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  • A solid biopic about Oscar Wilde with a terrific Rupert Everett in the leading role. A great transformation not only physically but also his whole mechanisms as an actor are totally redefined. I would not be surprised if his performance as legendary poet and playwright Oscar Wilde will actually get him Oscar attention next year. Its definitely a performance they soak up and adore. The film itself was fine, but nothing to write home about. I had some troubles with Rupert Everett's direction actually. It could have been better set up and the narrative was a bit weird at times. Performance wise it was not only because of Everett's undoubtedly great performance good. Emily Watson shines as his estranged wife but I had hoped she would have more screen time as she really lived that character and although the screen time was limited she really shined in all of her scenes. Colin Firth was good as well and took care about some comedic relief in a at times too dry biopic. The score was good and the cinematography fine - offering a lot of beautiful sceneries. Definitely worth to check out for the performance and if you are a fan of Wilde himself as they depict him and his work and language just well.
  • 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. 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.
  • 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.
  • Warning: Spoilers
    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 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!
  • 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.
  • If you are an admirer of Rupert Everett, you must see this film. if you are one of admirers of Oscar Wilde , you must see this film. I admit, I am both. Oscar Wilde was one of familiar names across my childhood for his tales. at first moment, I saw the title of film and the suggestion than it represents an adaptation of the tale with same title was the first temptation. Rupert Everett was a discover from the "90 's . and one who I admire role by role. so, ambiguous expectations , tensioned in part. from the actor. but, more, from the director. and "The Happy Prince" was the perfect answer to each of expectations. I saw it with not real comfortable feelings. because the adaptations of Oscar Wilde life are many and, for me,Stephen Fry was the ideal Oscar Wilde. I discovered the film after I was read the last lines of Peter Ackroyd "The last testament of Oscar Wilde". and I discovered seeng the film not only the images of book, but the subtle and precise and seductive force of Rupert Everett talent, not exactly a revelation but a clear win in a not comfortable battle. I discovered the traits of Constance Hollande in the fine and nuanced and wise performance of Emily Watson. and a Bossie who give to me confirmation about the art of Colin Morgan. after its end, an only thought - the director could be better. the lead actor did an admirable work. and the cinematography is real great. so, "The Happy Prince".
  • Sorry to dampen your spirits. I wanted to like this film a lot but it fails to excite. Fails to ignite and in the end feels like a muddled wet blanket excuse for a movie making experience. Hey, the scenery, the camera work and attention to detail is great. Very evocative. The actual story and editing is less so. It strikes me as the type of film a real enthusiast for Oscar Wilde would make as a homage to the man and then struggle through heaps of revisions and funding cuts and criticism from various studios to get it made and then at the end - prove that the critics were right. It's not very good because the writer's vision splendid didn't really cut through or know what it sought to portray except to say - "I love Oscar Wilde!" Because in the end, we as passive viewers don't really care about Oscar at all. Towards the end of the film, I turned to my wife and whispered to her that this film despite its best impulses, actually damns Oscar Wilde as a self indulgent narcissist. A prat by sheer accident. I don't think that was the intention of the film-makers! She agreed. No real insight to the creative spirit of the man and she lost interest and went to bed. The trailer looked terrific but the movie despite it's best endeavours to immortalise the man - actually makes you lose all sympathy for him and strangely you feel unmoved by his predicament at the end.
  • A masterpiece made and performed by Rupert Everett. Fabulous,they way of such a great writer. Such shame ,not every Cinema show that movie
  • 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 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.
  • 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.
  • 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 can whine about some technical aspects, but doing so won't detract from the experience.
  • All credit to Rupert Everett for bringing to life his story of Wilde's final years following his exile from England after his release from prison.

    The film is never less than interesting and often fascinates but it suffers because Everett cannot fully live up to his decision to play the lead, write the script and helm the picture. He's best when acting but even this falters in some scenes with Bosie that are distinctly undercooked. The script in parts needed a tighter edit and there's only so much reflected light in the camera that you can put down to cinematic meaning making and artistic licence. Sorry Rupert - just too little butter over too much bread I'm afraid.

    However, the film is never less than distracting and Everett successfully makes Wilde the man that he was: At once irritating, outrageous but always to be loved. His performance of Wilde incited many emotions in me but I always returned to compassion.

