The Happy Prince (2018) 720p YIFY Movie

The Happy Prince (2018)

The Happy Prince is a movie starring Rupert Everett, Colin Firth, and Emily Watson. 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...

IMDB: 6.53 Likes

  • Genre: Biography | Drama
  • Quality: 720p
  • Size: 890.06M
  • Resolution: 1280*800 / 23.976 fpsfps
  • Language: English
  • Run Time: 105
  • IMDB Rating: 6.5/10 
  • MPR: Normal
  • Peers/Seeds: 10 / 32

The Synopsis for The Happy Prince (2018) 720p

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.

The Director and Players for The Happy Prince (2018) 720p

[Role:]Colin Morgan
[Role:Director]Rupert Everett
[Role:]Rupert Everett
[Role:]Colin Firth
[Role:]Emily Watson

The Reviews for The Happy Prince (2018) 720p

Congratulations, Mr Everett - you have arrivedReviewed byhobbittallVote: 9/10

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 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'.

Sensitive and compelling but I felt unmovedReviewed byanthony WILLSVote: 7/10

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.

Everett's Oscar is an Oscar-worthy performanceReviewed byMartin BradleyVote: 9/10

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.

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