Browse content similar to Wilde. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
This film contains some strong language. | 0:00:02 | 0:00:11 | |
HORSES GALLOPING | 0:00:28 | 0:00:30 | |
HE WHISTLES | 0:00:38 | 0:00:40 | |
He's comin', he's comin'! | 0:00:55 | 0:00:57 | |
CROWD CHEERS | 0:01:12 | 0:01:14 | |
GUNSHOTS | 0:01:15 | 0:01:17 | |
All right, now, let's give a good Colorado welcome here! | 0:01:27 | 0:01:32 | |
Hello, sir. | 0:01:36 | 0:01:39 | |
Thank you, thank you. | 0:01:37 | 0:01:39 | |
Everybody, listen up. I want to introduce you to Oscar Wilde. | 0:01:39 | 0:01:45 | |
Welcome to the Matchless silver mine. | 0:01:47 | 0:01:50 | |
Today we opened up a new seam. We're going to name it after you. | 0:01:50 | 0:01:55 | |
How very kind. I look forward to collecting the royalties. | 0:01:55 | 0:01:59 | |
Now, why don't you follow me over here? | 0:02:01 | 0:02:04 | |
Great lecture you gave last night. | 0:02:04 | 0:02:08 | |
We're truly honoured to have you visit us. | 0:02:08 | 0:02:11 | |
If you'd step in here. There. | 0:02:11 | 0:02:13 | |
SHOOTING | 0:02:22 | 0:02:24 | |
I thought I was descending into hell | 0:02:32 | 0:02:35 | |
but with these angels to greet me, it must be paradise. | 0:02:35 | 0:02:39 | |
Is this the way to my seam? I should have preferred gold. | 0:02:39 | 0:02:43 | |
But we live in a silver age, alas. | 0:02:43 | 0:02:46 | |
So much that is exquisitely beautiful is wrought from suffering, | 0:02:46 | 0:02:51 | |
from pain, from toil, broken bones and blistered skin. | 0:02:51 | 0:02:56 | |
Benvenuto Cellini understood silver. | 0:02:56 | 0:02:58 | |
He transformed the metal that you mine so nobly into art | 0:02:58 | 0:03:02 | |
for popes and princes. | 0:03:02 | 0:03:04 | |
Cellini? Is he a wop? | 0:03:04 | 0:03:06 | |
A Renaissance man. In every sense. | 0:03:06 | 0:03:08 | |
The greatest silversmith the world has seen. | 0:03:08 | 0:03:11 | |
A genius in life as well as art. He experimented with every vice. | 0:03:11 | 0:03:16 | |
He committed murder. | 0:03:16 | 0:03:19 | |
He killed a man? | 0:03:17 | 0:03:19 | |
More than one. | 0:03:19 | 0:03:22 | |
Thank you. | 0:03:25 | 0:03:27 | |
Why didn't you bring Cellini with you? | 0:03:30 | 0:03:33 | |
I'm afraid he's dead. | 0:03:33 | 0:03:36 | |
Who shot him? | 0:03:34 | 0:03:36 | |
Is Miss Lloyd connected to Lloyd's Bank? | 0:04:29 | 0:04:33 | |
No, no. | 0:04:32 | 0:04:33 | |
Pity. | 0:04:33 | 0:04:36 | |
She's comfortable. A thousand a year. | 0:04:36 | 0:04:39 | |
I congratulate you, Lady Wilde. | 0:04:39 | 0:04:41 | |
Now that Oscar's been to America, sown his Wildean oats, | 0:04:41 | 0:04:45 | |
it's time he settled down. | 0:04:45 | 0:04:47 | |
Weren't they very rough? | 0:04:47 | 0:04:50 | |
No, charming. Well, to me. | 0:04:48 | 0:04:50 | |
They can be brusque. They hanged two men in the theatre | 0:04:50 | 0:04:54 | |
just before I gave a lecture. | 0:04:54 | 0:04:56 | |
I felt like the sorbet after a side of beef. | 0:04:56 | 0:05:00 | |
I know your friend is famous, Ada. Notorious, at least. | 0:05:01 | 0:05:06 | |
But I don't understand for what. | 0:05:06 | 0:05:08 | |
For being himself, Lady Mount-Temple. | 0:05:08 | 0:05:11 | |
Americans talk wonderful slang. | 0:05:11 | 0:05:13 | |
I did hear a lady say, "After the heel-lick, I shifted my day goods." | 0:05:13 | 0:05:18 | |
What on earth did she mean? | 0:05:18 | 0:05:20 | |
She changed her clothes after an afternoon dance. | 0:05:20 | 0:05:24 | |
Connie, my love, Lady Mount-Temple is so anxious to meet you. | 0:05:24 | 0:05:29 | |
I knew your father, Miss Lloyd. | 0:05:29 | 0:05:31 | |
She's delightful. And not stupid. Not stupid at all. | 0:05:31 | 0:05:35 | |
Is that quite a reason to marry her? | 0:05:35 | 0:05:38 | |
Well, I must marry someone. | 0:05:38 | 0:05:40 | |
And my mother has our future planned out in every detail. | 0:05:40 | 0:05:44 | |
I'm to go into parliament, live a settled life. | 0:05:44 | 0:05:48 | |
Literature, lectures, the House. | 0:05:48 | 0:05:50 | |
Receptions for the world at five o'clock. | 0:05:50 | 0:05:55 | |
How dreary. | 0:05:53 | 0:05:55 | |
Your Sphinxiness will only be essential | 0:05:54 | 0:05:58 | |
for our intimate dinners at eight. | 0:05:58 | 0:06:00 | |
'Twill be a grand, charming life. | 0:06:00 | 0:06:03 | |
I see Constance will be busy preparing the dinners. | 0:06:03 | 0:06:07 | |
What will she contribute to the literature? | 0:06:07 | 0:06:11 | |
She'll correct my proofs. | 0:06:09 | 0:06:11 | |
Oh, what a little sunbeam. | 0:06:11 | 0:06:14 | |
I do love her, Ada. She's... | 0:06:21 | 0:06:24 | |
Silent. | 0:06:24 | 0:06:25 | |
I find her very silent. | 0:06:26 | 0:06:29 | |
But so sympathetic. | 0:06:27 | 0:06:29 | |
And I do need an audience. | 0:06:29 | 0:06:32 | |
I don't see how you can possibly take it in, reading at that speed. | 0:07:07 | 0:07:12 | |
Try me. | 0:07:13 | 0:07:15 | |
I know better. | 0:07:15 | 0:07:17 | |
