The Importance of Being Earnest

Plot synopsis:
The play is set in "The Present" (i.e. 1895).
=== Act I ===
=== Algernon Moncrieff's flat in Half Moon Street, W ===
The play opens with Algernon Moncrieff, an idle young gentleman, receiving his best friend, John Worthing, whom he knows as Ernest. Ernest has come from the country to propose to Algernon's cousin, Gwendolen Fairfax. Algernon, however, refuses his consent until Ernest explains why his cigarette case bears the inscription, "From little Cecily, with her fondest love to her dear Uncle Jack." 'Ernest' is forced to admit to living a double life. In the country, he assumes a serious attitude for the benefit of his young ward, the heiress Cecily Cardew, and goes by the name of John (or, as a nickname, Jack), while pretending that he must worry about a wastrel younger brother named Ernest in London. In the city, meanwhile, he assumes the identity of the libertine Ernest. Algernon confesses a similar deception: he pretends to have an invalid friend named Bunbury in the country, whom he can "visit" whenever he wishes to avoid an unwelcome social obligation. Jack refuses to tell Algernon the location of his country estate.
Gwendolen and her formidable mother Lady Bracknell now call on Algernon who distracts Lady Bracknell in another room while Jack proposes to Gwendolen. She accepts, but seems to love him very largely for his professed name of Ernest. Jack accordingly resolves to himself to be rechristened "Ernest". Discovering them in this intimate exchange, Lady Bracknell interviews Jack as a prospective suitor. Horrified to learn that he was adopted after being discovered as a baby in a handbag at Victoria Station, she refuses him and forbids further contact with her daughter. Gwendolen, though, manages covertly to promise to him her undying love. As Jack gives her his address in the country, Algernon surreptitiously notes it on the cuff of his sleeve: Jack's revelation of his pretty and wealthy young ward has motivated his friend to meet her.
=== Act II ===
=== The Garden of the Manor House, Woolton ===
Cecily is studying with her governess, Miss Prism. Algernon arrives, pretending to be Ernest Worthing, and soon charms Cecily. Long fascinated by Uncle Jack's hitherto absent black sheep brother, she is predisposed to fall for Algernon in his role of Ernest (a name she, like Gwendolen, is apparently particularly fond of). Therefore, Algernon, too, plans for the rector, Dr. Chasuble, to rechristen him "Ernest".
Jack, meanwhile, has decided to abandon his double life. He arrives in full mourning and announces his brother's death in Paris of a severe chill, a story undermined by Algernon's presence in the guise of Ernest.
Gwendolen now enters, having run away from home. During the temporary absence of the two men, she meets Cecily, each woman indignantly declaring that she is the one engaged to "Ernest". When Jack and Algernon reappear, their deceptions are exposed.
=== Act III ===
=== Morning-Room at the Manor House, Woolton ===
Arriving in pursuit of her daughter, Lady Bracknell is astonished to be told that Algernon and Cecily are engaged. The revelation of Cecily's trust fund soon dispels Lady Bracknell's initial doubts over the young lady's suitability, but any engagement is forbidden by her guardian Jack: he will consent only if Lady Bracknell agrees to his own union with Gwendolen—something she declines to do.
The impasse is broken by the return of Miss Prism, whom Lady Bracknell recognises as the person who, twenty-eight years earlier, as a family nursemaid, had taken a baby boy for a walk in a perambulator (baby carriage) and never returned. Challenged, Miss Prism explains that she had absentmindedly put the manuscript of a novel she was writing in the perambulator, and the baby in a handbag, which she had left at Victoria Station. Jack produces the very same handbag, showing that he is the lost baby, the elder son of Lady Bracknell's late sister, and thus indeed Algernon's elder brother. Having acquired such respectable relations, he is acceptable as a suitor for Gwendolen after all.
Gwendolen, though, still insists that she can only love a man named Ernest. What is her fiancé's real first name? Lady Bracknell informs Jack that, as the first-born, he would have been named after his father, General Moncrieff. Jack examines the army lists and discovers that his father's name—and hence his own real name—was in fact Ernest. Pretence was reality all along. As the happy couples embrace—Jack and Gwendolen, Algernon and Cecily, and even Dr. Chasuble and Miss Prism—Lady Bracknell complains to her newfound relative: "My nephew, you seem to be displaying signs of triviality." "On the contrary, Aunt Augusta", he replies, "I've now realised for the first time in my life the vital importance of being Earnest."

Tags: romantic

Review:
Oscar Wilde's language is exquisitely spoken by the English cast that made, what should be considered, the definitive version of the play.
