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Plot: In a cheap Parisian hotel room Oscar Wilde lies on his death bed. The past floods back, taking him to other times and places. Was he once the most famous man in London? The artist crucified by a society that once worshipped him? Under the microscope of death he reviews the failed attempt to… Runtime: 105 min Release Date: 10 Oct 2018
Unbelievably fantastically made movie!!! (by AngelynBlanche)
I hope Rupert Everett will get all possible awards Like I hoped for 3 Billboards last year : He played, directed and wrote the skript. Took 10 years. But the way its all done! I am in love. His first movie - like first love - raw and real and true and deeply personal. And no fashionable, self-loving "make up" "adv commercial" reality. Watch on big screen. And last words on black screen will put everything in even bigger prospective.P.S. You will not recognize him, though he is playing with no prosthetics.
Extraordinary (by blauregenbogen)
A masterpiece made and performed by Rupert Everett. Fabulous,they way of such a great writer. Such shame ,not every Cinema show that movie
indulgent and sumptuous decay (by manschelde-1)
A sumptuously indulgent piece of slow work. If you appreciate Wilde, it is a very satisfying and deserves repeated viewing. Atmospheric and moving, it may not be historically accurate on all details, but the essence of the story is credible. I have no doubt that this is Rupert Everett's best work. He inhabits the role, dripping with decay and putrefaction at the end, glistening in flashbacks. Whatever the truth, the mixing of the words from the Little Prince into the narrative ties it together well. Compelling performances from the male actors, Edwin Thomas, Colin Firth, Colin Morgan. One <more>
can whine about some technical aspects, but doing so won't detract from the experience.
Everett's Oscar is an Oscar-worthy performance (by MOscarbradley)
Rupert Everett was born to play Oscar Wilde, at least the older Wilde, Everett is now 59 . I'd already seen him play Wilde on stage, magnificently, in David Hare's "The Judas Kiss"; now he has written and directed the film "The Happy Prince" which deals in large part, it's mostly told in flashback , with the period after his release from Reading Gaol. He, of course, takes on the role of Wilde once again and gives the kind of performance that should get him an Oscar of a different kind.This is no vanity project but one full of passion and love of his subject. <more>
He gives us an Oscar that is vain, glorious and in the throes of the most terrible pain; this is an Oscar warts and all. He dominates every frame of the picture but has also assembled a superb supporting cast. Both Colin Morgan as Bosie and Edwin Thomas as Robbie Ross are splendid but so too are Emily Watson as Constance, Colin Firth as Reggie Turner, John Standing as his doctor and Tom Wilkinson as the priest who gives him the last rites. These may amount to nothing more than cameos but what glorious cameos they are. This is an actor's piece and no mistake.However, for a work that is primarily literary and for a first-time director Everett also displays a very keen visual eye. This is a handsome period piece but far from a stuffy one. Everett manages to capture the flavour of Oscar's rise and fall beautifully. Here is a film that is heartbreakingly sad and strangely uplifting at the same time, a real testament to Wilde's genius, it's certainly the best Wilde movie to date , and one of the best LGBT-themed films of recent times. Unmissable.
Oscar Wilde's 'afterlife' - bravo, Rupert Everett (by davidgee)
There have been three excellent previous screen versions of Wilde's fall from grace, but THE HAPPY PRINCE outshines them all.Pre- and post-Fall are interwoven. Oscar tells 'The Happy Prince', his dark Grimm fairy story, to his children in flashbacks from Paris, where he also tells it to a couple of street kids who have become the children of his exile although the older brother is also his rent-boy. Bloated and dishevelled, the old Oscar still has the appetites which sent him to prison. And he still loves Lord Alfred Douglas, who joins Oscar in a villa in Naples with more <more>
rent-boys in Naples for a few bickering months. Robbie Ross Edwin Turner and Reggie Turner Colin Firth are the last London friends who offer loyalty and handouts.Everett's Wilde is as poignant as Stephen Fry's but even more pitiable as poverty and ill-health overcome him. Colin Morgan gives 'Bosie' his prettiest incarnation since John Fraser in 1960. Emily Watson shines in brief scenes as Oscar's wife Constance, also forced into exile by his disgrace. Tom Wilkinson contributes a vivid cameo as the priest brought to Oscar's hotel deathbed. The famous lines about the wallpaper and 'dying beyond my means' are not forgotten; and Everett has scripted a few one-liners Oscar would happily steal the credit for.The final scenes almost certainly take liberties with the facts, but they add an operatic grandeur to the 'Last Act'. Rupert Everett's long struggle to realise this project is a splendid homage to the tragedy of the 'comeback' that was Wilde's greatest drama, his greatest tragedy. The movie deserves to be garlanded with awards: an Oscar for Oscar!