Where are we dining tonight? | 0:07:21 | 0:07:23 | |
At the Leversons'. | 0:07:23 | 0:07:24 | |
You must show yourself as a propagandist for dress reform. | 0:07:24 | 0:07:28 | |
Cinnamon cashmere trousers and the cape with the ends | 0:07:28 | 0:07:33 | |
that turn up into sleeves. | 0:07:32 | 0:07:35 | |
I don't think I can wear those trousers now. | 0:07:34 | 0:07:38 | |
IRISH ACCENT: A new Wilde for the world! Another genius for Ireland! | 0:07:44 | 0:07:50 | |
We shall have to buy you a whole new wardrobe. | 0:07:52 | 0:07:55 | |
Ernest proposed under that statue. | 0:08:02 | 0:08:05 | |
The things that go on before works of art are appalling. | 0:08:05 | 0:08:09 | |
The police should interfere. | 0:08:09 | 0:08:11 | |
We were made not to marry, | 0:08:11 | 0:08:13 | |
whereas you and Constance are happy. Everyone says so. | 0:08:13 | 0:08:17 | |
It's monstrous how people say things behind one's back | 0:08:17 | 0:08:21 | |
that are absolutely true. | 0:08:21 | 0:08:23 | |
So your audience has proved responsive? | 0:08:23 | 0:08:26 | |
Receptive, yes. Responsive... I always wonder what she's thinking. | 0:08:26 | 0:08:31 | |
I expect it's about the baby. | 0:08:31 | 0:08:33 | |
She's such a natural mother | 0:08:33 | 0:08:35 | |
she's invited Robbie home while his parents are abroad. | 0:08:35 | 0:08:39 | |
Robbie is Canadian. You can tell by his youth. | 0:08:40 | 0:08:44 | |
Have you been brought to England to mature, Mr Ross? | 0:08:44 | 0:08:48 | |
It doesn't seem to be working. | 0:08:48 | 0:08:50 | |
I've lived here since I was three and you see the pitiful result? | 0:08:50 | 0:08:55 | |
Robbie comes from a line of imperial governors. | 0:08:54 | 0:08:58 | |
His grandfather was prime minister of Upper Canada. Or was it Lower? | 0:08:58 | 0:09:03 | |
The British apply their class system even to continents. | 0:09:03 | 0:09:07 | |
Are you planning to govern a continent? | 0:09:07 | 0:09:12 | |
I don't even plan to govern myself. | 0:09:09 | 0:09:12 | |
Hello, sir! | 0:09:22 | 0:09:23 | |
Shall I give you these, my love? I'll see if I can find a cab. | 0:09:25 | 0:09:30 | |
Looking for someone? | 0:09:52 | 0:09:54 | |
< Cab! Cab! | 0:09:58 | 0:10:00 | |
Bed time. | 0:10:08 | 0:10:10 | |
Just one more cigarette. | 0:10:10 | 0:10:12 | |
Oscar? | 0:10:17 | 0:10:18 | |
Er, no, thanks, Robbie. | 0:10:18 | 0:10:20 | |
Don't stay up too late, Robbie. | 0:10:26 | 0:10:28 | |
Good night. | 0:10:28 | 0:10:30 | |
Good night, Oscar. | 0:10:35 | 0:10:36 | |
Good night, Robbie. | 0:10:36 | 0:10:38 | |
Shh. | 0:10:52 | 0:10:53 | |
He's asleep. | 0:10:54 | 0:10:57 | |
He's so beautiful. | 0:11:00 | 0:11:02 | |
Almost as beautiful as his mother. | 0:11:05 | 0:11:08 | |
I don't know what I'd do without you. | 0:11:10 | 0:11:13 | |
My constant Constance. | 0:11:13 | 0:11:15 | |
Good night, my dear. | 0:11:34 | 0:11:36 | |
Good night. | 0:11:37 | 0:11:39 | |
A university education is admirable, if you remember | 0:11:58 | 0:12:02 | |
that nothing worth knowing can be taught, least of all at Cambridge. | 0:12:02 | 0:12:06 | |
But you told me in Greece, in ancient Greece, | 0:12:06 | 0:12:10 | |
older men taught the younger. They drew them out. | 0:12:10 | 0:12:13 | |
I look forward to being drawn out immensely. | 0:12:13 | 0:12:17 | |
Yes, well, Greek love, platonic love, | 0:12:17 | 0:12:20 | |
is the highest form of affection known to man... Of course. | 0:12:20 | 0:12:25 | |
You told me the Greeks put statues of Apollo in the bride's chamber | 0:12:25 | 0:12:30 | |
so she would have beautiful sons. | 0:12:30 | 0:12:32 | |
But I can't help noticing that here the statue's in your bedroom. | 0:12:33 | 0:12:38 | |
Constance prefers a bath. | 0:12:39 | 0:12:42 | |
She was so beautiful when I married her, Robbie. Slim, | 0:12:58 | 0:13:02 | |
white as a lily, such dancing eyes. | 0:13:02 | 0:13:06 | |
I've never seen such love in a pair of eyes. She was... | 0:13:06 | 0:13:11 | |
"Nothing should reveal the body... | 0:13:41 | 0:13:44 | |
"but the body." | 0:13:44 | 0:13:46 | |
Didn't you say? | 0:13:49 | 0:13:51 | |
There has to be a first time for everything, Oscar. | 0:13:59 | 0:14:03 | |
Even for you. | 0:14:05 | 0:14:07 | |
CHILD CRIES | 0:14:16 | 0:14:20 | |
There's a good fella. Come on, now. | 0:14:18 | 0:14:20 | |
There. Now, come on, Cyril, it's time for your bath. | 0:14:20 | 0:14:25 | |
Be a good boy. | 0:14:25 | 0:14:27 | |
Don't make such a fuss! | 0:14:27 | 0:14:29 | |
Shh. | 0:14:29 | 0:14:31 | |
You've got to get undressed. | 0:14:31 | 0:14:33 | |
I know you hate it. | 0:14:33 | 0:14:36 | |
Boys never do what they're told. | 0:14:36 | 0:14:39 | |
We're going to have a girl next time. | 0:14:39 | 0:14:42 | |
I must go. | 0:14:42 | 0:14:44 | |
Good night, my dear. | 0:14:47 | 0:14:50 | |
Behave, Cyril. A gentleman should take a bath at least once a year. | 0:14:49 | 0:14:55 | |
I shan't be back till late. I'm dining with the Asquiths. | 0:14:56 | 0:15:01 | |