    Worth a look!
  • thekingsdom18 October 2018
    Superb set, excellent costumes, great location, strong cast, good acting, filmed well..and yet..yet... it's just so whiny. Half way through, I began to not like Oscar Wilde! In this film, he comes over as a total alcoholic loser, rather bitchy and quite selfish. Was he like that in real life? I don't know? Was he like that in this film, yup. I think what annoyed me about this film was that it just never got going. It's just 90 odd minutes of a bloke getting off his face, bonking some men and overall being quite moany. It looks nice though!
  • This is not an easy film to review. Firstly, I suppose it has to be said that true fans of Wilde have to see it. It tells part of the author's story that usually becomes only a footnote in other biographies: Oscar Wilde, disgraced, went to France and died debauched and penniless. But a whole film of someone debauched, disgraced and dying is pretty hard to sell to an audience, however much we might be fans of Oscar Wilde. And I went to the cinema to see this with Wilde's No. 1 fan, and even he was having to make a valiant effort to appear captivated for the first hour. However, as we'd paid, we stayed, and we were glad we did when the quirky editing and slow pacing came together at the end to create some rather moving moments. Rupert Everett is 60. Oscar Wilde was 46 when he died. So however good Everett's acting was (and it was superb), it was quite hard to see him as Wilde at times. I actually think Wilde himself, narcissistic as he was, would have been slightly horrified at this portrayal. Can I recommend this film? If you adore Wilde, see it. If you love rural France and Naples and gorgeous sets, see it. But maybe wait until it's on a site you subscribe to already rather than pay cinema prices to see it.
  • "And all men kill the thing they love/ By all let this be heard/ Some do it with a bitter look/ Some with a flattering word/ The coward does it with a kiss/The brave man with a sword!" Oscar Wilde (Rupert Everett)

    Because I am a devoted fan of Oscar Wilde, I had to open this review of The Happy Prince with his famous final stanza from The Ballad of Reading Gaol. It's his wisdom for those foolishly thinking love is always benign, and it signals Wilde's own ironic awareness of his complicity in landing for two deadly years in Reading for gross indecency (homosexuality).

    The stanza also may allude to the disaster he brought the many he loved, male and female. As his first and final love, Robbie Ross (Edwin Thomas), declares, "He'll eat you."

    The Happy Prince tells of Wilde's last days after his tragic imprisonment; he is subject to taunts even from Parisians, so famous was he round the world. An "exiled fairy" he called himself. Because homosexuality was outlawed in England, it is especially ironic that the once most famous author of the 1890's should be vilified with universal shame.

    In 2017 he and other convicted sodomites were pardoned, small comfort to those of us who believe he could have had more greatness like The Importance of Being Earnest and The Ideal Husband to come.

    This film carefully chronicles Wilde's self-destructive self-indulgence, living high when he didn't have the funds and returning to the arms of Lord Alfred "Bosie" Douglas (Colin Morgan), the beautiful young man he loved, whose love cost Wilde the years in jail and everything else. Wilde himself says, "I am my own Judas."

    The recurring theme song, "The Boy I Love is Up in the Gallery," resonates with the joy and sorrow he brings to himself. Empathetic director-actor Everett also suffered professionally when he came out at the age of 25. This film, however, should bring him universal acclaim.

    That story of Wilde's life is available on film and in biography, but Everett has given us the final period not dramatically and universally enjoyed until now with a fine performance he sharpened from many years playing the doomed wit on stage, set here in Paris, Normandy, and Naples, and set production in Bavaria and Belgium.

    This Wilde is disconsolate, weary, and dissolute with not enough of his witticisms and epigrams to my liking. In fact, as seemingly realistic as it is, it is perhaps too gloomy for a general audience. But for literature and art house lovers, it's nectar.

    Somewhere in the middle of the film, Wilde says his most famous final words: "I am dying beyond my means. I can't even afford to die. This wallpaper and I are fighting a duel to the death. One of us has got to go." Wilde is arguably the most quoted author after Shakespeare, and these words show how even death by meningitis can't stop his wit.

    BTW: Research his countless epigrams-you'll spend an afternoon in bliss. These are three samples:

    "I think that God, in creating man, somewhat overestimated his ability."

    "Always forgive your enemies; nothing annoys them so much."

    "All women become like their mothers. That is their tragedy. No man does. That's his."

    Dorothy Parker gives the ultimate praise:

