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The Departed
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The Departed
Theatrical release poster
Directed by
Martin Scorsese
Produced by
Brad Pitt
Brad Grey
Graham King
Screenplay by
William Monahan
Based on
Infernal Affairs
by Alan Mak
Felix Chong
Starring
Leonardo DiCaprio
Matt Damon
Jack Nicholson
Mark Wahlberg
Martin Sheen
Ray Winstone
Vera Farmiga
Alec Baldwin
Music by
Howard Shore
Cinematography
Michael Ballhaus
Edited by
Thelma Schoonmaker
Production
companies
Warner Bros.
Plan B Entertainment
Initial Entertainment Group
Vertigo Entertainment
Media Asia Films
Distributed by
Warner Bros.
Release date
September 26, 2006 (2006-09-26) (Ziegfeld Theatre)
October 6, 2006 (2006-10-06) (United States)
Running time
150 minutes[1]
Country
United States
Language
English
Budget
$90 million[1]
Box office
$289.8 million[1]
The Departed is a 2006 American crime drama film directed by Martin Scorsese and written by William Monahan. It is a remake of the 2002 Hong Kong film Infernal Affairs.[2] The film stars Leonardo DiCaprio, Matt Damon, Jack Nicholson, and Mark Wahlberg, with Martin Sheen, Ray Winstone, Vera Farmiga, Anthony Anderson and Alec Baldwin in supporting roles.
The film takes place in Boston. Irish Mob boss Francis "Frank" Costello (Jack Nicholson) plants Colin Sullivan (Matt Damon) as a mole within the Massachusetts State Police; the two characters are loosely based on famous gangster Whitey Bulger and corrupt FBI agent John Connolly, who grew up with Bulger.[3][4] Simultaneously, the police assign undercover state trooper William "Billy" Costigan (Leonardo DiCaprio) to infiltrate Costello's crew. When both sides realize the situation, Sullivan and Costigan both attempt to discover the other's identity before their covers are blown.
The film was a critical and commercial success and won several awards, including four Oscars at the 79th Academy Awards: Best Picture, Best Director, Best Adapted Screenplay and Best Film Editing.[5] Wahlberg was also nominated for Best Supporting Actor.
Contents
[hide]
1 Plot
2 Cast
3 Production
4 Themes
5 Homages
6 Reception
6.1 Box office
6.2 Critical response
6.3 Top ten lists
6.4 Accolades
7 Home media
8 Music
8.1 Soundtrack
8.2 Score
9 See also
10 Notes
11 Further reading
12 External links
Plot[edit]
As a child, Colin Sullivan had been introduced to organized crime by Irish-American mobster Frank Costello in the Irish neighborhood of South Boston. Over the years, Costello grooms him to become a mole inside the Massachusetts State Police, until Sullivan is accepted into the Special Investigations Unit, which focuses on organized crime.
Before graduating from the police academy, Billy Costigan is recruited by Captain Queenan and Staff Sergeant Dignam to go undercover, as his family ties to organized crime make him a perfect infiltrator. He drops out of the academy and does time in prison on a fake assault charge to increase his credibility.
Each man infiltrates his respective organization, and Sullivan begins a romance with police psychiatrist Madolyn Madden. Costigan is seeing her under the terms of his probation, and they begin a relationship, too. After Costello escapes a sting operation, each mole becomes aware of the other's existence. Sullivan is told to find the "rat" and asks Costello for information to identify the informer.
Costigan follows Costello into a porn theater, where Costello gives Sullivan an envelope containing personal information on his crew members. Costigan chases Sullivan through Chinatown. When it is over, neither man knows the other's identity. Sullivan has Queenan tailed to a meeting with Costigan on the roof of a building. Queenan orders Costigan to flee while he confronts Costello's men alone. The men then throw Queenan off the building to his death. When they exit, Costigan pretends he has come to join them. Television news reveals that crew member Delahunt has been an undercover cop, working for the Boston Police Department. Dignam resigns rather than work with Sullivan, who he suspects is the mole after he is asked why he had Queenan followed.
Using Queenan's phone, Sullivan reaches Costigan, who refuses to abort his mission. Sullivan learns from Queenan's diary of Costello's role as an informant for the FBI, causing him to worry about his own identity being revealed. With Costigan's help, Costello is traced to a cocaine drop-off, where a gunfight erupts between Costello's crew and the police, which results in most of the crew being killed. Costello, confronted by Sullivan, admits he is an FBI informant. Costello tries to shoot Sullivan, but Sullivan shoots him multiple times. With Costello dead, Sullivan is applauded the next day by everyone on the force. In good faith, Costigan comes to Sullivan for restoration of his true identity and to be paid for his work, but notices the envelope from Costello on Sullivan's desk and flees, finally realizing Sullivan is the enemy. Fearing retaliation, Sullivan erases Costigan's records from the police computer system.
Sullivan is unaware that Madolyn had an affair with Costigan when she tells Sullivan that she is pregnant. Later, Sullivan finds her listening to a CD from Costigan containing incriminating recorded conversations between Costello and Sullivan. Sullivan unsuccessfully attempts to assuage her suspicions. He then contacts Costigan, who reveals that Costello recorded every one of their conversations, that Costello's attorney left Costigan in possession of the recordings, and that Costigan intends to implicate Sullivan. The two agree to meet at the building where Queenan died.
On the roof, Costigan catches Sullivan off-guard and handcuffs him. As Costigan had secretly arranged, Trooper Brown appears on the roof as well. Shocked, Brown draws his gun on Costigan, who attempts to justify his actions by exposing Sullivan as Costello's mole. Costigan asks Brown why Dignam did not accompany him as Costigan had requested, but Brown does not answer. Costigan leads Sullivan, his hostage, to the elevator. When it reaches the ground floor, Trooper Barrigan shoots Costigan in the head, then shoots Brown, and afterward reveals to Sullivan that Costello had more than one mole in the police. Sullivan then shoots and kills Barrigan. At state police headquarters, Sullivan identifies Barrigan as the mole and has Costigan posthumously given the Medal of Merit.
At Costigan's funeral, Sullivan notices that Madolyn is tearful. As they leave the gravesite, Sullivan attempts to talk to her, but she ignores him. When Sullivan returns to his apartment, he is ambushed by Dignam, who shoots and kills him as he enters.
Cast[edit]
Leonardo DiCaprio as William "Billy" Costigan, Jr.
Matt Damon as Staff Sgt. Colin Sullivan
Conor Donovan as young Colin Sullivan
Jack Nicholson as Francis "Frank" Costello
Mark Wahlberg as Staff Sgt. Sean Dignam
Martin Sheen as Capt. Oliver Charles Queenan
Ray Winstone as Arnold "Frenchy" French
Vera Farmiga as Dr. Madolyn Madden
Anthony Anderson as Trooper Brown
Alec Baldwin as Capt. George Ellerby
Kevin Corrigan as Sean Costigan
James Badge Dale as Trooper Barrigan
David O'Hara as "Fitzy" Fitzgibbons
Mark Rolston as Officer Timothy Delahunt
Robert Wahlberg as FBI Special Agent Frank Lazio
Kristen Dalton as Gwen Costello
Production[edit]
In January 2003, Warner Bros., producer Brad Grey, and actor/producer Brad Pitt bought the rights to remake the Hong Kong film Infernal Affairs (2002) from Media Asia for $1.75 million.[6][7][8] William Monahan was secured as screenwriter, and later Martin Scorsese, who admired Monahan's Boston-set, Irish-Catholic gangster script, came on board as director.[8][9][10]
In March 2004, United Press International announced that Scorsese would be remaking Infernal Affairs and setting it in Boston, and Leonardo DiCaprio and Brad Pitt were slated to star.[11] Pitt, tentatively scheduled to play Sullivan, later declined in favor of using a younger actor, and continued to produce the film instead.[10] Scorsese's associate Kenneth Lonergan suggested Matt Damon, who grew up in Boston, for the part of Sullivan, and Scorsese asked Jack Nicholson to play Costello.[4]
Nicholson, however, wanted the film to have "something a little more" than the usual gangster film, and screenwriter Monahan came up with the idea of basing the Costello character on the famous Irish-American gangster Whitey Bulger from Boston. This gave the screenplay an element of realism – and also an element of dangerous uncertainty, because of the wide-ranging carte blanche the FBI gave Bulger in exchange for revealing information about fellow gangsters.[4] A technical consultant on the film was Tom Duffy, who had served three decades on the Boston Police Department, particularly as an undercover detective investigating the Irish mob.[12][13]
The film got the official greenlight from Warners in early 2005, and began shooting in the spring of 2005.[8] Although some of the film was shot on location in Boston, for budgetary and logistical reasons many scenes, interiors in particular, were shot in locations and sets in New York City, which had tax incentives for filmmakers that Boston at the time did not.[14][15][16]
Themes[edit]
Film critic Stanley Kauffmann describes a major theme of The Departed as one of the oldest in drama – the concept of identity – and how it "affects one's actions, emotions, self-assurance and even dreams."[17]
The father-son relationship is a motif throughout the film. Costello acts as a father figure to both Sullivan and Costigan, while Queenan acts as Costello's foil in the role of father figure, presenting both sides of the Irish-American father archetype.[18] Sullivan refers to Costello as "Dad" whenever he calls to inform him of police activities.
