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The Happy Prince

The Happy Prince

Drama · 2018

In 1895, Oscar Wilde (1854-1900) was the most famous writer in London, and Bosie Douglas, son of the notorious Marquess of Queensberry, was his lover. Accused and convicted of gross indecency, he was imprisoned for two years and subjected to hard labor. Once free, he abandons England to live in France, where he will spend his last years, haunted by memories of the past, poverty and immense sadness.

Movie details

The Happy Prince

2018 Drama 1h 41m

Critical arithmetic

One number, for now.

TMDB

6.2 / 10

Community rating

In 1895, Oscar Wilde (1854-1900) was the most famous writer in London, and Bosie Douglas, son of the notorious Marquess of Queensberry, was his lover. Accused and convicted of gross indecency, he was imprisoned for two years and subjected to hard labor. Once free, he abandons England to live in France, where he will spend his last years, haunted by memories of the past, poverty and immense sadness.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Happy Prince?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

Rupert Everett

Written by

Rupert Everett

Rupert Everett

Rupert Everett

Oscar Wilde

Colin Firth

Colin Firth

Reggie Turner

Emily Watson

Emily Watson

Constance Wilde

Colin Morgan

Colin Morgan

Alfred 'Bosie' Douglas

Edwin Thomas

Edwin Thomas

Robbie Ross

Franca Abategiovanni

Franca Abategiovanni

Felice's Mother

A

Alister Cameron

Mr. Howard

Court is in session

Put The Happy Prince on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Adrenaline Seeker

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.