The Importance of Being Earnest (1952) 1080p YIFY Movie

The Importance of Being Earnest (1952) 1080p

The Importance of Being Earnest is a movie starring Michael Redgrave, Richard Wattis, and Michael Denison. When Algernon discovers that his friend, Ernest, has created a fictional brother for whenever he needs a reason to escape...

IMDB: 7.64 Likes

  • Genre: Comedy | Drama
  • Quality: 1080p
  • Size: 1.82G
  • Resolution: / fps
  • Language: English
  • Run Time: 95
  • IMDB Rating: 7.6/10 
  • MPR: Normal
  • Peers/Seeds: 3 / 7

The Synopsis for The Importance of Being Earnest (1952) 1080p

Jack Worthing and Algernon Moncrieff are two men that are both pretending to be someone they are not.


The Director and Players for The Importance of Being Earnest (1952) 1080p

[Director]Anthony Asquith
[Role:]Michael Redgrave
[Role:]Richard Wattis
[Role:]Walter Hudd
[Role:]Michael Denison


The Reviews for The Importance of Being Earnest (1952) 1080p


The best film of a great English satireReviewed bySimonJackVote: 10/10

As with all categories of movies, and their many subgroups, satire isn't for everyone. And, judging from a few reviews on IMDb, if one doesn't get the satire, the humor may be lost as well. But many of us do relish satire – especially the wit and farcical spoofing in great works such as "The Importance of Being Earnest." So, the humor isn't lost on us in the satire, but is brought home boisterously and subtly, straightforward and by innuendo, in words and in looks.

Make no bones about it – this is a satire on high society of England in the late 19th century. The language, dress, customs and mores of the time are all part of the story. So, they are dated, as they should be. Any retelling of this work that eschews the time-specific of the story, will naturally lose the satire. For, placed in a modern setting, or otherwise changed, the satire of Wilde's play loses its bite and sarcasm; and the script then becomes just a running dialog of jokes or puns.

This 1952 rendition of Oscar Wilde's play is the best of any movie made for presenting this satire as one would hear and see it live on stage. I think the film even gives us an advantage over the stage. We can see actor's expressions quite vividly. Director Anthony Asquith uses his excellent camera work in many instances to show us close-ups of a range of expressions in the reactions between actors. These instances enhance the wit and humor of the barbs or bon mots just delivered.

All aspects of this 1952 film are superior. The screenplay, cinematography, costumes, makeup, sets, and directing and editing are superb. But most of all, this film has an outstanding cast of actors – from all the leads to the smallest supporting roles. Each person gives something special to his or her character.

The key focus of Wilde's satire here is in the person of Lady Bracknell. Edith Evans excels in the role of the domineering, nonsensical society matriarch. She gives hubris to the contemptible icon of high English society of the late 19th century. Her exaggerated portrayal fits well the obnoxious, autocrat that Wilde puts at the center of his mockery of upper English society of the time.

The Michaels – Redgrave and Dennison, excel in their roles as Jack Worthing and Algernon Moncrieff. They play perfectly off each other throughout the film. It's with Redgrave especially, that the humor of some of the witty lines is made all the more laughable by the expressions we see on his face. Dennison adds a very pleasing bounciness that gives life to the otherwise idle lifestyle of Algy. But I think the ladies again steal center stage in this wonderful spoof. Joan Greenwood plays the best possible snobbish, pretentious, hilarious Gwendolen that I can imagine has ever been done live or on film. She is riotously funny as the snooty, arrogant and pompous object of Jack's romantic affections. And Dorothy Tutin gives an excellent portrayal of the demure, innocent but silly Cecily. She just isn't quite the snob, nor is she quite as pompous, for her youth and lack of experience that Gwendolen has had.

The wonderful Margaret Rutherford is Miss Prism. She brings smiles to our faces with her humorous lines and expressions. And Miles Malleson is a nice match for her as Canon Chasuble. Was Wilde giving us a touch of his wit also in the choice of some of the names of his characters? A chasuble is the outer vestment worn by clergy in the Anglican and Catholic churches. And a prism is a type of lens through which objects take on many different shapes and colors. The actors who play the butlers and man-servants are very funny in their roles as well.

One other thing that bears comment is Redgrave's age. A couple of reviewers said he was too old for the part – although they liked him in it. Modern movie buffs would do well to note that people – men, especially -- 100 and more years ago generally looked much older than they do today. Since the mid-20th century, the physical appearances of Western men have gotten younger. Look at old high school photos to see that most teenagers a century or more ago looked more mature than they do today. Most 65-year-old men today don't show as much age as did 50-year- old men in the past. So, the 44-year old Redgrave in 1952 could very likely pass for a man 28 or 35 in the previous century.