D'you love me? | 0:15:41 | 0:15:43 | |
I feel...like a city that's been under siege for twenty years. | 0:15:45 | 0:15:51 | |
Suddenly the gates are thrown open, the citizens come pouring out... | 0:15:53 | 0:15:59 | |
..to breathe the air, walk the fields and pluck the wild flowers. | 0:16:01 | 0:16:06 | |
I feel... | 0:16:07 | 0:16:10 | |
relieved. | 0:16:09 | 0:16:12 | |
You don't worry about Constance? | 0:16:15 | 0:16:17 | |
'Every afternoon, the children used to play | 0:16:17 | 0:16:21 | |
'in the garden of the selfish giant.' | 0:16:21 | 0:16:24 | |
Is that the garden where we play? | 0:16:23 | 0:16:29 | |
No, it's larger and lovelier, with soft green grass. | 0:16:25 | 0:16:29 | |
There's grass where we go. | 0:16:29 | 0:16:32 | |
But are there twelve peach trees | 0:16:32 | 0:16:34 | |
that have blossoms of pink and pearl in spring and rich fruit in autumn? | 0:16:34 | 0:16:39 | |
Are there, Mama? | 0:16:39 | 0:16:43 | |
I don't think there are, Cyril. | 0:16:40 | 0:16:43 | |
Would you hand me a matchstick? I'll put the hussar's head back on. | 0:16:43 | 0:16:49 | |
The birds sat on the trees and sang so sweetly | 0:16:52 | 0:16:55 | |
that the children used to stop their games to listen. | 0:16:55 | 0:16:59 | |
"How happy we are here," they said. | 0:16:59 | 0:17:01 | |
How could they be happy if there was a giant? | 0:17:01 | 0:17:06 | |
There wasn't yet. He was away. | 0:17:04 | 0:17:06 | |
You're always away. | 0:17:06 | 0:17:08 | |
But I only go for a night or two and I always come back. | 0:17:10 | 0:17:14 | |
The giant had been away for seven years, seeing an ogre in Cornwall. | 0:17:14 | 0:17:19 | |
After he'd said all he had to say - his conversation was very limited - | 0:17:19 | 0:17:24 | |
he decided to return home to his own castle. | 0:17:24 | 0:17:28 | |
When he found the children, he was very angry. | 0:17:28 | 0:17:31 | |
"What are you doing here?!" he cried | 0:17:31 | 0:17:34 | |
and all the children ran away. | 0:17:34 | 0:17:37 | |
"My own garden is my own garden," | 0:17:37 | 0:17:40 | |
said the giant, "and I won't allow anyone to play in it except myself!" | 0:17:40 | 0:17:45 | |
He built a high wall, put up a large notice board on which was written, | 0:17:45 | 0:17:51 | |
TRESPASSERS WILL BE PROSECUTED. | 0:17:51 | 0:17:53 | |
Arthur, you're trespassing. | 0:17:54 | 0:17:56 | |
Cyril will now eat you. | 0:17:56 | 0:17:58 | |
It's Mr Ross, sir, with Mr Gray. | 0:17:58 | 0:18:00 | |
I must fly. The horses of Apollo are pawing impatiently at the gates. | 0:18:00 | 0:18:05 | |
-I beg your pardon? -Papa must go. | 0:18:05 | 0:18:08 | |
You will come back and finish the story? | 0:18:11 | 0:18:14 | |
Of course I will. | 0:18:14 | 0:18:16 | |
Come on, it's almost tea time. | 0:18:16 | 0:18:18 | |
I don't know why people bother painting portraits now. | 0:18:20 | 0:18:24 | |
You can get a better likeness with a photograph. | 0:18:24 | 0:18:27 | |
But a photograph is just one moment in time, | 0:18:27 | 0:18:30 | |
one gesture, one turn of the head. | 0:18:30 | 0:18:32 | |
Portraits are not likenesses. Painters show the soul | 0:18:32 | 0:18:36 | |
of the subject, the essence. | 0:18:36 | 0:18:39 | |
The essence of the sitter's vanity? | 0:18:39 | 0:18:42 | |
Well, this is a portrait of Lady Battersby as a young woman. | 0:18:42 | 0:18:46 | |
She's over there, as a matter of fact. | 0:18:46 | 0:18:50 | |
I must go and console her. | 0:18:50 | 0:18:52 | |
Poor thing. | 0:18:59 | 0:19:01 | |
I expect in her heart | 0:19:01 | 0:19:04 | |
she thinks she looks like this. To be young | 0:19:04 | 0:19:07 | |
and innocent forever... | 0:19:07 | 0:19:09 | |
Would we want to? | 0:19:09 | 0:19:13 | |
If our souls were ugly, yes. | 0:19:10 | 0:19:13 | |
Give a man a mask and he'll tell you the truth. | 0:19:13 | 0:19:17 | |
Have we had enough of this? Shall we have dinner somewhere? | 0:19:18 | 0:19:23 | |
'Dorian Gray is the most wonderful book I've ever read.' | 0:19:59 | 0:20:04 | |
And the end, when the servants break in | 0:20:04 | 0:20:07 | |
and find him wisened, old and dead and the picture young again! | 0:20:07 | 0:20:12 | |
I fainted. | 0:20:12 | 0:20:14 | |
My family say it's dull and wicked. | 0:20:14 | 0:20:17 | |
-Dull? -SHE LAUGHS | 0:20:17 | 0:20:19 | |
Oh... It's sublime. | 0:20:25 | 0:20:27 | |
It's about the masks we wear as faces. | 0:20:29 | 0:20:32 | |
And the faces we wear as masks. | 0:20:34 | 0:20:36 | |
That my son should have written a work of such... | 0:20:38 | 0:20:42 | |
People say it's full of dangerous paradoxes. | 0:20:41 | 0:20:45 | |
Hardly anyone will speak to us any more. | 0:20:45 | 0:20:48 | |
We're ceasing to be respectable. | 0:20:48 | 0:20:51 | |
Artists care nothing about respectability. | 0:20:54 | 0:20:58 | |
It's only jealousy. | 0:20:58 | 0:21:00 | |
It's the spite of the untalented for the men of genius. | 0:21:01 | 0:21:06 | |
Where is Oscar? | 0:21:07 | 0:21:10 | |