In the final scene, a rat is seen on Sullivan's window ledge. Scorsese acknowledges that while it is not meant to be taken literally, it somewhat symbolizes the "quest for the rat" in the film and the strong sense of distrust among the characters, much like post-9/11 America. The window view behind the rat is a nod to gangster films like Scarface (1932), White Heat (1949), and Little Caesar (1931).[19]
Homages[edit]
Throughout the film, Scorsese uses an "X" motif to foreshadow death in a manner similar to Howard Hawks' classic film Scarface (1932). Examples include (but are not limited to) shots of cross-beam supports in an airport walkway when Costigan is phoning Sgt. Dignam, the taped windows of the building Queenan enters before being thrown to his death, behind Costigan's head in the elevator before he's shot, and the tiled hallway floor when Sullivan returns to his apartment at the film's end.[20]
Reception[edit]
Box office[edit]
The Departed grossed $132.4 million in the United States and Canada and $157.5 million in other territories for a total gross of $289.8 million, against a production budget of $90 million.[1]
The film grossed $26.9 million in its opening weekend, becoming the third Scorsese film to debut at number one.[21] In the following three weeks the film grossed $19 million, $13.5 million and $9.8 million, finishing second at the box office each time, before grossing $7.7 million and dropping to 5th in its fifth week.[22]
Critical response[edit]
On Rotten Tomatoes, the film has an approval rating of 91% based on 266 reviews, with an average rating of 8.2/10. The site's critical consensus reads, "Featuring outstanding work from an excellent cast, The Departed is a thoroughly engrossing gangster drama with the gritty authenticity and soupy morality we come to expect from Martin Scorsese."[23] On Metacritic, the film has a score of 86 out of 100, based on 39 critics, indicating "universal acclaim".[24] On CinemaScore, audiences gave the film an average grade of "A–" on an A+ to F scale.[25]
Entertainment Weekly put it on its end-of-the-decade "best of" list, saying: "If they're lucky, directors make one classic film in their career. Martin Scorsese has one per decade (Taxi Driver in the '70s, Raging Bull in the '80s, Goodfellas in the '90s). His 2006 Irish Mafia masterpiece kept the streak alive."[26]
Online critic James Berardinelli awarded the film four stars out of four, praising it as "an American epic tragedy." He went on to compare the film favorably to the onslaught of banality offered by American studios in recent years. "The movies have been in the doldrums lately. The Departed is a much needed tonic," he wrote. He went on to claim that the film deserves to be ranked alongside Scorsese's past successes, including Taxi Driver, Raging Bull and Goodfellas.[27]
Andrew Lau, the co-director of Infernal Affairs, who was interviewed by Hong Kong newspaper Apple Daily, said: "Of course I think the version I made is better, but the Hollywood version is pretty good too. [Scorsese] made the Hollywood version more attuned to American culture." Andy Lau,[28] one of the main actors in Infernal Affairs, when asked how the movie compares to the original, said: "The Departed was too long and it felt as if Hollywood had combined all three Infernal Affairs movies together."[29] Lau pointed out that the remake featured some of the "golden quotes" of the original but did have much more swearing. He ultimately rated The Departed 8/10 and said that the Hollywood remake is worth a view, though according to Lau's spokeswoman Alice Tam, he felt that the combination of the two female characters into one in The Departed was not as good as the original storyline.[30] A few critics were disappointed in the film, including the Village Voice's J. Hoberman, who wrote: "Overwrought as The Departed may be, it's nothing that wouldn't have been cured by losing Jack [Nicholson] (and maybe half an hour). Too bad the bottom line meant Scorsese had to sell that hambone Mephistopheles his soul."[31]
Top ten lists[edit]
The film appeared on many critics' top ten lists of the best films of 2006.[32] Carrie Rickey of The Philadelphia Inquirer, Joe Morgenstern of The Wall Street Journal, Ruthe Stein of the San Francisco Chronicle, and Steven Rea of The Philadelphia Inquirer named it one of the top ten films of 2006.[32] Richard Roeper of the Chicago Sun-Times named it the best film of the 2000s.[33]
1st – Richard Roeper, Ebert and Roeper
1st – Peter Travers, Rolling Stone
1st – Rene Rodriguez, The Miami Herald
1st – Scott Tobias, The A.V. Club
1st – Joshua Rothkopf, Time Out New York
1st – Philip Martin, Arkansas Democrat-Gazette
1st – James Berardinelli, ReelViews
2nd – Chris Kaltenbach, The Baltimore Sun
2nd – Adam Kempenaar, Filmspotting
2nd – Keith Phipps, The A.V. Club
2nd – Kyle Smith, New York Post
2nd – Mike Russell, The Oregonian
2nd – Richard James Havis, The Hollywood Reporter
2nd – Richard Schickel, TIME
3rd – Frank Scheck, The Hollywood Reporter
4th – Glenn Kenny, Premiere
4th – Marc Savlov, The Austin Chronicle
4th – Michael Wilmington, Chicago Tribune
4th – Roger Ebert, Chicago Sun-Times
5th – Empire
5th – David Ansen, Newsweek
5th – Kevin Crust, Los Angeles Times
5th – Lisa Schwarzbaum, Entertainment Weekly
5th – Stephen Hunter, The Washington Post
6th – Ann Hornaday, The Washington Post
6th – Jack Mathews, Daily News
6th – Nathan Rabin, The A.V. Club
6th – Ty Burr, The Boston Globe
7th – Nathan Lee, The Village Voice
7th – Noel Murray, The A.V. Club
7th – Peter Hartlaub, San Francisco Chronicle
8th – Michael Sragow, The Baltimore Sun
9th – Claudia Puig, USA Today
9th – Desson Thomson, The Washington Post
9th – Lou Lumenick, New York Post
9th – Michael Rechtshaffen, The Hollywood Reporter
Accolades[edit]
Main article: List of accolades received by The Departed
At the 64th Golden Globe Awards on January 15, 2007, The Departed won one award for Best Director (Martin Scorsese), while being nominated for five other awards including Best Picture, Best Actor (Leonardo DiCaprio), Best Supporting Actor (Jack Nicholson, Mark Wahlberg), and Best Screenplay (William Monahan).[34]
At the 79th Academy Awards on February 25, 2007, The Departed won four Academy Awards: Best Picture (Graham King), Best Director (Martin Scorsese), Best Film Editing (Thelma Schoonmaker), and Best Adapted Screenplay (William Monahan). Mark Wahlberg was also nominated for the Best Supporting Actor award for his performance, but he lost to Alan Arkin for his role in Little Miss Sunshine.
The film marked the first time Scorsese won an Oscar after six previous losses.[35] Many felt that he deserved it years earlier for prior efforts.[36] Some have even gone further, calling it a Lifetime Achievement Award for a lesser film.[37] Scorsese himself joked that he won because: "This is the first movie I've done with a plot."[38] While accepting the award, Scorsese stated that "I just want to say, too, that so many people over the years have been wishing this for me, strangers, you know. I go walking in the street people say something to me, I go in a doctor's office, I go in a...whatever...elevators, people are saying, "You should win one, you should win one." I go for an x-ray, "You should win one." And I'm saying, "Thank you." And then friends of mine over the years and friends who are here tonight are wishing this for me and my family. I thank you. This is for you."
At the 11th Satellite Awards on December 18, 2006, The Departed won awards for Best Ensemble, Motion Picture, Best Motion Picture, Drama, Best Screenplay – Adapted (William Monahan), and Best Actor in a Supporting Role (Leonardo DiCaprio).
