The Picture of Dorian Gray

The Picture of Dorian Gray, Ivan Albright, 1945
The Art Institute of Chicago

This past week I went to one of my favorite places, the Art Institute in Chicago, and saw this painting by Ivan Albright, The Picture of Dorian Gray (1945). It was painted for the movie based on Oscar Wilde's only novel with the same title, directed by Albert Lewin and starring George Sanders, Hurd Hatfield, Donna Reed, and Angela Lansbury. On its own, this painting portrays an unreal and disturbing monster of a person, his clothes are slashed, stained, and decayed. The colors of the painting are strangely muted, not as bright as one might think blood and gore should be, but they are also more organic looking as a result. And this is a painting that developed organically.

In the movie, filmed in black and white, there are a few moments of color. The first comes when we get to see the painting of Dorian that his friend, Basil Hallward, had just completed. It shows a young gentleman who is self-assured, talented, wealthy, upper-class, and flawless.

Portrait of Dorian Gray, painted by Henrique Medina
 for the movie The Picture of Dorian Gray (1945)

In the story, Dorian Gray meets and befriends another friend of Basil's, Lord Henry Wotton, whose world view is based on hedonism and the fulfillment of the senses. All experiences are worth having, good and bad, without considering  the consequences to others. I am not quite sure how this works into his other opinion that seeking Youth and Beauty are of the highest value in life, since I do not associate bad or evil experiences as a way  to finding Youth or Beauty. Dorian likes his portrait and wishes that he could always be young and beautiful while his portrait would change. Lucky for him (or unfortunate for him, as the case may be), there just happens to be a little statue of Bastet, the Egyptian cat-goddess nearby. She appears in the portrait to Dorian's right. Perhaps we are meant to think that Bastet is sympathetic to the search for Youth and Beauty and wishes to give Dorian what he wants, or perhaps she might feel that he is foolish to wish for something like this and wants to teach him a lesson.

Dorian's infatuation with Sibyl Vane is a good example of his incorporating Lord Henry's philosophy into his own life. His infatuation with Sibyl and then his rejection of her at the advice of Lord Henry, in the guise of a test, shows that Dorian doesn't comprehend, although he might still care at this point, what he represented to Sibyl. She is desperate for a way to leave her life of singing in the little club, and her mother seems to constantly tell her that she deserves better. When "better" finds her and Dorian offers her a way out, she snatches it eagerly despite the inequality of their situations. But Sibyl is not willing to go against her moral standards to be with Basil and certainly does not expect to be rejected so utterly.

The next shocking flash of color comes when we again see the portrait. Absorbing all of the vices of the model, the painting has become gross, decayed, and terrifying. We haven't seen Dorian commit many crimes during the story and movie; we only know that 18 years have passed since Sibyl's death. We can only imagine the atrocities he has committed over the years. Of course, the horror of his murdering his friend Basil on top of the seduction of young innocent Gladys Hallward, who naively things that just because Dorian is so good looking, the things people say about him can't be true, are only a small sample of Dorian's vices. But the ending of the story proves that there can be redemption after all but at what price? This painting has come to represent his soul, what he has become deep inside and hides from the world. Can anyone this ugly and horrifying inside be capable of caring for anyone but himself? Will Gladys end up like poor Sibyl?

I thought Hurd Hatfield was a good choice for Dorian. I was particularly struck by how mask-like his face is throughout the movie, so smooth and wrinkle-free. But to have a face like this, it would imply that this person also doesn't show any emotion. Smiles cause wrinkles, too, and Hurd as Dorian doesn't ever seem to smile or laugh. Does he enjoy his life? Perhaps he is not capable of it.

If you haven't seen this movie, I recommend it but not as a substitute for the novel by Oscar Wilde. That is a classic of literary horror and shouldn't be missed.

The Albright painting was painted with the Medina portrait as the base. I wish the Art Institute had both of them side by side to show the contrast. Without the other, Albright's painting is a ghoulish painting that exemplifies a life spent in evil pursuits, or maybe it is just another zombie picture. Nasty but interesting. We don't understand the message of the book without the "original" to compare to it.