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United Kingdom, United States · 2002
Rated PG · 1h 37m
Director Oliver Parker
Starring Rupert Everett, Colin Firth, Reese Witherspoon, Judi Dench
Genre Comedy, Drama, History, Romance
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Two young gentlemen living in 1890s England use the same pseudonym ("Ernest") on the sly, which is fine until they both fall in love with women using that name, which leads to a comedy of mistaken identities...
Hearing Wilde's pithy lines in her mouth -- ''London society is full of women of the very highest birth who have, of their own free choice, remained 35 for years'' -- is worth the ticket price. In the end it's Dench who reminds us of the importance of enjoying Oscar Wilde.
This may be a less than ideal “Earnest,” but it still has delights, not least of all Anna Massey’s Miss Prism, Cecily’s dotty tutor, and Tom Wilkinson’s Dr. Chasuble, her clergyman admirer.
Washington Post by Desson Thomson
The real importance of "Earnest" is the thrill of brilliant repartee. And as we laugh, an amazing thing happens: Oscar Wilde comes alive.
Baltimore Sun by Michael Sragow
These actors have a firm playful grasp and a palpable affection for their characters' befuddled dignity and attraction. They understand what Wilde meant by the importance of being earnest.
San Francisco Chronicle by Mick LaSalle
The result is a frustrating, boring mess.
New York Magazine (Vulture) by Peter Rainer
Parker "opens up" a play that was perfectly wonderful closed down. Wilde subtitled his masterpiece "A Trivial Comedy for Serious People." This movie seems intent on being a trivial comedy for trivial people.
Rolling Stone by Peter Travers
Everett, whose scenes with Firth are a droll delight, nails every sly laugh. And Witherspoon adds her own legally blond American sparkle to this British party.
A comedy in the last century and a drama in the new one. At least, that's the dumbfounding impression left by writer-director Oliver Parker's utterly miscalculated film adaptation of Wilde's play.
Chicago Sun-Times by Roger Ebert
The important thing about "The Importance" is that all depends on the style of the actors, and Oliver Parker's film is well cast.
The film seems content with the more modest ambitions of a romantic comedy, albeit one with unusually potent wit and intricate construction. The old Ealing could never have afforded Parker's deluxe treatment of the material; the new Ealing seems to have forgotten the benefits of economy.
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