Hollywood can do what it pleases when it obtains the rights to published works. So, here we have a good comedy-romance that is based upon a great comedy-satire written by Oscar Wilde. It's not really proper to call this 2002 movie, "The Importance of Being Earnest," a "version" or an adaptation of Wilde's original work. For, while it has the same name, this film has changed the focus, gist and essence of Wilde's play.It does follow a similar plot, but has some major additions. It has segments of original dialog. But it loses its bite and running humor by the breaks from dialog and insertions of other scenes. So, the humor here is in a combination of some of the original script that is kept, and some added scenes. The latter include Algy arriving at Jack's country estate by hot air balloon; Algy fleeing debt-collectors in two scenes; and Gwendolen getting a tattoo on her buttocks. These scenes are modern twists that divert the focus from a satire of the time, and turn it into laughs to support a modernized romantic comedy. As I said, this film is somewhat entertaining from that standpoint. But, movie buffs should not go into this film looking for a poignant satire of England's high society of the late 19th century. This 2002 movie has just a thread of the farce. But its many additions and much revision mostly turn those snippets of dialog into individual funny lines or shots at laughter. They no longer have the bite of farce or satire.The cast of this film has some wonderful actors. Among them are Colin Firth, Rupert Everett, Judy Dench, Tom Wilkinson, Anna Massey and Patrick Godfrey. Most do very well in their comedy roles. The two young female roles by Frances O'Connor and Reese Witherspoon are just so-so. Most modern viewers will enjoy this film. But, those who enjoy Wilde, works of wit and farce, or other literary works should find the 1952 film of "The Importance of Being Earnest" most enjoyable.

This sad disappointment of a movie is what happens when you gather a group of top-notch actors together, give them one of the wittiest and funniest plays in the English language, and then put them under the direction of a film-maker who does not trust his material (which is a shame) and who furthermore believes that by tweaking it he may "improve" on it and render it more palatable for modern audiences (which is a scandal).To do director Oliver Parker some justice, "The Importance of Being Earnest" is a lighter-than-air comedy of social mores and is -- in its very essence -- not cinematic, but theatrical, as was its creator, Oscar Wilde. The witty absurdities tossed off by Wilde's characters can only truly become airborne in a theatrical milieu. An attentively listening theater audience engages in a sympathetic act of complicity with the actors on stage, one in which "the delighting ear outstrips the wicked tongue." But a movie camera is an eye, not an ear; it cannot provide the necessary complicity that would allow Wilde's arch dialogue to levitate. Robbed of that complicity, the characters die and the dialogue falls flat. Perhaps it is too much to expect this play ever to be given a 100% successful cinematic make-over.Parker cannot be faulted for trying to translate this play into a cinematic medium; he is, however, guilty of ham-handed 're-writes,' unnecessary excursions, ill-considered excisions, and a feckless attempt to jam his cast into cinematic "dress" that doesn't fit them and that leaves them looking foolish.Watching this film, I felt badly for all the fine actors ensnared in it. I'm betting Judi Dench has a superb Lady Bracknell somewhere in her... but it isn't on display here.My advice is to skip this movie if you're considering seeing or renting it. Try the much better '52 Anthony Asquith movie with an amusingly rebarbative Edith Evans at the top of her form.

"The Importance of Being Ernest" requires quite a bit of patience to endure it's first half or so until it more or less redeems itself with a quite entertaining second. Yes the earlier parts seem random hit and miss scenes with little motivation and rambling. However it begins to come into focus more, and a strong ensemble cast for the most part carries the movie in an undeniably British way even with Witherspoon along for the ride so to speak. Judi Dench hits her part right on as she does so well as a duchess type queen-bee bossy and befitting as ever. With the whole cast together for the last 20 min, the director, writers, and film-makers pull the movie up charmingly. So this comedy of destiny and family is a bit of mix, but overall on the good side of things....worth a look.

I seldom comment on these things, and even more rarely to express disapproval, as art is always difficult, and one wants to commend the attempt...but, long-term fan of the writer though I am, I found myself in parts of this wondering if Oscar Wilde was really as funny as I had always found him. But of course he is. ( Why, Pacino and company found rich depth of humor in Salome...I had never even suspected...) The fault here lies with the filmmakers, and rests most particularly with Mr. Parker's curious decision to confine his attempts to be funny to self invented scenes of tattooing and ballooning and such, and play most of the actual Wilde as a drama. The line readings are slow, the Polonius light character of Lady Bracknell is given to Judi Dench, an actor of tremendous gravity, the basket scene is played as if it were the unmasking of Oedipus - I kept expecting references to pinioned feet. I haven't even mentioned the anachronistic song number, which wouldn't have worked even had the piece been set in the twenties. Just appalling.I shouldn't complain, I suppose. The piece does have a curious, unintended virtue. The actors, in playing for subtext, and meaning (Lady Bracknell understands the personal transformation Firth intends to symbolize speaking of the death of Bumbury, as she looks deeply into Firth's eyes...I am not making this up), in playing for depth...render Wilde's piece completely clichéd and superficial. It's much deeper as froth. As an interpretation of Wilde's play, "The Importance of Being Ernest" is an utter failure. But as an illustration of certain of his aesthetic theories, it's priceless...