The most important thing is the poetry all these actors were able to bring to the film, which reflects a bygone era; it is music to one's ears.Anthony Asquith directed and adapted the play in ways that it never feels it's filmed theater.
Even if one knows Ms. Evans is giving an exaggerated portrait of a society lady, she is delightful to watch as one stays riveted to her movements, facial expressions in making this woman come alive for us.Michael Redgrave and Michael Denison, two dashing young actors, at the time, are a joy to see.
Oscar Wilde's most famous play is given an extremely stage-bound reading in this colour adaptation by Anthony Asquith.
It evens starts and ends with the raising and lowering of a theatre curtain!That aside this is probably the essential Wilde movie  not only do we get the main four role perfectly cast (Michael Redgrave as Jack, Michael Denison as Algy, Dorothy Tutin as Cecily, Joan Greenwood as Gwendolen), we also have two of the most delightfully eccentric portrayals in the history of cinema with Margaret Rutherford as Miss Prism, and, of course, Edith Evans as Lady Bracknell.
It is on this level that Oscar Wilde follows the great theatrical tradition of comedy from the time of the Greeks through Shakespeare and French farce into the twentieth century to the musical comedy of the London and New York stage.
The direction by Anthony Asquith is unnecessarily directive in the sense that he moved some scenes around, but is essentially without harm.The best way to appreciate this play, and to pick up all the nuances, and there are nuances aplenty--and jokes upon jokes, sharp social and political observations, and witticisms within prevarications, and lies that are truths and vice-versa--is to view the video, just appreciating it on one level, then read the script, and then view the video again.
I haven't yet seen the 2002 theatrical film version of Wilde's classic, perhaps because I can't see how anyone, not even Judi Dench, could improve upon Dame Edith Evans's immortal portrayal of that deathless battle-axe, Lady Bracknell.
And then there's Margaret Rutherford and Miles Malleson wittily playing characters that fitted them to a "T."  Not to mention the unctuously delicious Joan Greenwood, whose line readings caress one's ears like the aural equivalent of a framboise liqueur.
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.
Dame Edith Evans IS Lady Bracknell; even Judy Dench is only playing the rôle 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.
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.
I watched this film adaptation (and Oliver Parker's 2002 version as well) of Oscar Wilde's classic play The Importance of Being Earnest to complement my study of it for a 19th century English drama course.
I must also say as well, however that since Asquith's version is essentially a staged play, there is little in the form of visual dynamism from the camera; in other words the film rests almost entirely on the strength of the performances.
However the arrival of Gwendolen puts the cat among the pigeons in a most frightful way that can only be resolved with delightful charm and wit (and some good fortune).On the very day of Wilde's 150th birthday I decided that it seemed a perfectly reasonable time to rewatch one of his most famous works and sat to watch the most famous film version of Earnest.
Of course some people will not like the film for this reason as they prefer their humour to be more of the American Pie variety (nothing wrong with that) but for me I love the wit and fun it delivers.Of course the cast is a major part of the delivery and the majority of them really do well with their roles.
Greenwood and Tutin are OK and have plenty of good lines between them; they are little stilted at times but in some regards this is part of who they are  very proper and slightly absurd characters.Overall this is a wonderfully light little film but one that would sadly struggle to make an impact at the box office if it were to be re-released today.
Delightful film adaptation of Oscar Wilde's superb play about Victorian-era English manners and mix-ups.
She possess the role of "Lady Augusta Bracknell" for all eternity, and would be famous for merely uttering the two words "A handbag?" but, every word and phoneme slips sardonically from the mind of Oscar Wilde to dame Edith's tongue.
Ms. Evans should have received some "Best Supporting Actress" notice, but this was released in 1952, not 1948, and American voters were favoring homegrown material.Pity.******** The Importance of Being Earnest (6/2/52) Anthony Asquith ~ Michael Redgrave, Michael Denison, Edith Evans, Joan Greenwood.
Anthony Asquith makes no attempt to 'open out' Oscar Wilde's great comedy of manners, (the best ever written in the English language), so essentially what we are seeing is about the best performance you could possibly have of a very great play due entirely to Asquith's understated direction and the consummate playing of his cast.
Edith Evan's Lady Bracknell is already legendary, (a radical reinterpretation of the part is what is required if anyone else is to make an impression in the role), but so too are Michael Redgrave's Jack Worthing and Michael Denison's Algernon Moncrieff.
Nor can one fault Joan Greenwood as Gwendolen, (more tiger than kitten), or Dorothy Tutin as Cecily, (fresh faced innocence betraying a steely core), while Margaret Rutherford as Miss Prism wobbles that great chin of hers like a marshmallow on a low heat, (it may be her best and most undervalued performance).