    "If, with the literate, I am Impelled to try an epigram, I never seek to take the credit; We all assume that Oscar said it."
  • Rupert Everett fulfils a long-held ambition here to make a film about the last days of Oscar Wilde, and in the title role he is simply terrific - he is never off the screen. To write it and direct it as well, however, is to take on too much; indeed the need for an objective view is often apparent when it comes to narrative and structure. The film starts slowly (with a dreadful cardboard cut-out of London by night that could have taken from Olivier's wartime Henry V) and it's some time before the flashbacks (and flashbacks within flashbacks) begin. Supporting performances, especially from Colin Morgan as Bosie and Emily Watson (under-used) as Constance, are excellent and the photography,(particularly in the Italian sequences) beautiful, though I found the half-shadows of the faces in the candlelight rather tiresome. I must add that, for someone who is penniless and constantly on the run, Wilde does possess a large wardrobe. There is more humour than one might expect (I won't spoil your enjoyment by quoting any of the jokes but I found the sequence where the priest (Tom Wilkinson) comes to give Wilde the extreme unction especially hilarious). Great attention is paid to the soundtrack, but why the use of Tchaikovsky's Pathetique Symphony at the end? All in all a fine effort, but I did leave the cinema strangely unmoved.
  • Warning: Spoilers
    We are, of course, blessed in England with a language in which often a single word can be made to do double duty and capture a given situation to perfection. I employ such a word in my summary where 'wild' refers not only to the focus of the film Oscar Wilde but also to his ambivalent feelings to his bete noire Lord Alfred Douglas aka Bosie, the object of Wilde's love/lust who treated him abominally and could truthfully be described as Wilde's nemesis. Rupert Everett's passion for and commitment to the project is undeniable and shines through every frame but like at least one other person writing here I was strangely unmoved ultimately and I cry at card tricks. There was in England - indeed may still be - a manufacturer of brass instruments named Boosey & Hawkes which allowed the observation that Oscar Wilde was fond of blowing his own trumpet - a Bosie & Hawkes. Bosie, it appears, was bad for Wilde in more ways than one.
  • turnedherbrain19 October 2018
    'The Happy Prince' is very much Rupert Everett's film - he scripted, plays the central role and directs. Everett has spent nearly a decade bringing his passion project to the screen, including extracting promises from friends such as Colin Firth and Emily Watson, that they would appear in his film. The drive and determination behind that has got to be admired.

    Appropriately for a film which was financed by numerous backers, the story depicts Everett as Oscar Wilde, during his years of exile and insolvency following his imprisonment. Forced to live incognito on the European continent, he's aided and abetted by still-loyal friends or former lovers, including Colin Firth, a quietly impressive Edwin Thomas, and the duplicitous, sometimes shrill Alfred 'Bosie' Douglas (Colin Morgan). More reluctantly, Oscar's estranged wife Constance (Emily Watson) initially sends him funds.

    Much has been said of Rupert Everett's performance - he's played Wilde on stage before and has also starred in film adaptations of Oscar Wilde plays. As Everett has talked about in interviews, the Irish playwright and poet, punished with imprisonment for his relations with another man, has since become an icon for the gay liberation movement.

    Oscar's eternal downfall seems to be Bosie, who initially appears in the central segment of the film, when Oscar reunites with his former lover and they live in straitened circumstances, in a rat-ridden waterside villa in Naples. This resplendent but crumbling lakeside house is an apt setting for the pair's sojourn. The audience's sympathy throughout is very much with Oscar rather than Bosie, who is - as official reviews have noted - depicted as petulant and childish. The film is acted sublimely by an ensemble cast. Photographed by the Irish cinematographer John Conroy, the on-location scenes are beautifully lit, whether they're decadent or destitute settings.

    I definitely recommend you watch the film if and when you can - it's currently on a limited run in US movie theaters. It's worth it to find out about an untold period at the end of Oscar Wilde's life, once the gilt has faded and cracked, and the bon vivant is tarnished.
  • This Oscar Wilde movie - written, directed, and starring Rupert Everett - turned out to be a vacuous vanity production, with no chronology, and no idea, no attempt even, to examine or describe Oscar. This was a portrait of a fairly good actor who should never be allowed to direct, and one who has no narrative sense of the writer's art. Fortunately there were good actors in the background, such as a scene stealing Tom Wilkinson. Colin Firth, Anna Chancellor and Emily Watson provide lessons in how to act to Rupert, which sounds unkind, but this is because the film dwells on Everett narcissistically. It's failure is entirely down to him. It is not a film about the genius it set out to explore. It's all about Rupert dressing up.
  • WVfilmfem15 December 2018
    The sets, actors are superb. This film reveals the obvious degenerate and selfish behavior of Wilde in his pursuit of his sexual preferences, to the emotional abuse toward his wife, whom he married for money, and as an appearance of propriety. It is likely that he contracted syphilis due to his irresponsible behavior, and passed it to his wife. Online articles dispute this, but both his and her symptoms point to latter stage syphilis. In the end, he comes off as a selfish cad, unable to discern good from bad, love from lust. 4 stars for the acting and set designs.
  • I think it's the hardest form of storytelling to weave a tragedy as if it were an inspirational poem, a hymn to the best within us.

    You watch this film and ache for past wrongs, while marveling at the greatness of a soul that sees beauty even in squalor and celebrates life to the utmost despite its pain.

    I know I could talk about the social wrongs behind Wilde's story, what he must have felt as a boy when his highest (secret) emotions were condemned-but this isn't what this movie is about.

    The opposite is true. Very subtly, writer/director/actor, Rupert Everett, exposes the hypocrisy of English Victorian morality by contrasting it with the Continent, where the events of the story take place.

