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Movie Title: An Ideal Husband
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“An Ideal Husband,” while not entirely faithful to the Oscar Wilde play of the same name, is an luscious period film with plenty of mercurial dialogue, good actors and stunning costumes and station pieces.

Sir Robert Chiltern (Jeremy Northam) seems to have it all — a flourishing career in Parliament, his fine and perfect wife Lady Gertrude (Cate Blanchett), and the universal respect given to a man with a perfect reputation. He has a vivacious sister (Minnie Driver) and is pals with a charming, womanizing, ironic and very bored playboy, Lord Goring (Rupert Everett) .

But when a definite Mrs. Cheveley arrives in London from Vienna, things purchase a sudden turn for the worst. Charming and cultured, she’s also devious and cold-blooded. And worst of all, she has Robert’s dirty microscopic secret, a financial scam from years ago. She’ll give him the proof of his misdeed, but only if he sacrifices his principles and supports the Suez Canal motion. Otherwise, she’ll form the letter public and smash his marriage and his career. It’s up to Lord Goring to procure his pal out of distress…

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“An Ideal Husband” is an delightful and witty play, with a location that twists legal up to the final scenes and a genuinely romantic subplot. (As an extra bonus, we observe the characters watching the play “Importance of Being Earnest” — another Wilde play) The observe of morality, payback for one’s sins, and the power of words is worthy more racy than the typical period-dress drama.

The script is quite well-written, well-paced except for a few exceptions. In one early scene Everett rattles off a few witty phrases; the predicament is that they feel strung together and flung out honest to exhibit “Seek? This is a witty, ironic movie!”. Oscar Wilde’s witticisms should not be delivered in a monotone. The costumes are pleasing, simply dazzling, but thankfully never overwhelm the actors. Cate Blanchett’s gowns in particular are beautifully-made. The interiors, furniture and costumes are all very detailed in the manner of “Age of Innocence.”

Jeremy Northam is quite fine as Robert, a guy torn between self-preservation and his acquire scruples; Cate Blanchett is outstanding, giving her character evident flaws while making her entirely, completely sympathetic. Rupert Everett has some flat moments, especially approach the beginning (he also has zero chemistry with Driver), but overall is acceptable as a clever playboy whose ambition is to finish nothing at all. Julianne Moore is well-behaved as well, making Mrs. Chevely utterly slimy and charming. Minnie Driver is a scrape, though. She seems to be completely befuddled by her historical dialogue (her witty lines tumble completely flat and none of them seem natural, like Blanchett’s are) and moves like a too-quick puppet.

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No person is perfect, and the movie isn’t either. But Blanchett, Moore and Northam are splendid and the movie is a visual feast. A great diversion.

One may wish to peruse this movie many times, for there are witticisms galore, so considerable so that one can hardly withhold up with them. While laughing at one, another takes region, and so on. The dialogue is glittering.

This is the greatest production of an Oscar Wilde play I have ever seen, and leaves me on pins and needles waiting for the release later this year of The Importance of Being Earnest because it also stars an actor who seems born to design in Wilde’s plays/movies: Rupert Everett.

The performances: astonishing all. Rupert Everett’s work nears the genius level. Jeremy Northam as a not-so-perfect parliamentarian is tremendous. John Wood as his father stands out. And there are the ever-so-essential ladies: Cate Blanchett as Northam’s wife (would you possess she is Australian? ), who believes she has a perfect husband. Julianne Moore as one of the most charmingly heinous women ever to grace the mask (would you enjoy she is from North Carolina? ), and the very strong presence of Minnie Driver (yes, she actually is from England) . All together, they earn an effervescent champagne of a film.

The perfect come by out they are not so perfect. The expecters of perfection gain out they themselves are also not so perfect. Adore finally lowers its standards to include the imperfection of the beloved. Even the loser at evildoing turns out to have an unexpected side to her. This is the film’s theme. The actors and the director of this film, however, ironically bring this film stop to, if not at, the peak of perfection.

The final scene is an ode to joy. Survey it and have fun!

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