The Happy Prince (2018)


Oscar Wilde, looking decidedly like a rock star.

(2018) Biographical Drama (Sony ClassicsRupert Everett, Colin Firth, Emily Watson, Colin Morgan, Anna Chancellor, Tom Wilkinson, Béatrice Dalie, Ronald Pickup, Julian Wadham, Joshua McGuire, John Standing, Daniel Weyman, Edwin Thomas, Tom Colley, Benjamin Voisin, Ciro Petrone, André Penvern, Alexis Juliemont, Ricardo Ciccerelli, Alister Cameron, Caterina D’Andrea. Directed by Rupert Everett

 

Oscar Wilde was one of the greatest wits of his time, perhaps of all time. When he was convicted on a charge of deviant behavior, he was sentenced to prison for two years of hard labor. His health broken and fed up with England, he moved to the continent where he would live out the remaining days of his life, which were not many.

This is a passion project for director, writer and star Rupert Everett, who passed on plum roles on the off chance this film would be greenlit; it took ten years before he was able to get the film off the ground. I don’t know that Everett would agree but it was worth the wait.

The movie largely revolves around the Irish poet-playwright’s final days in France and Italy. Once the toast of London, Wilde has been deserted by all but a few diehard friends. Some, like Reggie Turner (Firth) and Robbie Ross (Thomas) generally cared for him and looked after him as best they could, which considering Wilde’s penchant for hedonism was no easy task. There was also Lord Alfred “Bosie” Douglas (Morgan), the young man whose affair with Wilde ended up being what got Wilde jailed. He is portrayed here as a selfish, childish and arrogant prick who treats Wilde like garbage, but whom Wilde still loved passionately. That, sadly, is not an unusual story; I think we’ve all known somebody who was flinded by their love for someone who was completely toxic.

The cinematography here is lush and nicely captures the gilded glory of an age in which austerity wasn’t a factor, not to mention the lovely countryside scenes in Europe. An elegiac score contributes to the overall melancholy tone. This is not a movie you’ll want to see when you need to be cheered up.

Yet, there is much to recommend it, starting first and foremost with Everett. His passion for the project is palpable throughout and his performance here is likely to be what he is remembered for. Clearly Wilde is someone who means something special to Everett and the care he puts into his every gesture and sad-eyed regret will haunt even the most jaded of filmgoers.

My one issue with the film is that it is told in a non-linear fashion and there are regular flashbacks. Unfortunately, it’s very difficult to tell if you’re seeing a flashback or not at times and it ends up being unnecessarily confusing. Some critics have complained that Everett doesn’t really educate the viewer in Wilde’s body of work, but I think he does something better; he inspires the viewer to want to research it on their own.

What happened to Oscar Wilde was a massive miscarriage of justice. Although he was pardoned posthumously along with tens of thousands of other men convicted of the crime of being “indecent with men,” he deserved to be lauded in his twilight years, not despised and spat upon. It is perhaps poetic justice that today he is remembered for being one of the greatest names in English literary history and an icon to the gay community, while those who tormented him are largely forgotten.

REASONS TO SEE: Strong performances throughout, particularly by Everett. Beautifully shot.
REASONS TO AVOID: Difficult to tell what was a flashback and what isn’t.
FAMILY VALUES: The film contains plenty of adult thematic content, sexual situations including graphic nudity, profanity, violence and some drug use.
TRIVIAL PURSUIT: When Oscar Wilde gets his hair cut at the beginning of his prison sentence, that’s Everett actually getting his hair cut. As this was one of the first scenes shot, leaving Everett nearly bald, he would wear a wig throughout most of the rest of the movie.
BEYOND THE THEATERS: Amazon, AppleTV, Fandango Now, Google Play, Redbox, Sling TV, Starz, Vudu
CRITICAL MASS: As of 1/24/20: Rotten Tomatoes: 72% positive reviews: Metacritic: 64/100
COMPARISON SHOPPING: Loving Vincent
FINAL RATING: 7.5/10
NEXT:
THe Leisure Seeker

The Importance of Being Earnest (2002)


 

The Importance of Being Earnest
Algie and Jack try to make sense of the intricate plot.

 

 

(Miramax) Rupert Everett, Colin Firth, Reese Witherspoon, Frances O’Connor, Judi Dench, Tom Wilkinson, Anna Massey, Edward Fox. Directed by Oliver Parker

 

I find it somewhat depressing that in this day and age, a mind-bending number of Americans have never heard of the great Oscar Wilde, and only a very few have even experienced one of his plays performed on stage. There’s something about it that just seems blatantly wrong.