"The Importance of Being Earnest" is one of the finest satires on society ever written and put on film. And this 1952 movie is the best ever made of the great Oscar Wilde farce. It's a wonderful treat from start to finish. But I warn anyone who may not enjoy satire – you may find yourself laughing at lines you don't think should be funny.

Rather Stagy but Thoroughly Entertaining Version of Wilde's PlayReviewed byl_rawjalaurenceVote: 8/10

Anthony Asquith's version for Rank announces its intentions right at the beginning, with a shot of an Edwardian-style theater and the curtain rising on a proscenium stage. The camera zooms in on the stage, and the action begins. From then on Asquith is determined to remind us of the material's stage-origins: most of the scenes are shot either in shot/reverse shot or two-shot sequences, focusing on the actors' expressions. His cast do not let him down: Michael Redgrave has a supreme range of facial expressions as he tries to deal with ever- changing (and often farcical) situations, contrasting starkly with Michael Denison's more laid-back Algernon Moncrieff, who views the entire action as a huge joke. The two younger women Gwendolyn (Joan Greenwood) and Cicely (Dorothy Tutin) are just wonderful; their cat- fight over Jack (Redgrave) contains several long takes, in which Asquith focuses as much on their reactions as their line-delivery; they try to sustain a veneer of politeness, when it is clear that they thoroughly dislike one another. Dame Edith Evans and Margaret Rutherford repeat the roles they already played in the classic stage productions in London during the 1930s and 1940s: Evans is thoroughly theatrical as Lady Bracknell, her line-delivery full of pregnant pauses and deliberate emphases "A HandBAAAAAg????" Rutherford is much less emphatic, her bird-like gestures and breathy delivery suggesting someone who has spent a lifetime repressing her feelings, but has at last discovered the capacity to love, as she has a (very polite) liaison with Dr. Chasuble (Miles Malleson). Mention must also be made of Yvonne Caffin's costume- designs; she uses a garish color palette (suggesting a lack of sophistication among the characters) and clothes the female characters in wonderfully overstated Victorian dresses. The size of Tutin's sleeves, contrasted with the shocking pink of Greenwood's parasol, is a wonder to behold. The sets (by Carmen Dillon) are equally vulgar, each nook and cranny being stuffed with things, showing the acquisitive nature of all the characters. While this version of THE IMPORTANCE might not work too well cinematically - it is best appreciated by those with a working knowledge of Wilde's text - it preserves for ever some performances which can only be described as definitive.

He who laughs at his own foibles, laughs longestReviewed bykhatcher-2Vote: 8/10

Irish-born Oscar Wilde, who managed to die in Paris at only 46 years of age, formed part of that school of renegé novelists and poets from the Emerald Isle which included James Joyce. Indeed, these and other Irish writers were banned from publication in England and I seem to remember that James Joyce's earlier works were actually published in French before being allowed into print in English in the U.K.

Tut, tut, such piquant and avant-garde ideas would be too much for the genteel Victorian aristocracy living safely tucked up in hypocracy-ladened gallantry. Fortunately, for the colony-enriched classes, the `plebianism' of Charles Dickens was too long ago for their short memories, or never made it onto their bookshelves. Notwithstanding, from such gentlemanly proceedings such wit is born and which was soon to become one of the outstanding achievements of finest British humour: the ability to laugh at one's own foibles.

To this effect we must be, in great part, indebted to Mr. Wilde in general, and to `The Importance of Being Earnest' in particular. No other play of this genre has been so enacted and so many times converted into film and in so many languages as this classic of upper-crust comportment. Among the numerous versions available on film, this one by the irreplaceable Dame Edith Evans goes down as being the model from which any other readings must inevitably be taken. Dame Edith Evans IS Lady Bracknell; even Judy Dench is only playing the r?le in comparison.

The rising and setting of the curtain at the beginning and end of the film makes it totally clear that the play is to be seen on film but as if we ? the spectators ? were in the theatre. And so it should be: any free hand at getting away from such concept might well be unstomacheable, as well as irritating to admirers of the classics or simply people like myself who try not to be too pedantic. There are plenty of modern examples of William Shakespeare's plays on film which faithfully adhere to the original concepts and which do not lose anything in the telling. In this respect we can say that this version of the play is on target: what might seem exaggerated portrayals of the characters ? especially Dame Edith Evan's reading of Lady Bracknell ? indeed to my mind fulfills precisely what Oscar Wilde intended. Nobody else can ejaculate `F?.o?.u?.n?.d?' in five syllables as Dame Edith Evans does.

Fifty years on, this is still the version from which any other attempts will be judged. I hope I am not being earnest in excess??.

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