He's in the Lake District, writing a play. | 0:21:10 | 0:21:13 | |
A drama? | 0:21:13 | 0:21:16 | |
A comedy. | 0:21:14 | 0:21:16 | |
Robbie Ross has gone to keep him company. | 0:21:16 | 0:21:19 | |
I do like Robbie. | 0:21:21 | 0:21:23 | |
And they both love you. | 0:21:23 | 0:21:26 | |
It'll be a great success. | 0:21:27 | 0:21:29 | |
Oscar's made for the stage. | 0:21:29 | 0:21:31 | |
APPLAUSE AND CHEERING | 0:21:33 | 0:21:35 | |
-< -Magnificent! | 0:21:59 | 0:22:01 | |
Bravo! | 0:22:06 | 0:22:07 | |
Ladies and gentleman, I have enjoyed this evening immensely. | 0:22:15 | 0:22:20 | |
The actors have given us a charming rendering of a delightful play. | 0:22:20 | 0:22:25 | |
Your appreciation has been most intelligent. I congratulate you | 0:22:25 | 0:22:29 | |
on the great success of your performance, which persuades me | 0:22:29 | 0:22:34 | |
that you think almost as highly of this play as I do myself. | 0:22:34 | 0:22:38 | |
Splendid, Oscar. An absolute triumph! | 0:22:49 | 0:22:52 | |
Thank you so much. | 0:22:52 | 0:22:54 | |
It went so well, Oscar. | 0:22:56 | 0:22:58 | |
Even better than I'd... | 0:22:58 | 0:23:00 | |
They loved it, they absolutely loved it. | 0:23:01 | 0:23:04 | |
And I, dear boy, love you. | 0:23:04 | 0:23:06 | |
-Congratulations, Oscar. -> | 0:23:06 | 0:23:10 | |
Thank you. | 0:23:08 | 0:23:10 | |
Mr Wilde, wonderful. | 0:23:15 | 0:23:16 | |
Oscar. | 0:23:16 | 0:23:18 | |
Sphinx. | 0:23:17 | 0:23:18 | |
You really must be careful. You're in grave danger of becoming rich. | 0:23:18 | 0:23:23 | |
It was wonderful! Everyone wants to know who the real Lady Windermere is. | 0:23:23 | 0:23:29 | |
The real one is every woman in this room. And most of the men. | 0:23:29 | 0:23:33 | |
-Oscar. -Lionel. | 0:23:33 | 0:23:34 | |
A wonderful play. My cousin, Lord Alfred Douglas, is here. | 0:23:34 | 0:23:38 | |
He would very much like to congratulate you. | 0:23:38 | 0:23:42 | |
Oscar, this is Bosie Douglas. | 0:23:52 | 0:23:55 | |
We met last year. Lionel brought me to tea at Tite Street. | 0:23:55 | 0:23:59 | |
How could I possibly forget? | 0:23:59 | 0:24:02 | |
I love your play. The audience didn't know if you meant your jokes. | 0:24:03 | 0:24:08 | |
You shocked them. Especially with your speech. | 0:24:08 | 0:24:12 | |
But the more frivolous you seem, | 0:24:12 | 0:24:15 | |
the more serious you are. I love that. | 0:24:15 | 0:24:17 | |
Thank you. The young are the only critics | 0:24:17 | 0:24:20 | |
with enough experience to judge my work. | 0:24:20 | 0:24:23 | |
We need shocking. | 0:24:23 | 0:24:25 | |
People are so banal. You use your wit like a foil. | 0:24:25 | 0:24:28 | |
You cut through all the starched shirt fronts. You draw blood. | 0:24:28 | 0:24:33 | |
It's magnificent. | 0:24:33 | 0:24:35 | |
I wish you'd draw some blood down in Oxford. | 0:24:35 | 0:24:38 | |
You'd need a miracle. All the dons have dust in their veins. | 0:24:38 | 0:24:42 | |
At which college do you educate the fellows? | 0:24:42 | 0:24:46 | |
Magdalen. | 0:24:45 | 0:24:46 | |
My own college. I shall claim the privilege of a graduate | 0:24:46 | 0:24:50 | |
and take tutorials with you. | 0:24:50 | 0:24:52 | |
Come soon, then. They're threatening to send me down. | 0:24:52 | 0:24:57 | |
How could they be so cruel to one so beautiful? | 0:24:57 | 0:25:02 | |
Dons - they're so middle class. | 0:25:05 | 0:25:08 | |
My dear Oscar, | 0:25:08 | 0:25:10 | |
you've shocked London, smoking on stage. | 0:25:09 | 0:25:14 | |
Then we shall run for a year. | 0:25:12 | 0:25:14 | |
You must say something to Marion Terry. | 0:25:14 | 0:25:17 | |
She was good. So good that I think she wrote most of the lines herself. | 0:25:17 | 0:25:21 | |
Excuse me, Lord Alfred. | 0:25:21 | 0:25:24 | |
Bosie, please. | 0:25:22 | 0:25:24 | |
Bosie. | 0:25:25 | 0:25:27 | |
'"My own garden is my own garden," said the giant. | 0:25:34 | 0:25:39 | |
"So he built a high wall all around it and put up a notice board. | 0:25:39 | 0:25:43 | |
"Trespassers will be prosecuted. | 0:25:43 | 0:25:46 | |
"He was a very selfish giant. | 0:25:47 | 0:25:50 | |
"The poor children had now nowhere to play. | 0:25:50 | 0:25:53 | |
"They tried to play on the road | 0:25:53 | 0:25:55 | |
"but the road was dusty and full of stones and they did not like it. | 0:25:55 | 0:26:00 | |
"They used to wander around the wall | 0:26:00 | 0:26:02 | |
"and talk about the beautiful garden inside. | 0:26:02 | 0:26:06 | |
"'How happy we were there,' they said to each other." | 0:26:06 | 0:26:10 | |
I hope he was a very beautiful boy. | 0:26:10 | 0:26:13 | |
Well, pretty, you know, in a street Arab sort of way. | 0:26:13 | 0:26:17 | |
There's no point being blackmailed by an ugly one. | 0:26:17 | 0:26:21 | |
What's tiresome is he's threatened to show my letters to my father. | 0:26:25 | 0:26:30 | |
Who will show them to his friends for the excellence of their style. | 0:26:30 | 0:26:35 | |
No. No. You don't know him. He's a brute. | 0:26:35 | 0:26:39 | |