In 2008, the American Film Institute nominated this film for its Top 10 Gangster Films list.[39]
Home media[edit]
The Departed was released by Warner Brothers on DVD in 2007. The film is available in a single-disc full screen (1.33:1), single-disc widescreen (2.40:1) edition, and 2-disc special edition. The second disc contains deleted scenes; a feature about the influence of New York’s Little Italy on Scorsese; a Turner Classic Movies profile; and a 21-minute documentary titled Stranger Than Fiction: The True Story of Whitey Bulger, Southie and The Departed[40] about the crimes that influenced Scorsese in creating the film, including the story of James "Whitey" Bulger, upon whom Jack Nicholson's character is based.[41]
The Region 1 version has three available audio tracks: English, Spanish, and French (all of which are in Dolby Digital 5.1), and three subtitle tracks (English, Spanish, French). The film was released on HD DVD and Blu-ray at the same time as the standard-definition DVD. The 2-Disc Special Edition was packaged in a Limited Edition Steelbook. It marked the first time that an Oscar-winning Best Picture was released to the home video market in DVD format only, as VHS was totally phased out by the start of 2006.
Music[edit]
There were two albums released for The Departed, one presenting the original score composed for the film by Howard Shore, and the other featuring earlier recordings, mostly pop/rock songs, which were used on the soundtrack.
Soundtrack[edit]
The Departed: Music from the Motion Picture
Soundtrack album by Various Artists
Released
November 7, 2006
Genre
Rock, country, pop
Label
Warner Sunset
Producer
Jason Cienkus
As with previous Scorsese films, Robbie Robertson had a hand in picking the music. The film opens with "Gimme Shelter" by The Rolling Stones ("Let it Loose" also appears later on), and prominently plays "I'm Shipping Up to Boston" by Dropkick Murphys with lyrics written by Woody Guthrie, which gained the band some popularity and their first and only platinum selling single. The film features the live version of Pink Floyd's "Comfortably Numb" from the 1990 Berlin Wall concert performed by Roger Waters, Van Morrison, and Rick Danko, Levon Helm, and Garth Hudson of The Band.
Although "Gimme Shelter" is featured twice in the film, the song does not appear on the album soundtrack. Also heard in the movie but not featured on the soundtrack is "Thief's Theme" by Nas, "Well Well Well" by John Lennon, "Bang Bang" by Joe Cuba, and the Act II Sextet from Donizetti's Lucia di Lammermoor.
The film closes with a cover of Don Gibson's "Sweet Dreams", by Roy Buchanan.
Track Listing
No.
Title
Artist(s)
Length
1. "Comfortably Numb" Roger Waters (Feat. Van Morrison & The Band) 7:59
2. "Sail On, Sailor" The Beach Boys 3:18
3. "Let It Loose" The Rolling Stones 5:18
4. "Sweet Dreams" Roy Buchanan 3:32
5. "One Way Out" The Allman Brothers Band 4:57
6. "Baby Blue" Badfinger 3:36
7. "I'm Shipping Up to Boston" Dropkick Murphys 2:34
8. "Nobody but Me" The Human Beinz 2:18
9. "Tweedle Dee" LaVern Baker 3:10
10. "Sweet Dreams (of You)" Patsy Cline 2:34
11. "The Departed Tango" Howard Shore, Marc Ribot 3:32
12. "Beacon Hill" Howard Shore, Sharon Isbin 2:33
Score[edit]
The film score for The Departed was written by Howard Shore and performed by guitarists Sharon Isbin, G. E. Smith, Larry Saltzman and Marc Ribot. The score was recorded in Shore's own studio in New York State. The album, The Departed: Original Score, was released December 5, 2006 by New Line, and produced by Jason Cienkus.
Scorsese described the music as "a very dangerous and lethal tango" and cited the guitar-based score of Murder by Contract and the zither in The Third Man as inspiration.[42]
See also[edit]
List of American films of 2006
"The Debarted", an episode of The Simpsons that parodies the film.
Film in the United States portal
Boston portal
2000s portal
Criminal justice portal
Notes[edit]
^ Jump up to: a b c d "The Departed (2006)". Box Office Mojo. Retrieved June 22, 2011.
Jump up ^ "Infernal Affairs vs. the remake, The Departed". Film.com. Retrieved September 20, 2013.
Jump up ^ Kennedy, Helen (June 23, 2011). "Notorious gangster Whitey Bulger was inspiration for Jack Nicholson's character in 'The Departed'". Daily News. Retrieved August 23, 2012.
^ Jump up to: a b c Scorsese, Martin. "Martin Scorsese, The Departed" (transcript of 2007 interview). In: Kagan, Jeremy. Directors Close Up 2: Interviews with Directors Nominated for Best Film by the Directors Guild of America: 2006 - 2012. Scarecrow Press, 2012. p. 50.
Jump up ^ "2007". Oscars.org - Academy of Motion Picture Arts and Sciences. Retrieved February 22, 2016.
Jump up ^ Kit, Zorianna; Gardner, Chris (February 3, 2003). "Warners pays to have Affairs". The Hollywood Reporter.
Jump up ^ Variety Deal Memo, Volume 10, Issues 2-23. Baskerville Communications Corporation, 2003. p. 36.
^ Jump up to: a b c Hayes, Dade (December 14, 2006). "Brad Pitt's role as filmmaker threatens to eclipse his actorly exploits and tabloid profile". Variety.
Jump up ^ Scorsese, Martin. "Martin Scorsese, The Departed" (transcript of 2007 interview). In: Kagan, Jeremy. Directors Close Up 2: Interviews with Directors Nominated for Best Film by the Directors Guild of America: 2006 - 2012. Scarecrow Press, 2012. pp. 3–5.
^ Jump up to: a b Mitchell, Elvis (February 2007). "Brad Pitt's Great Escape". Interview.
Jump up ^ "Leo DiCaprio, Brad Pitt lead Affairs". UPI. March 2, 2004.
Jump up ^ "Departed, The: DiCaprio". Retrieved February 22, 2016.
Jump up ^ Julian Roman (October 2, 2006). "Matt Damon and Leonardo DiCaprio Smell A Rat in ‘The Departed’". MovieWeb. Retrieved February 22, 2016.
Jump up ^ Scorsese, Martin. "Martin Scorsese, The Departed" (transcript of 2007 interview). In: Kagan, Jeremy. Directors Close Up 2: Interviews with Directors Nominated for Best Film by the Directors Guild of America: 2006 - 2012. Scarecrow Press, 2012. pp. 79–80.
Jump up ^ Fee, Gayle (November 23, 2009). "Damon to shoot in Massachusetts again?". Boston Herald. Retrieved September 16, 2016.
Jump up ^ Brokaw, Leslie (December 2, 2007). "The year of filming profitability". Boston Globe. Retrieved August 25, 2016.
Jump up ^ Kauffmann, Stanley (October 30, 2006). "Themes and Schemes". The New Republic. 235 (18).
Jump up ^ "'The Departed'". Post-Gazette.com. October 6, 2006. Retrieved October 17, 2009.
Jump up ^ Topel, Fred (October 5, 2006). "Martin Scorsese Talks The Departed Rat". Canmag. Retrieved February 25, 2013.
Jump up ^ Rodriguez, Rene (January 11, 2007). "X marks the spot in 'The Departed'". The Miami Herald. Retrieved November 26, 2009.
Jump up ^ "'Departed' Out-Muscles 'Massacre'". Box Office Mojo.
Jump up ^ "'Borat' Bombards the Top Spot". Box Office Mojo.
Jump up ^ "The Departed Movie Reviews". Rotten Tomatoes. Flixter. Retrieved October 17, 2009.
Jump up ^ "The Departed". Metacritic. Retrieved February 1, 2013.
Jump up ^ "CinemaScore". cinemascore.com. [permanent dead link]
Jump up ^ Geier, Thom; Jensen, Jeff; Jordan, Tina; et al. "The 100 Greatest Movies, TV Shows, Albums, Books, Characters, Scenes, Episodes, Songs, Dresses, Music Videos, and Trends that Entertained Us Over the Past 10 Years". Entertainment Weekly. December 11, 2009. (1079/1080): 74-84.
Jump up ^ "Review: Departed, The". ReelViews.net. Retrieved October 17, 2009.
Jump up ^ "My Infernal Affairs is better than Scorsese's says Lau". London: The Guardian. October 10, 2006. Retrieved October 10, 2006.
Jump up ^ "Andy Lau comments on The Departed (Chinese)". October 6, 2006. Archived from the original on December 16, 2006. Retrieved October 6, 2006.