Congratulations, Mr Everett - you have arrived (by hobbittall)
Rupert Everett is Oscar Wilde, and Oscar Wilde is Rupert Everett. This labour of love was worth its labour. At last, dare I speak it, men who love men - and others with an open mind - can see a realistic depiction of Oscar Wilde's post-incarceration period without the previously obligatory sentimental apologies to society. His end wasn't just tragic but both tragic and joyous, set in non-Anglo locations where for the most part he was able to escape the psychopathic self-loathing homophobic Anglo condition that still exists in various forms to this day . That condition is briefly and <more>
brutally depicted in one of the few scenes set in Britain. The fresher, less cynically abusive and non-bullying Continental sensibility is rendered beautifully in such characters as the street urchins and other smaller roles, such as, Oscar's uniformed admirer, Maurice, who appears silently in a number of scenes. On this note, the private party scene in Naples is a howler. The expected Wilde witticisms are, as always, a delight, yet so too are the Wilde-esque additions. The acting is superb, locations and sets wonderfully evocative and score unnoticed which is the highest compliment . While it is always a pleasure to see more of Emily Watson, her character, Constance, Oscar's estranged wife, did not need more screen time in this story, as some critics have suggested; although her decisions had serious repercussions, her role in Oscar's life during this period, was minimal. The script and pacing have also been criticised by other reviewers, and while this may be valid to some degree, it personally did not detract from my viewing experience. As every sensitive Anglo boy knows, you shouldn't read the story "The Happy Prince" when others are around lest they see your tears and persecute you for them. Thank you, Rupert. A very real portrayal for people who 'understand'.
This was an absorbing tale largely because I hadn't a clue about Wilde's last days. The acting was excellent, each actor delivering a completely believable naturalistic turn. Despite the great support acting if the lead, Rupert Everett almost unrecognisable hadn't been so completely absorbing it could have been dire. He was remarkable, managing the multiple tones and moods Wilde goes through. A tale of sadness and joy and redemption. Such an interesting movie.
A story worth telling (by ian-1701)
I was unsure whether a film about his last years was a story worthy of telling. I was wrong. The genius known as Oscar Wilde had more than his fair share of flaws. This is laid bare in his final story.
Arresting and heartfelt (by hughrcarson)
Oscar Wilde cuts something of a forlorn tragic figure in Rupert Everett's excellent biopic, The Happy Prince.Personal treatment that Wilde deems to have been hugely unjust has built up much resentment in the heart of this once so carefree flamboyant wordsmith.Consequently exiled to the shores of France and then further afield, he lives out his final years begging for handouts and favours from those he knows and loves. Those, that is, that haven't turned their back on the now disgraced writer.Everett's film focuses upon a man whose incarceration and subsequent humiliation on <more>
charges of sodomy and gross indecency - following his lewd bordering on nefarious behaviour in the eyes of the law - have left him near destitute; a far cry from the opulent lifestyle that once he had led.The Happy Prince is built loosely around Wilde reciting his fairy tale of the same name to both his own biological sons - during happier married times - and latterly on his death bed to the rag tag 'family' of young urchins that he had befriended.Wilde - under his newly acquired guise of Melmoth - has a kind of morbidly humorous fascination with both the hopelessness of the predicament in which he now finds himself, and with the plethora of men that continue to fawn over him.A period piece The Happy Prince may essentially be, but there's a strongly contemporary feel to the film's at times bewitching cinematography, switching neatly and expertly by way of multiple rapid cross fades between Wilde's past and present in an effort to build a picture of - and emphasise the massive disparity between - 'now' and then.Everett's stupendous performance as Wilde is both arresting and heartfelt, whilst there are meaningful contributions from Colin Firth as Wilde's good friend Reggie, and from Colin Morgan and Edwin Thomas as Bosie and Robbie, respectively, the two mainstays in Wilde's love life who continue to compete fiercely for his attentions, and between whom there is absolutely no love lost.As for Emily Watson's portrayal of Constance, as solid as it is, one can't help but think that it remains a little peripheral to the film's narrative at times. Perhaps Everett could have made a little more of the clearly strained relationship that had existed between the two, and the impact that this had had upon their children?It seems that Wilde was indeed harshly dealt with, and laws or no laws, would have had rightful justification to feel aggrieved at his treatment at the hands of the rather puritanical overreaching government of the time.That said, Everett's film seems intent to paint Wilde not as some sort of saintly martyr, but as a charming but deeply flawed man with a propensity for making poor life decisions. A man who had flown too close to the sun, and who perhaps had been more than a little guilty of using and abusing those that knew and loved him so much for his own personal gain.The Happy Prince, whilst at times cheeky and playful in its outlook, never strays too far from its melancholic roots in its elegantly crafted, poignant regaling of the final days of the late great Oscar Wilde.