Really. | 0:26:39 | 0:26:41 | |
He carries a whip wherever he goes. | 0:26:41 | 0:26:43 | |
He used to beat my mother. | 0:26:46 | 0:26:48 | |
He beat my brothers. | 0:26:49 | 0:26:51 | |
He thrashed me... | 0:26:51 | 0:26:54 | |
My dear boy. | 0:26:52 | 0:26:54 | |
Course, he's practically illiterate. | 0:26:56 | 0:26:59 | |
Probably wouldn't understand the letters. | 0:26:59 | 0:27:02 | |
By an unforgivable oversight, I've never been blackmailed | 0:27:02 | 0:27:06 | |
but I believe £100 usually suffices. | 0:27:06 | 0:27:09 | |
Really? God! You promise? | 0:27:09 | 0:27:11 | |
Hm. Leave it to Lewis, George Lewis, my solicitor. | 0:27:11 | 0:27:15 | |
He knows what he's doing. He acts for the Prince of Wales. | 0:27:15 | 0:27:19 | |
PIANO PLAYS | 0:27:19 | 0:27:22 | |
-WEAKLY BUT TUNEFULLY: # -Ah, leave me not to pine alone and desolate | 0:27:25 | 0:27:33 | |
-# -No fate seemed fair as mine | 0:27:35 | 0:27:38 | |
-# -No happiness so great... -# | 0:27:38 | 0:27:44 | |
Isn't he killing, Mr Wilde? | 0:27:44 | 0:27:46 | |
He's perfect. | 0:27:46 | 0:27:49 | |
He's perfect in every way. | 0:27:49 | 0:27:51 | |
-# -And sung in accents clear | 0:27:51 | 0:27:55 | |
-# -This joyous roundelay | 0:27:56 | 0:28:01 | |
-# -He loves me | 0:28:01 | 0:28:05 | |
-# -He is here | 0:28:05 | 0:28:07 | |
-# -Fa la la la | 0:28:08 | 0:28:10 | |
-# -Fa la la la | 0:28:11 | 0:28:13 | |
-# -He loves me | 0:28:14 | 0:28:17 | |
-# -He is here | 0:28:19 | 0:28:21 | |
-# -Fa la la la | 0:28:22 | 0:28:25 | |
-# -Fa la. -# | 0:28:26 | 0:28:28 | |
APPLAUSE | 0:28:30 | 0:28:32 | |
-It was lovely. Well done, Bosie. -> | 0:28:32 | 0:28:35 | |
-Absolutely enchanting. -> | 0:28:35 | 0:28:37 | |
I don't want to sit here. I want to sit there. | 0:29:59 | 0:30:03 | |
You heard what Lord Alfred said. | 0:30:03 | 0:30:05 | |
I want everyone to look at us. | 0:30:05 | 0:30:08 | |
I want everyone to say, "There's Oscar Wilde with his boy." | 0:30:08 | 0:30:12 | |
So, what shall we let people see us eating? | 0:30:20 | 0:30:24 | |
Foie gras and lobster. And champagne. | 0:30:25 | 0:30:28 | |
For two. We do everything together. | 0:30:28 | 0:30:31 | |
Very good, Mr Wilde. | 0:30:31 | 0:30:33 | |
-I think he enjoyed thrashing me. All my family are mad. -> | 0:30:40 | 0:30:45 | |
My uncle slit his throat last year in a railway hotel. | 0:30:47 | 0:30:51 | |
Which station? | 0:30:51 | 0:30:52 | |
Euston. | 0:30:54 | 0:30:55 | |
Ah. All life's really serious journeys involve a railway terminus. | 0:30:55 | 0:31:00 | |
And now I must go to the station myself. | 0:31:02 | 0:31:05 | |
Sarah Bernhardt thinks she knows better than I do how to play Salome. | 0:31:05 | 0:31:11 | |
Stay. | 0:31:11 | 0:31:13 | |
Please stay. | 0:31:13 | 0:31:15 | |
At least until this evening. | 0:31:16 | 0:31:19 | |
Sarah is divine, as you are. | 0:31:20 | 0:31:23 | |
She will be wonderful at the play's climax when Salome kisses the head | 0:31:23 | 0:31:28 | |
of John the Baptist. | 0:31:28 | 0:31:30 | |
"Ah, thou wouldst not suffer me to kiss thy mouth, Iokanaan." | 0:31:30 | 0:31:34 | |
Iokanaan is an old Hebrew name for John. | 0:31:34 | 0:31:37 | |
"Well, I will kiss it now. I will bite it with my teeth | 0:31:37 | 0:31:41 | |
"as one bites a ripe fruit. | 0:31:41 | 0:31:43 | |
"Yes, I will kiss thy mouth, Iokanaan. | 0:31:43 | 0:31:46 | |
"Thy body is white, like the snows that lie on the mountains. | 0:31:46 | 0:31:50 | |
"Like the snows that lie on the mountains of Judaea | 0:31:50 | 0:31:55 | |
"and come down into the valleys. | 0:31:54 | 0:31:57 | |
"The roses in the garden of the Queen of Arabia | 0:31:57 | 0:32:00 | |
"are not so white as thy body." | 0:32:00 | 0:32:03 | |
'I'm not good enough for him any more.' | 0:32:09 | 0:32:12 | |
I'm just the son of a carpenter, while Bosie... | 0:32:12 | 0:32:15 | |
Oscar's only ever been smitten before. | 0:32:15 | 0:32:19 | |
He was smitten with me, he was smitten with you. | 0:32:21 | 0:32:24 | |
I wasn't smitten. | 0:32:24 | 0:32:26 | |
I loved him. | 0:32:31 | 0:32:33 | |
Well, now he's fallen in love. | 0:32:33 | 0:32:37 | |
I'm halfway to hellfire, I'm not joking. | 0:32:37 | 0:32:41 | |
Someone else was a carpenter's son. | 0:32:41 | 0:32:44 | |
I've given in and become a Catholic. | 0:32:47 | 0:32:49 | |
I find the confession... | 0:32:49 | 0:32:52 | |
wonderfully consoling. | 0:32:52 | 0:32:54 | |
I can't go to confession... | 0:32:54 | 0:32:57 | |
..when I want to kill Bosie. | 0:32:58 | 0:33:00 | |
And myself. | 0:33:02 | 0:33:04 | |
Oscar's furious. | 0:33:11 | 0:33:13 | |
He knew the Lord Chamberlain | 0:33:13 | 0:33:16 | |
wouldn't allow a play with Biblical characters in. | 0:33:16 | 0:33:19 | |
Oscar thinks there should be no censorship. | 0:33:19 | 0:33:22 | |
But there must be! If people said what they meant, where would we be? | 0:33:22 | 0:33:27 | |
When is he coming? | 0:33:27 | 0:33:30 | |
He's not. | 0:33:28 | 0:33:30 | |