Jump up ^ "Andy Lau Gives 'Departed' an 8 Out of 10". October 7, 2006. Archived from the original on December 16, 2006. Retrieved October 7, 2006.
Jump up ^ "Bait and Switch". Village Voice. September 26, 2006.
^ Jump up to: a b "Metacritic: 2006 Film Critic Top Ten Lists". Metacritic. Archived from the original on December 13, 2007. Retrieved January 8, 2008.
Jump up ^ "Roeper's Best Films of the Year". Chicago Sun-Times. January 1, 2010. Archived from the original on April 21, 2010.
Jump up ^ "The Departed (2006) - Awards". IMDB.
Jump up ^ "Martin Scorsese - Awards". IMDB.
Jump up ^ "Martin Scorsese Wins Something!". E! Online. February 4, 2007. Retrieved October 17, 2009.
Jump up ^ "Scorsese wins Oscar with film that's not his best". MSNBC and Associated Press. MSNBC and NBC Universal. February 27, 2007. Retrieved October 16, 2010.
Jump up ^ James Wray and Ulf Stabe (February 4, 2007). "Scorsese takes top DGA honors". Monsters and Critics. Retrieved October 17, 2009.
Jump up ^ "AFI's 10 Top 10 Nominees" (PDF). Archived from the original on July 16, 2011. Retrieved August 19, 2016. CS1 maint: BOT: original-url status unknown (link)
Jump up ^ "Stranger Than Fiction: The True Story of Whitey Bulger, Southie and 'The Departed' (Video 2007)". IMDb. April 25, 2007. Retrieved February 22, 2016.
Jump up ^ "Extra reveals true inspiration for Scorsese's Departed". The Virginian-Pilot. February 18, 2007.
Jump up ^ Murray, Rebecca. "Martin Scorsese Talks About 'The Departed'". About.com. Retrieved December 15, 2015.
Further reading[edit]
Brad Balfour (2006). "Martin Scorsese, Leonardo DiCaprio, Matt Damon, Vera Farmiga and William Monahan (Transcripts of two 40-minute press conference sessions)". PopEntertainment. Retrieved September 10, 2007.
External links[edit]
Wikiquote has quotations related to: The Departed
Official website
The Departed on IMDb
The Departed at the TCM Movie Database
The Departed at AllMovie
The Departed at Rotten Tomatoes
The Departed at Metacritic
The Departed at Box Office Mojo
[show]
v
t
e
Martin Scorsese filmography
Feature films
Who's That Knocking at My Door (1967)
Boxcar Bertha (1972)
Mean Streets (1973)
Alice Doesn't Live Here Anymore (1974)
Taxi Driver (1976)
New York, New York (1977)
Raging Bull (1980)
The King of Comedy (1982)
After Hours (1985)
The Color of Money (1986)
The Last Temptation of Christ (1988)
New York Stories (segment "Life Lessons", 1989)
Goodfellas (1990)
Cape Fear (1991)
The Age of Innocence (1993)
Casino (1995)
Kundun (1997)
Bringing Out the Dead (1999)
Gangs of New York (2002)
The Aviator (2004)
The Departed (2006)
Shutter Island (2010)
Hugo (2011)
The Wolf of Wall Street (2013)
Silence (2016)
The Irishman (2019)
Short films
What's a Nice Girl Like You Doing in a Place Like This? (1963)
It's Not Just You, Murray! (1964)
The Big Shave (1967)
"Bad" (1987)
Made in Milan (1990)
The Key to Reserva (2007)
The Audition (2015)
Television
"Mirror, Mirror" (Amazing Stories) (1986)
"Boardwalk Empire" (Boardwalk Empire) (2010)
Vinyl (2016)
Documentaries
Street Scenes (1970)
Italianamerican (1974)
American Boy: A Profile of Steven Prince (1978)
The Last Waltz (1978)
A Personal Journey with Martin Scorsese Through American Movies (1995)
My Voyage to Italy (1999)
The Blues: Feel Like Going Home (2003)
No Direction Home (2005)
Shine a Light (2008)
A Letter to Elia (2010)
Public Speaking (2010)
George Harrison: Living in the Material World (2011)
The 50 Year Argument (2014)
Related
Martin Scorsese and Robert De Niro
Martin Scorsese and Leonardo DiCaprio
[show]
v
t
e
Brad Pitt
Producer
The Departed (2006)
Running with Scissors (2006)
A Mighty Heart (2007)
The Assassination of Jesse James by the Coward Robert Ford (2007)
Kick-Ass (2010)
Eat Pray Love (2010)
The Tree of Life (2011)
Moneyball (2011)
Killing Them Softly (2012)
World War Z (2013)
Kick-Ass 2 (2013)
12 Years a Slave (2013)
By the Sea (2015)
The Big Short (2015)
Moonlight (2016)
The Lost City of Z (2016)
War Machine (2017)
Brad's Status (2017)
Related articles
Awards
Filmography
Plan B Entertainment
Rusty Ryan
Douglas Pitt
[show]
v
t
e
Academy Award for Best Picture
1927/28–1950
Wings (1927/28)
The Broadway Melody (1928/29)
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The Picture of Dorian Gray
From Wikipedia, the free encyclopedia
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"Dorian Gray" redirects here. For other uses, see Dorian Gray (disambiguation).
For other uses, see The Picture of Dorian Gray (disambiguation).
The Picture of Dorian Gray
The Picture of Dorian Gray was first published in the July 1890 issue of Lippincott's Monthly Magazine.
Author
Oscar Wilde
Language
English
Genre
Philosophical fiction, decadent literature
Published
1890 Lippincott's Monthly Magazine
Media type
Print
OCLC
53071567
Dewey Decimal
823/.8 22
LC Class
PR5819.A2 M543 2003
The Picture of Dorian Gray is a Gothic and philosophical novel by Oscar Wilde, first published complete in the July 1890 issue of Lippincott's Monthly Magazine.[1][2] Fearing the story was indecent, the magazine's editor without Wilde's knowledge deleted roughly five hundred words before publication. Despite that censorship, The Picture of Dorian Gray offended the moral sensibilities of British book reviewers, some of whom said that Oscar Wilde merited prosecution for violating the laws guarding the public morality. In response, Wilde aggressively defended his novel and art in correspondence with the British press, although he personally made excisions of some of the most controversial material when revising and lengthening the story for book publication the following year.
The longer and revised version of The Picture of Dorian Gray published in book form in 1891 featured an aphoristic preface—a defence of the artist's rights and of art for art's sake—based in part on his press defences of the novel the previous year. The content, style, and presentation of the preface made it famous in its own right, as a literary and artistic manifesto. In April 1891, the publishing firm of Ward, Lock and Company, who had distributed the shorter, more inflammatory, magazine version in England the previous year, published the revised version of The Picture of Dorian Gray.[3]
The only novel written by Wilde, The Picture of Dorian Gray exists in several versions: the 1890 magazine edition (in 13 chapters), with important material deleted before publication by the magazine's editor, J. M. Stoddart; the "uncensored" version submitted to Lippincott's Monthly Magazine for publication (also in 13 chapters), with all of Wilde's original material intact, first published in 2011 by Harvard University Press; and the 1891 book edition (in 20 chapters).[4] As literature of the 19th century, The Picture of Dorian Gray "pivots on a gothic plot device" with strong themes interpreted from Faust.[5]
Contents
1 Summary
2 Plot
3 Characters
4 Themes and motifs
4.1 Aestheticism and duplicity
5 Allusions
5.1 The Republic
5.2 Tannhäuser
5.3 Faust
5.4 Shakespeare
5.5 Joris-Karl Huysmans
6 Literary significance
6.1 Possible Disraeli influence
6.2 Publication history
6.3 Preface
6.4 Criticism
6.5 Textual revisions
7 Adaptations
8 Bibliography
8.1 Editions
9 See also
10 Footnotes and references
11 External links
Summary[edit]
Dorian Gray is the subject of a full-length portrait in oil by Basil Hallward, an artist who is impressed and infatuated by Dorian's beauty; he believes that Dorian's beauty is responsible for the new mood in his art as a painter. Through Basil, Dorian meets Lord Henry Wotton, and he soon is enthralled by the aristocrat's hedonistic world view: that beauty and sensual fulfilment are the only things worth pursuing in life.
