Oscar Wilde's exquisite comedy/play, which is also a remake (after the 1947 version from Alexander Korda). adapted by Oliver Parker (whose filmography is noteworthy for other play- turned films such as OTHELLO 1995 and another Wilde's masterpiece, the remake of THE IMPORTANCE OF BEING EARNEST 2002). I'm quite aware of my personal inclination over the glittering cast (a combo with British, American and Australian) may overweigh the intricate screenplay and laudable wisecracks, which turns out to be that it can effortlessly appease my expectations. As I haven't read the original book, I assume it's Wilde himself who should take most of the credit. On the other hand, the dexterity of Mr. Parker's talent should not be overlooked. The satirical overtone of the British milieu is undeniably gratifying judging by the taste of a foreign audience, all the twists thoroughly converge into the pyramidical outburst and unleashes a feel-good sensibility which is smooth but hasty, running at a length of a meagre 97 minute, the sparks is penny-pinching.One sure thing is that the competent cast manipulates a wonderful rendition against the sketchy arrangement, the first time of two of my goddess Moore and Blanchett star in the same film (a second time is a sadly under-appreciated THE SHIPPING NEWS 2001, in which they are two parallel lines), the magnificent good Vs. evil collision alone worths the ticket, Moore unstoppably exudes her elegant malignancies in each frame, dominates the entire picture under her grip despite of her not-so-packed screen time. And Blanchett, on the contrary, hides her lioness prowess and accomplishes an easier job as the forthrightly guileless Lady Gerturde Chiltern. Another victory comes from Lord Arthur Goring, who is winningly played by a chiseled Rupert Everett, he is utterly suitable. But Jeremy Northam and Minnie Driver's roles are tedious and uncanny respectively, forgive my taste and frankness, the latter falls short of appeal from any respect in my humble opinion. I give the film an 8/10, a little bit overrated I must say, but I could not resist the pure charisma from the dynamic verbal battles, especially in a language which I am able to understand.

Unlike other Victorian films of the '90s (Emma - Gwyneth Paltrow) An Ideal Husband holds up very nicely. Much of the appeal of a first viewing comes from watching a perfectly cast Rupert Everett traipse through Oscar Wilde effortlessly. Ensuing viewings reveal that both Blanchett and Northam assay their characters quite finely also; although their scenes together are really almost too much to bear without rolling ones eyes ("Love me Gertrude! Love me!" "Hold me Robert..!"). Blanchett, although plain, becomes increasingly beautiful as she inhabits Victorian trappings and mores, while trying to hold it all together. As she strives to accommodate all sorts of conflict she grows more and more winsome. The narrative lets her and Robert off the hook. In a bit of ethical dissonance, we're meant to feel that gluing the two back together (in upper class splendor) is more important than reckoning with the loathsome, traitorous source of Robert's wealth, and Gertrude's social standing. They're quite a pair of hypocrites. Ah well, it's the convention of light comedy to share their delusion, and devalue such things.Well past the resolution of the major conflict, the movie lingers over some glorious, goofy moments in the Chiltern mansion. You may wonder why the movie stays so long, but the scenes are there to resolve a secondary plot line. They're droll and underplayed wonderfully. Just about every scene of Minnie Driver and Rupert Everett bantering is a gem; with some subtle face work and reactions. This coda is also shot & pieced together nicely, with even the camera placement being thoughtful and funny (A vain Minnie Driver steams past the camera to await a proposal behind a palm tree. Everett and his disapproving father depart the screen symmetrically off either side. heh he he.. good stuff.) Whenever I think I bought this movie in a moment of weakness, I pop it in and it always makes me laugh out loud.

Jeremy Northam is "An Ideal Husband" who's about to get his clock cleaned by Julianne Moore in this gorgeous rendition of Oscar Wilde's play, also starring Rupert Everett, Cate Blanchett, and Minnie Driver.Northam is Sir Robert Chiltern, happily married to his lovely and adoring wife, Lady Gertrude (Blanchett) and guardian to his unmarried sister Mabel (Driver). He is in Parliament and opposed to an Argentine canal project. Then he is visited by Mrs. Laura Cheveley (Moore) who tries to blackmail him into approving the project. She knows how he gained his wealth and position. If his wife finds out, she'll be devastated. In desperation, he turns to his bachelor friend Lord Arthur Goring (Everett) for help. Goring attempts to help, and for a while, it looks like he made things worse.This witty comedy is given wonderful direction by Oliver Parker, and the production is sumptuous. The actors all underplay, letting the brilliance of the material come through. Especially funny is the scene where everyone is in a different room of Lord Goring's house, with no one aware that the other is present. Most times, you'd see a scene like this with the host a frazzled mess, running around, trying to keep everyone quiet and hidden. Here, Everett never changes his expression and is unflappable, making the situation funnier.Highly recommended as the way a classic play should be filmed.

Parker's adaptation follows the tradition of source author Wilde: the glamour, grace, charm and delight of moneyed society mask a viper's pit of self-interest, and personal and political manipulation. Rupert Everett is born into roles of this period and provenance with his chiselled charm and diverting ease with women and men alike. The trio of women with whom he consorts as if they were, alternately, courtesans and diplomats, are superb. Julianne Moore and Cate Blanchett might be relied on to be delicate but deadly damsels but I was pleased to see that Minnie Driver could not only hold her own but also create and occupy a different role from the other two.This is not a one-trick picture with people simply being suffocatingly courteous and then sticking in the knife but populated with real characters creating a real sense of a fragile surface patina to their behaviour, as at risk as the more substantial lives which it represents. Parker directs with a discreet hand and the production is beautifully designed. 6/10