He's looking after Lord Alfred. | 0:33:30 | 0:33:33 | |
Douglases are always ill or demented. | 0:33:33 | 0:33:35 | |
One roasted a kitchen boy on a spit. | 0:33:35 | 0:33:38 | |
And Bosie's father, Lord Queensberry... He's a dreadful man! | 0:33:38 | 0:33:43 | |
Doesn't believe in God or marriage. | 0:33:43 | 0:33:45 | |
A marquess should set a proper example | 0:33:45 | 0:33:48 | |
or what are the upper classes for? | 0:33:48 | 0:33:51 | |
I tell you, I wouldn't want a daughter of mine to marry a Douglas. | 0:33:51 | 0:33:57 | |
I haven't got a daughter. | 0:33:58 | 0:34:00 | |
Plenty of time still, my dear. | 0:34:00 | 0:34:03 | |
Oh. | 0:34:07 | 0:34:09 | |
Oh, I see. | 0:34:09 | 0:34:11 | |
It's my fault. | 0:34:11 | 0:34:13 | |
After Vyvyan was born, all I could think of was the children. | 0:34:13 | 0:34:18 | |
Ah. So that's why Oscar spends so much time with his men friends. | 0:34:18 | 0:34:25 | |
Oscar needs disciples. Lord Alfred is a poet, a fine one, Oscar says. | 0:34:25 | 0:34:30 | |
He's studying Classics. They talk about Plato. | 0:34:30 | 0:34:34 | |
There's nothing wrong. Really, there isn't. | 0:34:36 | 0:34:40 | |
It's not whether there is anything wrong. | 0:34:40 | 0:34:43 | |
It's whether there appears to be. That's all people care about. | 0:34:43 | 0:34:48 | |
The Empire was not built by men like Bosie Douglas. | 0:34:48 | 0:34:52 | |
"Then the spring came. | 0:34:53 | 0:34:55 | |
"Only in the garden of the selfish giant, it was still winter. | 0:34:55 | 0:34:59 | |
"The birds did not care to sing in it as there were no children | 0:34:59 | 0:35:04 | |
"and the trees forgot to blossom. | 0:35:03 | 0:35:06 | |
"The snow covered up the grass with her white cloak | 0:35:06 | 0:35:10 | |
"and the frost painted the trees silver." | 0:35:09 | 0:35:12 | |
Let's go out. | 0:36:03 | 0:36:06 | |
If you like. | 0:36:04 | 0:36:06 | |
With renters you don't have to consider their feelings. | 0:36:10 | 0:36:14 | |
But one should show gratitude, at least. | 0:36:14 | 0:36:17 | |
No. Money. That's all they want. | 0:36:17 | 0:36:20 | |
What's wonderful about Taylor's is no-one pretends. | 0:36:20 | 0:36:24 | |
You do it and be done with it. | 0:36:24 | 0:36:27 | |
I do love you, Oscar. | 0:36:34 | 0:36:36 | |
But variety is the spice of life. | 0:36:37 | 0:36:39 | |
You can watch me if you like. | 0:36:44 | 0:36:46 | |
You must keep a grasp upon your sobriety. | 0:36:48 | 0:36:51 | |
So I'll be sick on your suit? | 0:36:51 | 0:36:55 | |
That is disgusting. | 0:36:53 | 0:36:55 | |
-Evening. -Lord Alfred. | 0:36:56 | 0:36:58 | |
Alfred Taylor, this is Oscar. | 0:36:58 | 0:37:00 | |
Delighted to make your acquaintance. | 0:37:00 | 0:37:03 | |
Charles Parker. | 0:37:03 | 0:37:04 | |
Hello, Oscar. | 0:37:05 | 0:37:10 | |
Good to see you again. | 0:37:07 | 0:37:10 | |
-Do you smoke? -I do everything. | 0:37:14 | 0:37:17 | |
-Everything that pays! -Expertly, I might add. | 0:37:17 | 0:37:20 | |
-Got a lot of experience! -> | 0:37:20 | 0:37:22 | |
Mr Wilde, some wine? | 0:37:23 | 0:37:26 | |
Thank you. | 0:37:24 | 0:37:26 | |
It's a nice case. | 0:37:26 | 0:37:29 | |
I want you to keep it. | 0:37:27 | 0:37:29 | |
Thank you. | 0:37:32 | 0:37:34 | |
So, this is a den of vice. I should call it more of a garden. | 0:37:34 | 0:37:39 | |
Pretty flowers. Wise to keep the curtains closed. They would not grow | 0:37:39 | 0:37:43 | |
in the common light of day. | 0:37:43 | 0:37:45 | |
Who are you callin' common? | 0:37:45 | 0:37:51 | |
Not you. You seem to be a flower of the rarest hue. | 0:37:47 | 0:37:51 | |
Bosie never said that you were a botanist, Mr Taylor, that you climb | 0:38:00 | 0:38:06 | |
the peaks of the Himalayas and plunge into the forests of Borneo | 0:38:06 | 0:38:10 | |
to return to this conservatory by Westminster Abbey | 0:38:10 | 0:38:14 | |
to exhibit your specimens. | 0:38:14 | 0:38:17 | |
The boys are all Londoners actually. | 0:38:17 | 0:38:20 | |
Impossible. I see Londoners every day | 0:38:20 | 0:38:23 | |
but never such exotic blooms as these. | 0:38:23 | 0:38:27 | |
Does he always talk like this? | 0:38:27 | 0:38:31 | |
Not when he's in bed. | 0:38:29 | 0:38:31 | |
LAUGHTER | 0:38:31 | 0:38:33 | |
-ROBBIE: -'I am discreet. Bosie is too grand and well born for that.' | 0:38:39 | 0:38:44 | |
'He wants everyone to know.' | 0:38:44 | 0:38:46 | |
Oscar, you must understand... | 0:38:46 | 0:38:53 | |
I must be with young people. They're so frank. They make me feel young. | 0:38:48 | 0:38:53 | |
That's all very well. But what would you say if | 0:38:53 | 0:38:57 | |
someone wanted to go to bed with your son? | 0:38:57 | 0:38:59 | |
Cyril's eight. | 0:38:59 | 0:39:01 | |
What will you say when he's 18? | 0:39:01 | 0:39:03 | |
Nothing. He must do as his nature dictates. | 0:39:06 | 0:39:10 | |
'As I only wish I had done.' | 0:39:10 | 0:39:12 | |
"'I do believe the spring has come at last,' said the giant. | 0:39:12 | 0:39:16 | |
