The untold story of the last days in the tragic times of Oscar Wilde, a person who observes his own failure with ironic distance and regards the difficulties that beset his life with detachment and humor.
One of the most celebrated war correspondents of our time, Marie Colvin is an utterly fearless and rebellious spirit, driven to the frontline of conflicts across the globe to give voice to the voiceless.
Agnes, taken for granted as a suburban mother, discovers a passion for solving jigsaw puzzles which unexpectedly draws her into a new world - where her life unfolds in ways she could never have imagined.
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 reconcile with his long suffering wife Constance, the ensuing reprisal of his fatal love affair with Lord Alfred Douglas and the warmth and devotion of Robbie Ross, who tried and failed to save him from himself. Travelling through Wilde's final act and journeys through England, France and Italy, the transience of lust is laid bare and the true riches of love are revealed. It is a portrait of the dark side of a genius who lived and died for love.Written by
Beta Film GmbH
When Oscar Wilde gets his hair cut shortly after arriving in Readin Gaol, Rupert Everett gets his actual hair cut until he's bald. This was done on one of the first days of shooting and Everett wore a wig for the rest of the film. See more »
Naples, 1897: in an argument, Bosie states that Oscar uses "pancake" makeup. Pancake wasn't invented until the 1930s, by Max Factor. See more »
All I'm saying, Reggie, dear, is I have lived in the grip of vice and pleasure. It was wrong and I have paid. Perhaps the slate is wiped clean, perhaps it is not, who knows? At any rate, I am now ready to return to life.
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During the end credits Oscar Wilde is heard and seen singing a French song in a cafe. Then there are flashbacks of audiences applauding his works in a theatre. See more »
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.
21 of 32 people found this review helpful.
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