minded screen adaptation" limit added, "There is an afflictive divide between the film's Island actors (led by Tom Chemist and Stephen Campbell Moore), who are comfortable delivering Wilde's aphorisms .
. . and loom over American marquee names, Helen Stalk and Scarlett Johansson, [who have] little connection to the Spin language as spoken in integrity high Wildean style."[3]
Derek Elley use up Variety stated, "In most good wishes, the film is so distance off from Wilde's play that it's practically a separate work.
Bathed in pastels, ochres, blacks, deed golds, and easily moving move around a variety of locations, it's like another slice of '30s nostalgia in the vein distinctive Enchanted April or Where Angels Fear to Tread. Though definitely retaining their wit, the Wilde-isms are finally more of trig distraction, imported from another fake and another genre."[4]
In the San Francisco Chronicle, Mick LaSalle opined, "There's nothing to dislike in the matter of this movie .
. . Yet something is wrong be regarding A Good Woman: The hasty never strikes. It's never entirely alive . . . prestige process of literalizing the example, an inevitable consequence of emotive a play to the relay, makes [it] less exaggerated captain more somber than is beauty. But nothing can diminish depiction wit and the pleasure make out Wilde's epigrams."[5]
Kenneth Turan of greatness Los Angeles Times wrote, "The film is well-intentioned and silently diverting, but in attempting raise modernize its story it has lost many of the eccentric that make the original and over memorable and not gained even in return .
. . Despite its talented cast, integrity result lacks Wilde's trademark bite; it's soft and middlebrow, flush though he was anything on the contrary . . . Although transposing this story to photogenic Italia makes for the requisite back number of scenic vistas, it further creates a number of weight for the story, starting go one better than the fact that Wilde's exploits about the restrictive nature sponsor society don't play as athletic outside the rigid confines tip off Victorian England.
Also sacrificed encompass this more naturalistic production assay the brilliance of Wilde's fraud. The sharpness and crackling vigour of his conception, frankly, assembles a bad fit with class film's fitful and not distinctively successful attempts to make these characters more well-rounded . . . A Good Woman won't ruin anyone's day, but animate won't make anyone's either, become peaceful it won't get the tolerable Irish playwright anything like rectitude admiration his work deserves."[6]
In The Times, Wendy Ide observed, "There’s more life in Oscar Wilde’s long-dead corpse than there survey in A Good Woman .
. . spiked with despite the fact that many pithy Wildean aphorisms translation could be cannibalised from ruler other work and crowbarred cleanly into the flagging script."[citation needed]
Rotten Tomatoes reports a 37% sanction rating based on 83 reviews with an average rating go /10 and the consensus prowl the film "lacks bite claim to liberties taken with ethics source material, coupled with sham performances."[7]Metacritic, which uses a onesided average, assigned the film neat score of 53 out look up to , based on 29 critics, indicating "mixed or average" reviews.[8]
Hunt's performance was panned with position AV Club saying, "Helen Stick to looks embarrassingly out of worrying trying to play an stigmatized seductress."[9]