"He jumped out of bed and looked out of the window." | 0:39:16 | 0:39:19 | |
What did he see? | 0:39:19 | 0:39:23 | |
You tell me. | 0:39:20 | 0:39:23 | |
No. You tell it. | 0:39:21 | 0:39:23 | |
All right. "He saw the most wonderful sight. | 0:39:23 | 0:39:27 | |
"Through a hole in the wall the children had crept into the garden | 0:39:27 | 0:39:31 | |
"and were sitting in the trees. | 0:39:31 | 0:39:33 | |
"In every tree there was a child. | 0:39:33 | 0:39:36 | |
"The trees were so glad that..." | 0:39:36 | 0:39:40 | |
"..they covered themselves with blossoms!" | 0:39:37 | 0:39:40 | |
Blossoms! | 0:39:40 | 0:39:41 | |
"..and were waving their arms above the children's heads. | 0:39:41 | 0:39:45 | |
"The birds were twittering and singing above them in delight..." | 0:39:45 | 0:39:50 | |
Oscar! | 0:39:50 | 0:39:51 | |
"..and the flowers were laughing." | 0:39:51 | 0:39:53 | |
Oscar, it's time the boys changed or we'll miss the train. | 0:39:53 | 0:39:58 | |
Papa, can't we stay? | 0:39:58 | 0:40:00 | |
Papa's got to work. | 0:40:00 | 0:40:02 | |
He's got to finish his play. | 0:40:02 | 0:40:04 | |
Yes. Poor, dear Papa. | 0:40:04 | 0:40:06 | |
Poor Papa. | 0:40:06 | 0:40:08 | |
Poor, poor, poor, poor, poor Papa! | 0:40:08 | 0:40:12 | |
'Where is Oscar?' | 0:40:14 | 0:40:16 | |
He's working. He is a writer, after all. | 0:40:16 | 0:40:19 | |
I hear your father's threatening to shoot Lord Rosebery. | 0:40:18 | 0:40:22 | |
He usually prefers the horsewhip. | 0:40:22 | 0:40:27 | |
Says he's buggering your brother. | 0:40:24 | 0:40:27 | |
Rosebery is Secretary of State for Foreign Affairs. | 0:40:27 | 0:40:31 | |
Francis is his Private Secretary. | 0:40:31 | 0:40:33 | |
Actually, Francis is about to get engaged. | 0:40:33 | 0:40:36 | |
What's your father talking about, then? | 0:40:36 | 0:40:40 | |
Oh, he's obsessed with sex. He thinks Oscar's buggering me. | 0:40:40 | 0:40:45 | |
As though I'd allow anyone to do that. | 0:40:45 | 0:40:47 | |
I'm sick of the country. | 0:40:58 | 0:41:00 | |
Let's go back to London. | 0:41:03 | 0:41:05 | |
Why bother living together if you're always working? | 0:41:10 | 0:41:14 | |
I have responsibilities, a family. | 0:41:14 | 0:41:18 | |
Oh, God, not that again. | 0:41:16 | 0:41:18 | |
I ask my friends over from Oxford and you just disappear. | 0:41:19 | 0:41:23 | |
I'd be better off at my mother's. At least she's there. | 0:41:27 | 0:41:31 | |
You asked me to take this house... | 0:41:31 | 0:41:35 | |
Well, I'm bored with it. | 0:41:33 | 0:41:35 | |
And with you. | 0:41:35 | 0:41:37 | |
I can't give it up. It's paid for in advance. Until I finish my new... | 0:41:37 | 0:41:43 | |
Bosie, dear... | 0:41:43 | 0:41:45 | |
You have beauty, breeding and, most gloriously, youth. | 0:41:45 | 0:41:48 | |
But you are fantastical | 0:41:48 | 0:41:50 | |
if you think that pleasures don't have to be paid for. | 0:41:50 | 0:41:54 | |
When I want to do anything, you say you can't afford it. | 0:41:54 | 0:41:58 | |
But you give the renters cigarette cases. | 0:41:58 | 0:42:01 | |
I've lavished presents on you! | 0:42:01 | 0:42:03 | |
Every penny from my play was spent on you! | 0:42:03 | 0:42:06 | |
I'm sure you've been counting. | 0:42:06 | 0:42:08 | |
You're so mean and penny-pinching and middle class. | 0:42:08 | 0:42:12 | |
All you can think about is your bank balance. | 0:42:12 | 0:42:16 | |
This is intolerable! | 0:42:14 | 0:42:16 | |
No gentleman has the slightest idea what his bank balance is! | 0:42:16 | 0:42:21 | |
You're absurd! Telling everyone how they ought to live! | 0:42:22 | 0:42:26 | |
You're so vulgar! | 0:42:26 | 0:42:28 | |
I never want to see you again, ever. | 0:42:28 | 0:42:31 | |
All right, if that's what you want, then go! Get out! | 0:42:31 | 0:42:35 | |
Get out! | 0:42:35 | 0:42:37 | |
-CYRIL: -"But in the farthest corner | 0:42:38 | 0:42:42 | |
"it was still winter, and in it was standing a little boy. | 0:42:42 | 0:42:46 | |
"He was so small, he couldn't reach up to the branches of the tree. | 0:42:46 | 0:42:51 | |
"'Climb up, little boy,' said the tree, | 0:42:51 | 0:42:54 | |
"but the little boy was too tiny." | 0:42:54 | 0:42:57 | |
Egypt is lovely this time of year. | 0:42:57 | 0:42:59 | |
You mustn't idle your time away. | 0:42:59 | 0:43:02 | |
Mother... | 0:43:02 | 0:43:04 | |
And I want you to promise me something. | 0:43:03 | 0:43:07 | |
Not to write to Oscar Wilde. | 0:43:08 | 0:43:10 | |
I can't do that. | 0:43:10 | 0:43:12 | |
-Bosie... -I love Oscar. | 0:43:11 | 0:43:13 | |
I love him as a disciple loves his teacher. | 0:43:13 | 0:43:16 | |
But he's not fit to teach anything. He's evil. | 0:43:16 | 0:43:20 | |
Do you think your own son could love someone evil? | 0:43:20 | 0:43:23 | |
I just wish I could love Oscar | 0:43:23 | 0:43:26 | |
as loyally, devotedly, unselfishly and purely as he loves me. | 0:43:26 | 0:43:32 | |
But I'm not as good as he is. | 0:43:33 | 0:43:36 | |