Newly understanding that his beauty will fade, Dorian expresses the desire to sell his soul, to ensure that the picture, rather than he, will age and fade. The wish is granted, and Dorian pursues a libertine life of varied and amoral experiences, while staying young and beautiful; all the while his portrait ages and records every sin.[6]
Plot[edit]
The Picture of Dorian Gray begins on a beautiful summer day in Victorian era England, where Lord Henry Wotton, an opinionated man, is observing the sensitive artist Basil Hallward painting the portrait of Dorian Gray, a handsome young man who is Basil's ultimate muse. While sitting for the painting, Dorian listens to Lord Henry espousing his hedonistic world view, and begins to think that beauty is the only aspect of life worth pursuing. This prompts Dorian to wish that the painted image of himself would age instead of himself.
Under the hedonistic influence of Lord Henry, Dorian fully explores his sensuality. He discovers the actress Sibyl Vane, who performs Shakespeare plays in a dingy, working-class theatre. Dorian approaches and courts her, and soon proposes marriage. The enamoured Sibyl calls him "Prince Charming", and swoons with the happiness of being loved, but her protective brother, James, warns that if "Prince Charming" harms her, he will murder him.
Dorian invites Basil and Lord Henry to see Sibyl perform in Romeo and Juliet. Sibyl, too enamoured with Dorian to act, performs poorly, which makes both Basil and Lord Henry think Dorian has fallen in love with Sibyl because of her beauty instead of her acting talent. Embarrassed, Dorian rejects Sibyl, telling her that acting was her beauty; without that, she no longer interests him. On returning home, Dorian notices that the portrait has changed; his wish has come true, and the man in the portrait bears a subtle sneer of cruelty.
Dorian Gray observes the corruption recorded in his portrait, in the film The Picture of Dorian Gray (1945).
Conscience-stricken and lonely, Dorian decides to reconcile with Sibyl, but he is too late, as Lord Henry informs him that Sibyl has killed herself. Dorian then understands that, where his life is headed, lust and beauty shall suffice. Dorian locks the portrait up, and over the following eighteen years, he experiments with every vice, influenced by a morally poisonous French novel that Lord Henry Wotton gave him.
One night, before leaving for Paris, Basil goes to Dorian's house to ask him about rumours of his self-indulgent sensualism. Dorian does not deny his debauchery, and takes Basil to see the portrait. The portrait has become so hideous that Basil is only able to identify it as his work by the signature he affixes to all his portraits. Basil is horrified, and beseeches Dorian to pray for salvation. In anger, Dorian blames his fate on Basil, and stabs him to death. Dorian then calmly blackmails an old friend, the scientist Alan Campbell, into using his knowledge of chemistry to destroy the body of Basil Hallward. Alan later kills himself over the deed.
A 19th century London opium den (based on fictional accounts of the day).
To escape the guilt of his crime, Dorian goes to an opium den, where James Vane is unknowingly present. James had been seeking vengeance upon Dorian ever since Sibyl killed herself, but had no leads to pursue: the only thing he knew about Dorian was the name Sibyl called him, "Prince Charming". In the opium den however he hears someone refer to Dorian as "Prince Charming", and he accosts Dorian. Dorian deceives James into believing that he is too young to have known Sibyl, who killed herself 18 years earlier, as his face is still that of a young man. James relents and releases Dorian, but is then approached by a woman from the opium den who reproaches James for not killing Dorian. She confirms that the man was Dorian Gray and explains that he has not aged in 18 years. James runs after Dorian, but he has gone.
James then begins to stalk Dorian, causing Dorian to fear for his life. However, during a shooting party, a hunter accidentally kills James Vane, who was lurking in a thicket. On returning to London, Dorian tells Lord Henry that he will live righteously from now on. His new probity begins with deliberately not breaking the heart of the naïve Hetty Merton, his current romantic interest. Dorian wonders if his new-found goodness has reverted the corruption in the picture, but when he looks he sees only an even uglier image of himself. From that, Dorian understands that his true motives for the self-sacrifice of moral reformation were the vanity and curiosity of his quest for new experiences, along with the desire to restore beauty to the picture.
Deciding that only full confession will absolve him of wrongdoing, Dorian decides to destroy the last vestige of his conscience, and the only piece of evidence remaining of his crimes—the picture. In a rage, he takes the knife with which he murdered Basil Hallward, and stabs the picture. The servants of the house awaken on hearing a cry from the locked room; on the street, passers-by who also heard the cry call the police. On entering the locked room, the servants find an unknown old man, stabbed in the heart, his face and figure withered and decrepit. The servants identify the disfigured corpse by the rings on its fingers which belonged to their master, Dorian Gray. Beside him, the portrait is now restored to its former appearance of beauty.
Characters[edit]
Oscar Wilde said that, in the novel The Picture of Dorian Gray (1891), three of the characters were reflections of himself:
Basil Hallward is what I think I am: Lord Henry is what the world thinks of me: Dorian is what I would like to be—in other ages, perhaps.[7]
The painter Basil Hallward and the aristocrat Lord Henry Wotton observe the picture of Dorian Gray.
The characters of the story are
Dorian Gray – a handsome, narcissistic young man enthralled by Lord Henry's "new" hedonism. He indulges in every pleasure and virtually every 'sin', studying its effect upon him, which eventually leads to his death.
Basil Hallward – a deeply moral man, the painter of the portrait, and infatuated with Dorian, whose patronage realises his potential as an artist. The picture of Dorian Gray is Basil's masterpiece.
Lord Henry "Harry" Wotton – an imperious aristocrat and a decadent dandy who espouses a philosophy of self-indulgent hedonism. Initially Basil's friend, he neglects him for Dorian's beauty. The character of witty Lord Harry is a critique of Victorian culture at the Fin de siècle – of Britain at the end of the 19th century. Lord Harry's libertine world view corrupts Dorian, who then successfully emulates him. To the aristocrat Harry, the observant artist Basil says, "You never say a moral thing, and you never do a wrong thing." Lord Henry takes pleasure in impressing, influencing, and even misleading his acquaintances (to which purpose he bends his considerable wit and eloquence) but appears not to observe his own hedonistic advice, preferring to study himself with scientific detachment. His distinguishing feature is total indifference to the consequences of his actions. Scholars generally accept the character is partly inspired by Wilde's friend Lord Ronald Gower.[8]
Sibyl Vane – a talented actress and singer, she is the beautiful girl, of a poor family, with whom Dorian falls in love. Her love for Dorian ruins her acting ability, because she no longer finds pleasure in portraying fictional love as she is now experiencing real love in her life. She kills herself on learning that Dorian no longer loves her; at that, Lord Henry likens her to Ophelia, in Hamlet.
James Vane – Sibyl's brother, a sailor who leaves for Australia. He is very protective of his sister, especially as their mother cares only for Dorian's money. Believing that Dorian means to harm Sibyl, James hesitates to leave, and promises vengeance upon Dorian if any harm befalls her. After Sibyl's suicide, James becomes obsessed with killing Dorian, and stalks him, but a hunter accidentally kills James. The brother's pursuit of vengeance upon the lover (Dorian Gray), for the death of the sister (Sibyl) parallels that of Laertes vengeance against Prince Hamlet.
Alan Campbell – chemist and one-time friend of Dorian who ended their friendship when Dorian's libertine reputation devalued such a friendship. Dorian blackmails Alan into destroying the body of the murdered Basil Hallward; Campbell later shoots himself dead.
Lord Fermor – Lord Henry's uncle, who tells his nephew, Lord Henry Wotton, about the family lineage of Dorian Gray.
Adrian Singleton – A youthful friend of Dorian's, whom he evidently introduced to opium addiction, which induced him to forge a cheque and made him a total outcast from his family and social set.
Victoria, Lady Henry Wotton – Lord Henry's wife, whom he treats disdainfully; she later divorces him.
