WILDE A film review by Steve Rhodes Copyright 1998 Steve Rhodes
RATING (0 TO ****): *** 1/2
"In this life there are only two tragedies," Oscar Wilde reflects at the end of the new film about his life, entitled simply WILDE. "One is not getting what one wants. The other is getting it."
WILDE is neither the tragedy nor the comedy that audiences may be expecting, although it certainly includes doses of both. It is first and foremost a celebration of the joy of life. Even if his life did turn horribly tragic in the end, Wilde lived it with great gusto up until then, and audiences are apt to find this sublime picture just as wonderfully satisfying as Wilde found the majority of his life.
Stephen Fry, last seen as the judge in THE WIND IN THE WILLOWS, gives a mesmerizing and highly nuanced performance as Wilde. So utterly natural in his acting, Fry becomes Wilde. In a performance worthy of Oscar consideration, Fry plays a man who was a doting father, a loving husband, and a lover to a string of young men -- called boys back then although they seem to be in their early twenties. Wilde referred to this love of young men by older ones as "the love that dare not speak its name."
After opening incongruously in the Wild West of an 1882 Colorado mining town where the famous writer Wilde is on tour, the movie moves to London, where his plays are becoming great successes. "You really must be careful, you're in great danger of becoming rich," his friend Ada (Zoe Wanamaker) warns him. Wilde ignores all warnings and lives his life as if nothing is forbidden and everything is possible. His public loves him, and he loves them and everything in life.
With a loyal and affectionate wife named Constance, played sweetly by Jennifer Ehle, he fathers children whom he adores. He is delighted, however, to learn of his desires for relationships, both emotionally and sexually, with men, especially young men. ("I feel like a city that's been under siege for twenty years, and suddenly the gates are thrown open.")
One day Wilde locks eyes with the handsome, young Lord Alfred Douglas, a.k.a., Bosie, and they are both instantly smitten. Jude Law from GATTACA delivers an emotionally complex performance as Bosie. A man who has too much money ("No gentleman ever has the slightest idea of what his bank balance is."), Bosie comes from an abysmally dysfunctional family.
In a compete change of pace, Tom Wilkinson from THE FULL MONTY plays the angry and vicious Marquess of Queensberry, who is Bosie's violent father. The marquess hates Wilde both because of his affair with his son and because Wilde is so disarmingly charming. ("Men shouldn't be charming," he complains. "It's disgusting!")
The warm and intimate cinematography by Martin Fuhrer contrasts nicely with the subtly flamboyant costumes by Nic Ede. The result is an inviting picture that becomes more captivating with each moment.
Director Brian Gilbert stages each scene with delicate precision. The sex scenes are handled tastefully, showing enough romantic passion that it is crystal clear what is happening, but without ever letting the movie lapse into some tawdry, soft porn film. The resulting careful balance will likely leave audiences neither offended nor disappointed. You can feel Wilde's ardor for both sexes and the heavy, open mouth kissing - there are more explicit scenes - manages to convey it most effectively.
When Wilde ends up being thrown in prison for his sexual encounters, his witty barbs finally stop, and for once he ceases to enjoy life. Fry's bravado performance works as well in the latter episodes of great poignancy as they do during his earlier revelry. The utterly exquisite picture is enthralling from beginning to end. Even if it ends in tragedy, Wilde's earlier felicity is likely to be the emotion that viewers take away.
WILDE runs 1:57. It is rated R for profanity, nudity and strong sexuality and would fine for older and mature teenagers.
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