I was not disappointed with it at all, i loved every minute of it.Directed by the great Anthony Asquith, this fantastic version stars Sir Michael Redgrave as Jack, Michael Dennison as Algernon, Dame Edith Evans as Lady Bracknell, Dame Margerate Rutherford as Miss Prism, Milles Malleson as Dr Chasuble, Joan Greenwood as Gwendolen and the lovely Dorothy Tutin as Cecily, this version is perfect.Micheal Redgrave is the best Jack and Joan Greenwood captures one's heart with her plummy-voiced Gwendolen.
An exceptional cast was assembled from the cream of the British theater of the time and under Anthony Asquith's direction, they one and all deliver superb and definitive performances of Wilde's wittiest play.
Margaret Rutherford is, as always, a delight and of course there's Dame Edith Evans.Evans so totally embodies Lady Bracknell that even the likes of Judi Dench and Joan Plowwright, (particularly weak), were distinctly lacking in tackling the role.
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).
And director Anthony Asquith has not made the fatal error committed in many recent film versions of Wilde's plays, of 'inventing' extra material to take away their staginess.
This movie is a film of what has long been considered the definitive version of the Oscar Wilde play.
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.
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.
Michael Redgrave,Michael Denison,and the great Edith Evans in Wilde's greatest play...PERFECTION!.
The cast (especially Joan Greenwood, Dorothy Tutin and Edith Evans) are absolutely note perfect and treat the whole thing with the seriousness it deserves.
(I know the periods aren't really the same -- I've read "The Proud Tower", too -- but for purposes of this comment...) When Lady Bracknell makes her remark about losing both parents, if you aren't in stitches, you really just have to give up on pre-WWII English humor.The production is a bit stagey, but the performances are all at least adequate, and the important performances are wonderful.
Michael Denison is totally affected and delightfully artificial as Algernon Moncrieff, this man could only be interested in high fashion and decorators and frankly I think part of the comedy is Oscar Wilde's trying to convince us that Victorian society was so dedicated to denial and maintaining social appearances as to believe this man would want to marry a woman when we know he would be having a nervous breakdown over her gown, the length of her veil, the right texture of paper on the invitation and the endless thank you notes.
They are perfect for each other, and they could have possibly started together the first line of haut couture and interior decor in England, instead we are led to believe that he is interested in romancing and marrying that goose of Gwendolen Fairfax as played by Joan Greenwood whose only merit is consistently dressing like she is on her way to a coronation.
In the 2002 version of Oscar Wilde's play, Judi Dench was a great Lady Bracknell.
THE IMPORTANCE OF BEING EARNEST has had several reincarnations on film but this British version from the '50s, directed by Anthony Asquith and starring MICHAEL REDGRAVE (as one of the men assuming the name Earnest), is one of the most satisfying because of a splendid cast.The Victorian comedy of manners includes impeccable performances from EDITH EVANS as Lady Bracknell and MARGARET RUTHERFORD as Miss Prism with a delightful leading lady role for JOAN GREENWOOD, as one of the young ladies confused by identity crisis.
MICHAEL DENISON is the snobbish other man using the name "Earnest".So many typical Oscar Wilde witticisms come through in the dialog, so fast and furious that it's impossible to remember all of the very quotable comments made by the participants in this wonderfully played farce.
Last night, I read Oscar Wilde's classic comedy 'The Importance of Being Earnest' for the first time after having wished to read it for quite some time, and it really was a delightful experience.
'The Importance of Being Earnest' is one of Oscar Wilde's most best known works for very good reason, and among the wittiest, thought-provoking and charming plays ever written.Have yet to see a better filmed version of 'The Importance of Being Earnest' than this 1952 film.
Even though there are alterations and omissions here and there, structurally Wilde's story and writing is very much recognisable and so is the spirit, instead of resorting to extraneous padding, additions or character distortions that don't belong.While not exactly expansive and decidedly unfussy, in no way is this a criticism of 'The Importance of Being Earnest', the film is still beautifully shot in sumptuous Technicolor which does justice to the extravagantly opulent costumes and settings.
Upstaging (possibly) them all is Dame Edith Evans' battleaxe and hilarious Lady Bracknell, her quavering delivery of "a handbag" being a highlight of British cinema.In summary, a wonderful film that sees Oscar Wilde in his glory.
The acting performances are excellent throughout, and Edith Evans' version of Lady Bracknell can only be described as the definitive one.