Themes and motifs[edit]
Aestheticism and duplicity[edit]
The main theme in The Picture of Dorian Gray (1891) is aestheticism and its conceptual relation to living a double life. Throughout the story, the narrative presents aestheticism as an absurd abstraction, which disillusions more than it dignifies the concept of Beauty. Despite Dorian being a hedonist, when Basil accuses him of making a "by-word" of the name of Lord Henry's sister, Dorian curtly replies, "Take care, Basil. You go too far ..."; thus, in Victorian society, public image and social standing do matter to Dorian.[9] Yet, Wilde highlights the protagonist's hedonism: Dorian enjoyed "keenly the terrible pleasure of a double life", by attending a high-society party only twenty-four hours after committing a murder.[9]
Moral duplicity and self-indulgence are evident in Dorian's patronage of London's opium dens. Wilde conflates the images of the upper-class man and lower-class man in Dorian Gray, a gentleman slumming for strong entertainment in the poor parts of London town. Lord Henry philosophically had earlier said to him that: "Crime belongs exclusively to the lower orders. ... I should fancy that crime was to them what art is to us, simply a method of procuring extraordinary sensations"—implying that Dorian is two men, a refined aesthete and a coarse criminal. That authorial observation is a thematic link to the double life recounted in The Strange Case of Dr Jekyll and Mr Hyde (1886), by Robert Louis Stevenson, a novella admired by Oscar Wilde.[1]
Allusions[edit]
The Republic[edit]
In Book 2 of Plato's The Republic, Glaucon and Adeimantus present the myth of the Ring of Gyges, by means of which Gyges made himself invisible. They then ask Socrates, "If one came into possession of such a ring, why should he act justly?" Socrates replies that although no one can see one's body, the soul is disfigured by the evils one commits. The disfigured and corrupted soul (antithesis of the beautiful soul) is imbalanced and disordered, and, in itself, is undesirable, regardless of any advantage derived from acting unjustly. The picture of Dorian Gray is the means by which other people, such as his friend Basil Hallward, may see Dorian's distorted soul.
Tannhäuser[edit]
Dorian attends a performance of Tannhäuser, by Richard Wagner, and the narrative identifies him with the protagonist of the opera. Disruptive beauty is the thematic resemblance between the opera and The Picture of Dorian Gray. Based upon a medieval historical figure, Tannhäuser is a singer whose art is so beautiful that Venus becomes enamoured of him. The Roman goddess of love then offers him eternal life with her in the Venusberg, and he accepts; yet, Tannhäuser becomes dissatisfied with life in the Venusberg, and returns to the harsh reality of the mortal world. After participating in a singing contest, Tannhäuser is censured for the sensuality of his art; eventually, he dies searching for repentance and the love of a good woman.
Faust[edit]
About the literary hero, the author Oscar Wilde said, "in every first novel the hero is the author as Christ or Faust."[10] As in the legend of Faust, in The Picture of Dorian Gray a temptation (ageless beauty) is placed before the protagonist, which he indulges. In each story, the protagonist entices a beautiful woman to love him, and then destroys her life. In the preface to the novel (1891), Wilde said that the notion behind the tale is "old in the history of literature", but was a thematic subject to which he had "given a new form".[11]
Unlike the academic Faust, the gentleman Dorian makes no deal with the Devil, who is represented by the cynical hedonist Lord Henry, who presents the temptation that will corrupt the virtue and innocence that Dorian possesses at the start of the story. Throughout, Lord Henry appears unaware of the effect of his actions upon the young man; and so frivolously advises Dorian, that "the only way to get rid of a temptation is to yield to it. Resist it, and your soul grows sick with longing."[12] As such, the devilish Lord Henry is "leading Dorian into an unholy pact, by manipulating his innocence and insecurity."[13]
Shakespeare[edit]
In the preface to The Picture of Dorian Gray (1891), Wilde speaks of the sub-human Caliban character from The Tempest. In chapter five, he writes: "He felt as if he had come to look for Miranda and had been met by Caliban". When Dorian tells Lord Henry about his new love Sibyl Vane, he mentions the Shakespeare plays in which she has acted, and refers to her by the name of the heroine of each play. Later, Dorian speaks of his life by quoting Hamlet, a privileged character who impels his potential suitor (Ophelia) to suicide, and prompts her brother (Laertes) to swear mortal revenge.
Joris-Karl Huysmans[edit]
The anonymous "poisonous French novel" that leads Dorian to his fall is a thematic variant of À rebours (1884), by Joris-Karl Huysmans. In the biography, Oscar Wilde (1989), the literary critic Richard Ellmann said that:
Wilde does not name the book, but at his trial he conceded that it was, or almost [was], Huysmans's À rebours ... to a correspondent, he wrote that he had played a 'fantastic variation' upon À rebours, and someday must write it down. The references in Dorian Gray to specific chapters are deliberately inaccurate.[14]
Literary significance[edit]
Possible Disraeli influence[edit]
Some commentaters have suggested that The Picture of Dorian Gray was influenced by the British Prime Minister Benjamin Disraeli's (anonymously published) first novel Vivian Grey (1826) as, "a kind of homage from one outsider to another."[15] The name of Dorian Gray's love interest, Sibyl Vane, may be a modified fusion of the title of Disraeli's best known novel (Sybil) and Vivian Grey's love interest Violet Fane, who, like Sibyl Vane, dies tragically.[16] There is also a scene in Vivian Grey in which the eyes in the portrait of a "beautiful being" move when its subject dies.[17]
Publication history[edit]
The Picture of Dorian Gray originally was a novella submitted to Lippincott's Monthly Magazine for serial publication. In 1889, J. M. Stoddart, an editor for Lippincott, was in London to solicit novellas to publish in the magazine. On 30 August 1889, Stoddart dined with Oscar Wilde, Sir Arthur Conan Doyle and T. P. Gill[18] at the Langham Hotel, and commissioned novellas from each writer.[19] Conan Doyle promptly submitted The Sign of the Four (1890) to Stoddart, but Wilde was more dilatory; Conan Doyle's second Sherlock Holmes novel was published in the February 1890 edition of Lippincott's Monthly Magazine, yet Stoddart did not receive Wilde's manuscript for The Picture of Dorian Gray until 7 April 1890, nine months after having commissioned the novel from him.[19]
The title page of the Ward Lock & Co 1891 edition of The Picture of Dorian Gray with decorative lettering, designed by Charles Ricketts.
The literary merits of The Picture of Dorian Gray impressed Stoddart, but, as an editor, he told the publisher, George Lippincott, "in its present condition there are a number of things an innocent woman would make an exception to. ..."[19] Among the pre-publication deletions that Stoddart and his editors made to the text of Wilde's original manuscript were: (i) passages alluding to homosexuality and to homosexual desire; (ii) all references to the fictional book title Le Secret de Raoul and its author, Catulle Sarrazin; and (iii) all "mistress" references to Gray's lovers, Sibyl Vane and Hetty Merton.[19]
The Picture of Dorian Gray was published on 20 June 1890, in the July issue of Lippincott's Monthly Magazine. British reviewers condemned the novel's immorality, and said condemnation was so controversial that the W H Smith publishing house withdrew every copy of the July 1890 issue of Lippincott's Monthly Magazine from its bookstalls in railway stations.[19] Consequent to the harsh criticism of the 1890 magazine edition, Wilde ameliorated the homoerotic references, to simplify the moral message of the story.[19] In the magazine edition (1890), Basil tells Lord Henry how he "worships" Dorian, and begs him not to "take away the one person that makes my life absolutely lovely to me." In the magazine edition, Basil concentrates upon love, whereas, in the book edition (1891), Basil concentrates upon his art, saying to Lord Henry, "the one person who gives my art whatever charm it may possess: my life as an artist depends on him."
The magazine edition of The Picture of Dorian Gray (1890) was expanded from thirteen to twenty chapters; and the magazine edition’s final chapter was divided into two chapters, the nineteenth and twentieth chapters of the book edition of The Picture of Dorian Gray (1891). Wilde's textual additions were about "fleshing out of Dorian as a character" and providing details of his ancestry that made his "psychological collapse more prolonged and more convincing."[20]
The introduction of the James Vane character to the story develops the socio-economic background of the Sibyl Vane character, thus emphasising Dorian's selfishness and foreshadowing James's accurate perception of the essentially immoral character of Dorian Gray; thus, he correctly deduced Dorian’s dishonourable intent towards Sibyl. The sub-plot about James Vane's dislike of Dorian gives the novel a Victorian tinge of class struggle. With such textual changes, Oscar Wilde meant to diminish the moralistic controversy about the novel The Picture of Dorian Gray.
