I’m curious how the original writer would react to this adaptation. It’s undeniably crude and vulgar, which might have appealed to him, but it also lacks subtlety – something I suspect wouldn’t have entertained him as much. The film immediately establishes a very early seventies aesthetic, featuring Helmut Berger in the lead role—he's blond, handsome, and indulging in a life of excess. When he poses for "Basil" (Richard Todd), the resulting portrait is flawless; so taken by his appearance, he impulsively proposes to bargain away his soul to preserve that image forever. What follows is a story about a man who appears beautiful on the surface but becomes increasingly grotesque beneath it. He’s clearly aware that as his lifestyle and character deteriorate into something unpleasant and, frankly, corrupt, his likeness in the now-hidden canvas also grows uglier and more distorted. His companions are unable to prevent this downward spiral, even those who desire to do so—this includes the decadent homosexual "Lord Wotton" (Herbert Lom), nor some of his less appealing female acquaintances—Isa Miranda ("Mrs. Ruxton") and Margaret Lee ("Gwendolyn"), who effectively fan the flames of his self-destruction. Berger is a suitable choice based on appearance, but his acting feels stiff; Todd’s performance is simply lackluster – a talent he demonstrated repeatedly throughout his career. Lom occasionally elevates the film with his portrayal of the wonderfully disreputable peer, and the Chelsea style contributes to the overall tawdriness. Ultimately, it's quite uncomfortable to watch, but these narratives need to be reimagined periodically, and this contemporary (1970) adaptation, despite its shortcomings, manages to maintain the essence of Wilde’s story.

Source on TMDB