    It might have been a sad history. But Everett transformed the events into a Wilde-like fairytale. Indeed, the prince was happy even as his heart broke.
  • andyge14 July 2018
    This is a considerable personal achievement for Rupert Everett who scripted, directed and starred in this film of Oscar Wild's little known final years. The story is always interesting and the direction has moments of genius however it is Everett's wonderful performance that lifts this film above the ordinary. This is a part that he seems to have been born to play and he captures all the pain and regret leading up to Wild's death.Excellent support from Firth,Morgan and especially Edwin Thomas. The best scenes and essence of the story are captured when Everett is singing 'The boy I love is up in the gallery' in a Paris music hall and when he tells the story of the 'Happy Prince'... you can physically feel the pain of a wasted and lost talent.
  • Warning: Spoilers
    Although it focuses on the less well-known final years of Wilde's life, the script follows a traditional arc and has little new to say about the writer or his relationships.

    Ross and Douglas are presented as daggers drawn in the service of a script which identifies them as Wilde's 'good' and 'bad' angels. The reality was much messier, and records show that during Wilde's lifetime they remained friends, at least on the surface. It was only a good while after his death that they fell out, with appalling consequences for both of them. In this context, the film's depiction of the altercation between the two men at Wilde's funeral is particularly ridiculous. If the eye witness account of the poet Paul Fort is to be believed, there was a hysterical scene when Douglas tried to throw himself into the grave, but it didn't lead to fisticuffs with Ross.

    This aside, there is much to enjoy in the film, not least Rupert Everett's compelling central performance, its impressionistic structure and the stunning cinematography and costumes. There are also interesting and nuanced supporting performances from Emily Watson and Colin Morgan, even within the strait jacket of a script that has little to add to received wisdom about their characters.
  • Warning: Spoilers
    "The Happy Prince" is a new British historic drama focusing on the final years in the life of renowned British writer Oscar Wilde. The latter is played by Golden-Globe nominated actor Rupert Everett (slightly under the age of 60) and this film is also the first theatrical release by him as writer and director, so obviously it is a project pretty close to his heart. It runs for 105 minutes and features more established British actors like Firth, Watson and Wilkinson next to Everett, but eventually their characters may bear some significance, but it's all about Everett's Wilde and nobody else. With the exception of the final moments, he is in every scene and he simply makes the movie and everything about it. The film is less about his art really because there are many moment when we hear that his writing career was basically over, for example when he mentions that he sold his newest work to several publishers without having written a single word about it. It's not a biopic. The focus is just on the man's last years and how he was struggling not necessarily with his homosexuality, but with how homosexuality was perceived back in the day. His own approach to (gay) love was dedicated and true, even if the man he showed an interest in did not always have an easy time due to who Wilde was. The part with the alias is the best example. But also they struggled with his preferences because it is never really clear who he loves, who he is just interested in and who he cares deeply about. the only similarity there is that basically all his love interest were considerably younger than him, even very young at times like the flower vendor near the end. The film is as much about homosexuality as it is about everything else. The scene with all these men meeting and one guy's mother eintering the room and expressing her reluctance with the scenario clearly thinking they hid women somewhere while not even getting close to the core of the men's sexual preference because of who she was and how stuff like that had no place in her life by any means. Then there is also the aspect of money, financial struggles and how Wilde eventually moved that deep into poverty that he had to ask a fan for some money in what was maybe the most heartbreaking scene of the film as his sexual tendencies destroyed not only his career, but his life as a whole. The meltdown scene with the boys following him and bullying him is the most obvious example there. Still, he can be lucky throughout the entire film that he never lost touch with friends or was really completely alone, also thanks to his charisma for sure, which stayed for a long time after his writing skills had faded away apparently. For example, during several occasions you see that he was a pretty appreciated entertainer and singer too and not because he was everybody's fool. So I give a big thumbs-up to Everett here, it's fairly impressive for a rookie project there's no denying. And it's obvious that he drew a lot of inspiration from all the big filmmakers he already worked with when making this collaboration between several European countries. It's not a film that will attract a great deal of awards recognition during the big ceremonies I'm afraid, even if it was rock solid in terms of sets and costumes and make-up. I definitely enjoyed the watch and it never dragged and for a film as close to 2 hours as to 90 minutes, that is always a success. I somehow doubt Everett can repeat the awards success Fry had with the same character many years before, but it would not be undeserving at all. And I am writing this as somebody who has virtually no connection with Oscar Wilde as I have not read a single piece of his works I think and also as somebody who is not that big on period pieces in general. But this one deserves to be seen for sure. A thumbs-up without a doubt. Go check it out. Everetts portrayal alone is worth the entire watch.
  • The story is a challenging one to tell, and although all concerned make a valiant attempt to capture the genius and tragedy of the man, somehow the end result is not entirely convincing. At times, a little over dramatic and cliched; and excessively focused on Wild's sexuality. At the end of the film one feels one knows more about Wilde, but does not know him better.
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