Preface[edit]
Consequent to the harsh criticism of the magazine edition of the novel, the textual revisions to The Picture of Dorian Gray included a preface in which Wilde addressed the criticisms and defended the reputation of his novel.[21] To communicate how the novel should be read, in the Preface, Wilde explains the role of the artist in society, the purpose of art, and the value of beauty. It traces Wilde's cultural exposure to Taoism and to the philosophy of Chuang Tsǔ (Zhuang Zhou). Earlier, before writing the preface, Wilde had written a book review of Herbert Giles's translation of the work of Zhuang Zhou. The preface was first published in the 1891 edition of the novel; nonetheless, by June 1891, Wilde was defending The Picture of Dorian Gray against accusations that it was a bad book.[22]
In the essay The Artist as Critic, Oscar Wilde said that:
The honest ratepayer and his healthy family have no doubt often mocked at the dome-like forehead of the philosopher, and laughed over the strange perspective of the landscape that lies beneath him. If they really knew who he was, they would tremble. For Chuang Tsǔ spent his life in preaching the great creed of Inaction, and in pointing out the uselessness of all things.[23]
Criticism[edit]
In the 19th century, the critical reception of the novel The Picture of Dorian Gray (1890) was poor. The book critic of The Irish Times said, The Picture of Dorian Gray was "first published to some scandal."[24] Such book reviews achieved for the novel a "certain notoriety for being 'mawkish and nauseous', 'unclean', 'effeminate' and 'contaminating'."[25] Such moralistic scandal arose from the novel's homoeroticism, which offended the sensibilities (social, literary, and aesthetic) of Victorian book critics. Yet, most of the criticism was personal, attacking Wilde for being a hedonist with a distorted view of conventional morality of Victorian Britain. In the 30 June 1890 issue of the Daily Chronicle, the book critic said that Wilde's novel contains "one element ... which will taint every young mind that comes in contact with it." In the 5 July 1890 issue of the Scots Observer, a reviewer asked "Why must Oscar Wilde 'go grubbing in muck-heaps?'" In response to such criticism, Wilde obscured the homoeroticism of the story and expanded the personal background of the characters.[26]
Original manuscript of the opening of chapter four
Textual revisions[edit]
After the initial publication of the magazine edition of The Picture of Dorian Gray (1890), Wilde expanded the text from 13 to 20 chapters and obscured the homoerotic themes of the story.[27] In the novel version of The Picture of Dorian Gray (1891), chapters 3, 5, and 15 to 18, inclusive, are new; and chapter 13 of the magazine edition was divided, and became chapters 19 and 20 of the novel edition.[28] In 1895, at his trials, Oscar Wilde said he revised the text of The Picture of Dorian Gray because of letters sent to him by the cultural critic Walter Pater.[29]
Passages revised for the novel
(Basil about Dorian) "He has stood as Paris in dainty armour, and as Adonis with huntsman's cloak and polished boar-spear. Crowned with heavy lotus-blossoms, he has sat on the prow of Adrian's barge, looking into the green, turbid Nile. He has leaned over the still pool of some Greek woodland, and seen in the water's silent silver the wonder of his own beauty."
(Lord Henry describes "fidelity") "It has nothing to do with our own will. It is either an unfortunate accident, or an unpleasant result of temperament."
"You don't mean to say that Basil has got any passion or any romance in him?" / "I don't know whether he has any passion, but he certainly has romance," said Lord Henry, with an amused look in his eyes. / "Has he never let you know that?" / "Never. I must ask him about it. I am rather surprised to hear it."
(Basil Hallward described) "Rugged and straightforward as he was, there was something in his nature that was purely feminine in its tenderness."
(Basil to Dorian) "It is quite true that I have worshipped you with far more romance of feeling than a man usually gives to a friend. Somehow, I had never loved a woman. I suppose I never had time. Perhaps, as Harry says, a really grande passion is the privilege of those who have nothing to do, and that is the use of the idle classes in a country."
(Basil confronts Dorian) "Dorian, Dorian, your reputation is infamous. I know you and Harry are great friends. I say nothing about that now, but surely you need not have made his sister's name a by-word." (The first part of this passage was deleted from the 1890 magazine text; the second part of the passage was inserted to the 1891 novel text.)
Passages added to the novel
"Each class would have preached the importance of those virtues, for whose exercise there was no necessity in their own lives. The rich would have spoken on the value of thrift, and the idle grown eloquent over the dignity of labour."
"A grande passion is the privilege of people who have nothing to do. That is the one use of the idle classes of a country. Don't be afraid."
"Faithfulness! I must analyse it some day. The passion for property is in it. There are many things that we would throw away, if we were not afraid that others might pick them up."
The uncensored edition
In 2011, the Belknap Press published The Picture of Dorian Gray: An Annotated, Uncensored Edition. The edition includes text that was deleted by JM Stoddart, Wilde's initial editor, before the story's publication in Lippincott's Monthly Magazine in 1890.[30][31][32][33]
Adaptations[edit]
Main articles: Adaptations of The Picture of Dorian Gray and Music based on the works of Oscar Wilde
Bibliography[edit]
Editions[edit]
The Picture of Dorian Gray (Oxford: Oxford World's Classics, 2008) ISBN 9780199535989. Edited with an introduction and notes by Joseph Bristow. Based on the 1891 book edition.
The Uncensored Picture of Dorian Gray (Belknap Press, 2011) ISBN 9780674066311. Edited with an introduction by Nicholas Frankel. This edition presents the uncensored typescript of the 1890 Lippincott edition.
The Picture of Dorian Gray (New York: Norton Critical Editions, 2006) ISBN 9780393927542. Edited with an introduction and notes by Michael Patrick Gillespie. Presents the 1890 Lippincott edition and the 1891 book edition side by side.
The Picture of Dorian Gray (Harmondsworth: Penguin Classics, 2006), ISBN 9780141442037. Edited with an introduction and notes by Robert Mighall. Included as an appendix is Peter Ackroyd's introduction to the 1986 Penguin Classics edition. It reproduces the 1891 book edition.
The Picture of Dorian Gray (Broadview Press, 1998) ISBN 978-1-55111-126-1. Edited with an introduction and notes by Norman Page. Based on the 1891 book edition.
See also[edit]
Oscar Wilde portal
Literature portal
Novels portal
Dorian Gray (character)
Dorian Gray syndrome
The Happy Hypocrite – a thematic inversion of The Picture of Dorian Gray
Footnotes and references[edit]
^ Jump up to: a b The Picture of Dorian Gray (Penguin Classics) – Introduction
Jump up ^ McCrum, Robert (March 24, 2014). "The 100 best novels: No 27 – The Picture of Dorian Gray by Oscar Wilde (1891)". The Guardian. Retrieved 2018-08-11.
Jump up ^ Notes on The Picture of Dorian Gray – An overview of the text, sources, influences, themes, and a summary of The Picture of Dorian Gray
Jump up ^ Good Reason radio show, "The Censorship of 'Dorian Gray' "[permanent dead link]
Jump up ^ "Ghost and Horror Fiction". GLBTQ Encyclopedia. Chicago, IL: glbtq, Inc. 2002–2006. Archived from the original on 2 January 2013. Retrieved 23 August 2017.
Jump up ^ The Picture of Dorian Gray (Project Gutenberg 20-chapter version), line 3479 et seq. in plain text (Chapter VII).
Jump up ^ The Modern Library – a synopsis of the novel coupled with a short biography of Oscar Wilde. (retrieved 3 November 2009)
Jump up ^ Wilde, Oscar; Frankel, Nichols (ed.) The Picture of Dorian Gray: An Annotated, Uncensored Edition The Belknap Press of Harvard University Press, London 2011, p68
^ Jump up to: a b The Picture of Dorian Gray (Penguin Classics) – Chapter XI
Jump up ^ Oscar Wilde (1969). The Picture of Dorian Gray. Magnum Books. Retrieved 30 May 2011.
Jump up ^ The Picture of Dorian Gray (Penguin Classics) – Preface
Jump up ^ The Picture of Dorian Gray (Penguin Classics) – Chapter II
Jump up ^ The Picture of Dorian Gray Archived 7 February 2009 at the Wayback Machine. – a summary of and a commentary on Chapter II of The Picture of Dorian Gray (retrieved 29 July 2006)
Jump up ^ Ellmann, Oscar Wilde (Vintage, 1988), p. 316
Jump up ^ McCrum, Robert. "The 100 best novels: No 11 – Sybil by Benjamin Disraeli (1845)". theguardian.com. Guardian News and Media Limited. Retrieved 6 June 2016.
Jump up ^ Disraeli, Benjamin (1826). Vivian Grey (1853 version ed.). London: Longmans, Green and Co. pp. 263–5.