 

One of his best and best-known plays was The Importance of Being Earnest which was first performed back in 1895. It is the very epitome of the drawing room comedy; most of the action onstage takes place in a drawing room, and like most of Wilde’s work, nearly every line is a gem, a bon mot that stands the test of time. Yes, there are a few topical references but not enough to make a modern audience scratch their head in puzzlement, other than those rubes who would do so anyway.

Trying to describe the plot of the play is time-consuming and in the end is a lot like describing quantum mechanics to a four-year-old. The plot is intricate and full of layers and twists and turns, some of which you can see coming but many that you can’t. The basics are this; Jack Worthing (Firth) is a foundling who was adopted by a country squire; fully grown now, he acts as the guardian to his benefactor’s granddaughter Cecily Cardew (Witherspoon).

 

Jack often travels to London to rescue his ne’er-do-well brother Ernest out of a jam. The problem is that there is no brother Ernest; it’s a ruse calculated to allow Jack to come and go as he pleases. When he is in town, he takes the name of Ernest for himself so that he may remain incognito and as Ernest, he has fallen in love with Gwendolyn Fairfax (O’Connor), the lovely and practical granddaughter of Lady Augusta Bracknell (Dench).  Gwendolyn also returns his affections.

 

Jack also visits his friend Algernon Moncrieff (Everett) who is actually pretty close to the scoundrel Jack makes his non-existent brother to be. He uses the excuse of visiting an ill friend named Bunbury to escape the city when creditors begin to close in on him. On one of these expeditions to the countryside, he winds up at Jack’s home where he takes on the persona of Jack’s fictitious brother Ernest, and promptly falls in love with Cecily (are you with me so far?).

 

That’s more or less the set-up; you can guess that there will be many obstacles that will be tossed in the way of the happiness of both couples, until Love Conquers All in the final act (or in this case, reel). Unlike other similar drawing room comedies of the day, Wilde threw in a lot of observations of the human condition, particularly where it regards class distinctions and sexual politics.

 

This is a lush-looking production, with the bucolic English countryside taking center stage. Parker, who in 1999 filmed the adaptation of Wilde’s An Ideal Husband (and would make it a trifecta in 2009 when he filmed Wilde’s The Picture of Dorian Gray) knows how to evoke the era visually, with splendid costumes, magnificent estates and staid English manners.

 

It’s a shame he got infected with Anachronistic Music Syndrome. Those of you who’ve seen A Knight’s Tale and basically anything Baz Luhrmann ever directed will know it; it’s the occasion when a movie set in one period uses a musical score that is in the style of a different period. So when the swing music of the 1940s is the background for a Victorian drawing room comedy, it just wipes the mood right off the screen. It’s an offshoot of Look Ma I’m Directing Disease, and not a pleasant one.

 

However, when you have Oscar Wilde writing your screenplay (and Parker utilizes Wilde’s play word-for-word in many instances), you really can’t go wrong. Few writers before or since have had the wit of Wilde, and none the ability to mask social satire with urbane mannerisms.

 

It helps to have a superior cast. Firth and Everett are two dependable performers who both do quite splendidly in their role. Dench was born to play the crusty Lady Bracknell and does so with gusto. Even Witherspoon, the company’s token American, adopts an English accent rather nicely; my only complaint is that she’s so bloody gorgeous that you sometimes get so lost in her looks that you forget that she’s speaking important dialogue.

 

There are a couple of fantasy sequences that Parker (who also wrote the screenplay) inserted into the film that really didn’t need to be there, but in all honesty it’s all right. If you have never seen or read an Oscar Wilde play, this is as good a place as any to acquaint yourself with him. It’s not quite as good in many ways as the 1952 film version (which starred Michael Redgrave as Jack, Michael Denison as Algernon and Dame Edith Evans as Lady Bracknell) that Anthony Asquith directed but it doesn’t disgrace itself either.

 

WHY RENT THIS: It’s Oscar Wilde; nearly every line is laugh-out-loud funny, even more than a century later.

WHY RENT SOMETHING ELSE: Anachronistic musical score syndrome torpedoes the audience out of the atmosphere and mood.

FAMILY VALUES: There are some scenes of drinking and smoking but as you would expect from a play written during the Victorian era, there is nothing here you should feel uncomfortable letting your entire family watch. 

TRIVIAL PURSUIT: Actress Finty Williams, who portrays Lady Bracknell as a young dancer, is in reality Dame Judi Dench’s daughter. 

NOTABLE DVD EXTRAS: None listed.  

BOX OFFICE PERFORMANCE: $17.3M on an unreported production budget; in all likelihood the movie was a flop.

FINAL RATING: 6/10

TOMORROW: Crossing Over