Michael Redgrave, (Jack Worthing) is an English gentleman who lives in the city and calls himself Earnest and when he goes to his country estate he calls himself Jack where he has a ward who is named Cecily Cardew, (Dorothy Tutin)a very pretty young girl eighteen years of age.
Rather like 'Hamlet' you keep saying to yourself - 'so that's where that phrase comes from'.This is a class British cast operating on full throttle - none more so that Dame Edith, who was better known as a stage actress anyway and by and large the whole thing holds up well despite being nearly 50 years old.All the female characters are strong but barking mad (Cecily, having met Algy 10 minutes before announces that she's been engaged to him for three months already), the men sane but sly and slightly wimpy.As has been said, it is all slightly zany and Dame Edith could easily have been John Cleese in drag.As in 'An Ideal Husband'Wilde once again took character names from around Reading and the Thames Valley and I have heard that the whole title is a pun on the word earnest, which was 1890s slang for gay (some of the lines become an absolute hoot given this reading).The cast is all dead now save for Dorothy Tutin (Cecily)though Michael Denision (Algy) only died 18 months ago at 84.
Long regarded as the definitive version of Oscar Wilde's classic play, Asquith's adaptation still suffers from the faults of the original despite being heavily edited (running at what ought to be a brisk 90 minutes)."Earnest" is a social satire, a comedy of nonsensical manners and civilities, the like of which Wilde continually penned, and its plot - whilst relying heavily on co-incidence - is satisfyingly circular and consistent.
You feel pinned to the chair by the waves of dry wit."The Importance of Being Earnest" therefore has a delightful plot, and equally delightful characters, but remains just as slow as Wilde's other plays, especially when directed in such a languid fashion as this version.
I must admit to not really enjoying Edith Evans' portrayal of Lady Bracknell, though that may be more due to the character as written; though Evans is very much the gorgon of which Jack Worthing speaks, the witticisms Wilde scribes for her are far better when delivered as casual rapid-fire lines, as opposed to the over-emphasised and long delivery that an actress feels compelled to give when playing Bracknell.
"The Importance of Being Earnest" is basically an adaptation of the Oscar Wilde's play for the screen, in other words, a stagy film.
"The Importance of Being Earnest," one of my favorite plays, receives the heavy hand of Anthony Asquith in this film adaptation which stars Michael Redgrave, Michael Denison, Edith Evans, Joan Greenwood, Dorothy Tutin and Margaret Rutherford.
Based on the Oscar Wilde play, it's the story of a man, Jack Cardew (Redgrave), who leads a double life of sorts - he leaves his country house for the city to take care of his sick cousin Ernest, who doesn't exist.
I was extremely disappointed, as this play even reads better than it is performed here.The only part that should really get a big laugh in this film is Jack/ Ernest's statement that he was found in a handbag as a baby 28 years ago.
This "Importance of Being Earnest" is a funny movie derived from Oscar Wilde's best play.
There are no clunkers in the cast and hardly a wrong step is made, even when Wilde is altered.Dame Edith Evans did not make her stage debut until fifteen years after "Earnest" first premiered, so Oscar Wilde could not have had her in mind when he created the role of Lady Bracknell; but she is so perfect it becomes difficult to imagine anyone else in the part, ever.
For me, this works even better than the stage version and gives Jack a good reason to throw one of Algernon's lines back in his face.So, you have a good play shorn of overmuch dialogue and a solid cast acting their hearts out.
This is, hands down, the definitive film version of Wilde's finest play rendering all others superfluous.
From all accounts Edith Evans' Lady Bracknell was one or two notches below her stage version in the 'classic' John Gielgud version of the play some years earlier and if that is so then the stage performance may well have been out of this world.
He also takes a liking to Tutin.On this plot which is no sillier than some American film comedies hang some of Oscar Wilde's celebrated lines.
One of the most wickedly delightful plays ever written is brought to the big screen in this fine adaptation (1952).Two trained stage actors (Michaels Redgrave and Denison) give superb performances as John Worthing and Algernon Moncrieff, modulating their style for film (watch, for instance, the flicker Redgrave gives Worthing's mustache as Gwendolen hits around his guilty secret).The rest of the cast reads like a menu at a top restaurant.
If you can't sit through ninety minutes of truly wonderful actors mouthing some of the cleverest lines ever written for the stage, this movie's not for you.Perhaps not one of the great movies, but a finely-cast filmed version of a great play.
This character was well known to be one of the most famous portraits in the gallery of Edith Evans, so it is great to see it on the screen.Michael Redgrave and Michael Denison play the two secretive young men with just the right amount of flourish.