Wordplay and situation comedy rule in this 1952 Anthony Asquith adaptation of the Oscar Wilde (1854-1900) play satirizing the marriage and social customs of the English upper crust of the 1890s. All the cast members perform wonderfully, but it is Dame Edith Evans who most engages the audience as snooty Lady Bracknell. Dressed in gaudy Victorian laces and a hat growing a garden of flowers, she turns the queen's English into windy tirades in which every syllable becomes two and parallel sentence structure becomes a lethal weapon. Of her nephew, she says, "He has nothing and looks everything." Of a family that boasts three residences but still comes a-cropper, she says, "Three addresses always inspire confidence, even in tradesmen." Lady Bracknell unwittingly epitomizes a central motif in the film -- and, of course, in the Wilde play -- when she disingenuously criticizes the aristocracy's preoccupation with appearances, "We live in an age of surfaces." Michael Redgrave and Michael Denisor sprinkle zesty wit into their performances as suitors vying to be called Earnest in order to win the hands of their ladies fair, two featherbrains portrayed with charming stupidity by Joan Greenwood and Dorothy Tutin. Meanwhile, roly-poly Canon Chasuble (Miles Malleson), who is given to napping at his desk under a kerchief, woos Miss Letitia Prism (Margaret Rutherford), tutor to one of the featherbrains. Once upon a time, Miss Prism mistook a baby for a book manuscript and placed the poor little chap in a handbag in a railway station and the book in a baby carriage. The fates of all the central characters depend on Miss Prism's recollection of that unfortunate incident. All in all, this is a delightful film that succeeds magnificently with nary a hint of violence or untoward behavior.