Jump up ^ Disraeli (1853) p101-2
Jump up ^ Oscar Wilde, Selected Letters ed Hart-Davis, R Oxford University Press, 1979, p95
^ Jump up to: a b c d e f Frankel, Nicholas (2011) [1890]. "Textual Introduction". In Wilde, Oscar. The Picture of Dorian Gray: An Annotated, Uncensored Edition. Cambridge, Massachusetts: Belknap Press (Harvard University Press). pp. 38–64. ISBN 978-0-674-05792-0.
Jump up ^ The Picture of Dorian Gray (Penguin Classics) – A Note on the Text
Jump up ^ GraderSave: ClassicNote – a summary and analysis of the book and its preface (retrieved 5 July 2006)
Jump up ^ The Letters of Oscar Wilde, Merlin Holland and Rupert Hart-Davis, eds., Henry Holt (2000), ISBN 0-8050-5915-6; and The Artist as Critic, Richard Ellmann, ed., University of Chicago (1968), ISBN 0-226-89764-8 – containing Wilde's book review of Giles's translation, and Chuang Tsǔ (Zhuang Zhou) is incorrectly identified as Confucius. Wilde's book review of Giles's translation was published in The Speaker magazine of 8 February 1890.
Jump up ^ Ellmann, The Artist as Critic p. 222.
Jump up ^ Battersby, Eileen (7 April 2010). "Wilde's Portrait of Subtle Control". Irish Times. Retrieved 9 March 2011. [permanent dead link]
Jump up ^ The Modern Library – a synopsis of the novel and a short biography of Oscar Wilde. (retrieved 6 July 2006)
Jump up ^ CliffsNotes:The Picture of Dorian Gray – an introduction and overview the book (retrieved 5 July 2006) Archived 19 March 2012 at the Wayback Machine.
Jump up ^ Symon, Evan V. (14 January 2013). "10 Deleted Chapters that Transformed Famous Books". listverse.com.
Jump up ^ "Differences between the 1890 and 1891 editions of "Dorian Gray"". Github.io. Retrieved 25 December 2013.
Jump up ^ Lawler, Donald L., An Inquiry into Oscar Wilde's Revisions of 'The Picture of Dorian Gray' (New York: Garland, 1988)
Jump up ^ "The Picture of Dorian Gray – Oscar Wilde, Nicholas Frankel – Harvard University Press". Hup.harvard.edu. Retrieved 30 May 2011.
Jump up ^ Alison Flood (27 April 2011). "Uncensored Picture of Dorian Gray published". The Guardian. London. Retrieved 30 May 2011.
Jump up ^ "Thursday: The Uncensored "Dorian Gray"". The Washington Post. 4 April 2011. Retrieved 30 May 2011.
Jump up ^ Wilde, Oscar (2011) [1890]. Frankel, Nicholas, ed. The Picture of Dorian Gray: An Annotated, Uncensored Edition. Cambridge, Massachusetts: Belknap Press (Harvard University Press). ISBN 978-0-674-05792-0.
External links[edit]
Wikisource has original text related to this article:
The Picture of Dorian Gray
Wikiquote has quotations related to: The Picture of Dorian Gray
Wikimedia Commons has media related to The Picture of Dorian Gray.
Replica of the 1890 Edition & Critical Edition at University of Victoria
The Picture of Dorian Gray to read on line on bibliomania site.
The Picture of Dorian Gray Audiobook on YouTube
The Picture of Dorian Gray (13-chapter version) at Project Gutenberg
The Picture of Dorian Gray (20-chapter version) at Project Gutenberg
The Picture of Dorian Gray public domain audiobook at LibriVox
The Picture of Dorian Gray title listing at the Internet Speculative Fiction Database
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Oscar Wilde's The Picture of Dorian Gray
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Dorian Grays Portræt (1910)
The Picture of Dorian Gray (1913)
The Picture of Dorian Gray (1915)
The Picture of Dorian Gray (1916)
The Picture of Dorian Gray (1917)
The Picture of Dorian Gray (1918)
The Picture of Dorian Gray (1945)
Dorian Gray (1970)
The Picture of Dorian Gray (1976)
Dorian Gray (2009)
Adaptations
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Seminal works
Historia von D. Johann Fausten (1587 chapbook)
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Prose
"Bearskin"
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Melmoth the Wanderer (1820)
"The Devil and Tom Walker" (1824)
St. John's Eve (1830)
Auriol (1844)
Chasse-galerie (1892)
The Sorrows of Satan (1896)
Exploits and Opinions of Dr. Faustroll, Pataphysician (1898)
The Master and Margarita (1929–40)
Mephisto (1936)
The Devil and Daniel Webster (1937)
None but Lucifer (1939)
Doktor Faustus (1947)
The Devil in Velvet (1951)
The Year the Yankees Lost the Pennant (1954)
Gimmicks Three (1956)
The Devil to Pay in the Backlands (1956)
That Hell-Bound Train (1958)
For a Breath I Tarry (1966)
The Damnation Game (1986)
Eric (1990)
The Devil's Own Work (1991)
Jack Faust (1997)
Johannes Cabal the Necromancer (2009)
Plays
Gretchen (1879)
Will Success Spoil Rock Hunter? (1955)
The Black Bonspiel of Wullie MacCrimmon (1965)
Temptation (1986)
Operas
Faust (1816, Spohr)
La damnation de Faust (1846, Berlioz)
Faust (1859, Gounod)
Mefistofele (1868, Boito)
Le petit Faust (1869, Hervé)
Faust and Marguerite (1855, Lutz)
Faust up to Date (1888, Lutz)
Doktor Faust (1916–25, Busoni)
Doctor Faustus Lights the Lights (1938)
The Rake's Progress (1951, Stravinsky)
Reuben, Reuben (1955)
Historia von D. Johann Fausten (1994)
Faustus, the Last Night (2006)
Classical music
Gretchen am Spinnrade (1814, Schubert)
Faust Overture (1840, Wagner)
Grande sonate 'Les quatre âges' 2nd movement "Quasi-Faust" (1847, Alkan)
Scenes from Goethe's Faust (1853, Schumann)
Part II of Symphony No. 8 (1906–07, Mahler)
Faust Symphony (1854–57, Liszt)
Mephisto Waltzes (Liszt)
Gothic Symphony (Brian)
Bagatelle sans tonalité (Liszt)
Other music
Albums
Epica Saga
Epica
The Black Halo
Beethoven's Last Night
The Black Rider
Songs
"Mephisto Polka" (1859–85)
"Cross Road Blues" (1936)
"Sympathy for the Devil" (1968)
"Friend of the Devil" (1970)
"Bohemian Rhapsody" (1975)
"The Devil Went Down to Georgia" (1979)
"Faustian Echoes" (2012)
"The Mephistopheles of Los Angeles" (2015)
Films
Faust and Marguerite (1900)
The Damnation of Faust (1903)
Faust and Marguerite (1904)
The Student of Prague (1913)
Rapsodia satanica (1915)
The Student of Prague (1926)
Faust (1926)
The Devil and Daniel Webster (1941)
Alias Nick Beal (1949)
The Legend of Faust (1949)
Beauty and the Devil (1950)
Marguerite de la nuit (1955)
Damn Yankees (1958)
Faust (1960)
Bedazzled (1967)
Doctor Faustus (1967)
El extraño caso del doctor Fausto (1969)
Mephisto (1981)
Doctor Faustus (1982)
Oh, God! You Devil (1984)
Faust (1994)
The Master and Margarita (1994)
Bedazzled (2000)
Faust: Love of the Damned (2001)
Fausto 5.0 (2001)
I Was a Teenage Faust (2002)
Shortcut to Happiness (2003)
Faust (2011)
Television
Episodes
"The Devil's Hands Are Idle Playthings" (2003)
Other
The Devil and Daniel Mouse (1978)
Musicals
Damn Yankees (1955)
Randy Newman's Faust (1993)
Success! (1993)
Faust (2003)
Other
Paintings
Faust (ballet) (1848)
Gods' Man (1929)
Faust (manga) (1950)
Doctor Faustus (comics) (1968)
Faust (Avatar Press) (1987)
Category
Authority control
WorldCat Identities
BNF: cb11959847x (data)
GND: 4130762-8
LCCN: n80070830
SUDOC: 027591492
VIAF: 186701310
Retrieved from "https://en.wikipedia.org/w/index.php?title=The_Picture_of_Dorian_Gray&oldid=865401624"
Categories:
The Picture of Dorian Gray
1890 British novels
1890 fantasy novels
1890s LGBT novels
British Gothic novels
Debut novels
Novels first published in serial form
Victorian novels
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Irish novels adapted into films
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Hidden categories:
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