I probably never will be. | 0:43:38 | 0:43:40 | |
Goodbye, then. | 0:43:42 | 0:43:44 | |
'I adore simple pleasures. They are the last refuge of the complex.' | 0:43:57 | 0:44:02 | |
But, if you wish, let us stay here. | 0:44:02 | 0:44:05 | |
Yes, let us stay here. | 0:44:05 | 0:44:07 | |
The Book Of Life begins with a man and a woman in a garden. | 0:44:07 | 0:44:11 | |
It ends with Revelations. | 0:44:11 | 0:44:13 | |
Er, yes, er, Mr Tree, may I? | 0:44:13 | 0:44:15 | |
I'm glad that you find my lines funny, | 0:44:15 | 0:44:18 | |
but don't try to make the audience laugh. | 0:44:18 | 0:44:20 | |
They must be spontaneous, natural, as if people always speak like that. | 0:44:20 | 0:44:26 | |
Yes, of course. | 0:44:26 | 0:44:28 | |
-< -Let's try again. | 0:44:28 | 0:44:30 | |
You should break with Bosie more often, Oscar. | 0:44:30 | 0:44:33 | |
Then we'd have more of your spontaneous and natural plays. | 0:44:33 | 0:44:37 | |
Bosie was envious. That's why he stopped Oscar working. | 0:44:37 | 0:44:41 | |
-It's not true. -Of course it is. | 0:44:41 | 0:44:43 | |
His poems aren't as good as you pretend. | 0:44:43 | 0:44:46 | |
And he knows it. He's just a shallow little... | 0:44:46 | 0:44:49 | |
Rivulet. | 0:44:49 | 0:44:51 | |
Bosie's a child, a vulnerable child. He needs love. | 0:44:52 | 0:44:56 | |
Oh, we all need love. | 0:44:56 | 0:44:58 | |
But which of us can give it? | 0:44:58 | 0:45:01 | |
# We wish you a merry Christmas We wish you a merry Christmas | 0:45:01 | 0:45:06 | |
# We wish you a merry Christmas And a happy New Year! | 0:45:06 | 0:45:12 | |
# Good tidings we bring To you and your king | 0:45:12 | 0:45:17 | |
# We wish you a merry Christmas And a happy New Year! # | 0:45:17 | 0:45:21 | |
Cracker time! | 0:45:23 | 0:45:26 | |
It is cracker time. | 0:45:24 | 0:45:26 | |
"And the giant's heart melted as he looked out. | 0:45:26 | 0:45:30 | |
"'How selfish I have been,' he said. | 0:45:29 | 0:45:34 | |
"'Now I know why the spring would not come here. | 0:45:34 | 0:45:37 | |
"'I will put the boy in the tree and knock down the wall and my garden | 0:45:37 | 0:45:42 | |
"'will be a playground for ever.'" | 0:45:42 | 0:45:45 | |
"He was really very sorry for what he had done. | 0:45:45 | 0:45:49 | |
"So he crept downstairs and opened the door | 0:45:51 | 0:45:54 | |
"and went out into the garden. | 0:45:54 | 0:45:56 | |
"The little boy did not run away, | 0:45:56 | 0:45:59 | |
"for his eyes were so full of tears that he did not see the giant. | 0:45:59 | 0:46:04 | |
"The giant stole up behind him and took him gently by the hand | 0:46:04 | 0:46:08 | |
"and put him up into the tree. | 0:46:08 | 0:46:10 | |
"And the tree broke at once into blossom and the birds sang on it | 0:46:10 | 0:46:15 | |
"and the little boy flung his arms around the giant's neck | 0:46:15 | 0:46:19 | |
"and kissed him." | 0:46:19 | 0:46:21 | |
Oscar! | 0:46:49 | 0:46:51 | |
I don't care what people think. I love you! | 0:46:52 | 0:46:55 | |
I love you. It's all that matters! It was agony being away from you! | 0:46:55 | 0:47:00 | |
Well, here I am. | 0:47:00 | 0:47:02 | |
Oh, Bosie, you're my catastrophe, my doom. Everyone says so, even me. | 0:47:02 | 0:47:08 | |
I, er, thought you might like something to celebrate your return. | 0:47:10 | 0:47:15 | |
Oscar... | 0:47:17 | 0:47:18 | |
When I saw them in the window, | 0:47:20 | 0:47:22 | |
they begged me on their knees to make them yours. | 0:47:22 | 0:47:26 | |
I'll put them on now. They're superb. | 0:47:26 | 0:47:30 | |
No, no. I'll sit there! | 0:47:42 | 0:47:44 | |
Is there something wrong, my Lord? | 0:47:44 | 0:47:47 | |
This fool wants me to sit by the service door. | 0:47:47 | 0:47:52 | |
Oh, God, my father. | 0:47:50 | 0:47:52 | |
I'm sorry. He's new and didn't know who you were. | 0:47:52 | 0:47:55 | |
Bosie, you're not going to flee? | 0:47:56 | 0:47:59 | |
Give me the menu. | 0:48:04 | 0:48:06 | |
I'll have pea soup and then salmon. | 0:48:10 | 0:48:12 | |
Will you have it with us? | 0:48:12 | 0:48:15 | |
Bosie. | 0:48:13 | 0:48:15 | |
I'm lunching with Oscar Wilde. Will you join us? | 0:48:15 | 0:48:20 | |
I told you never to see that vile cur again. | 0:48:23 | 0:48:27 | |
He's not vile or a cur. He's utterly delightful. Come and see. | 0:48:27 | 0:48:31 | |
How do you know what he's like when you've never met him? | 0:48:31 | 0:48:35 | |
Papa, you're not a man to be influenced by people's opinions. | 0:48:35 | 0:48:39 | |
Oscar, you've never met my father, have you? | 0:48:48 | 0:48:51 | |
Lord Queensberry. | 0:48:51 | 0:48:53 | |
Bosie has told me so much about your exploits on the race track. | 0:48:55 | 0:49:00 | |
I've never heard such bad luck as yours with the Grand National. | 0:49:00 | 0:49:05 | |
Bosie says you would have won if your cousin had let you ride. | 0:49:06 | 0:49:11 | |
Bloody fool said I was too old. | 0:49:12 | 0:49:14 | |
You're never too old. I'd ridden her on the gallops. | 0:49:14 | 0:49:18 | |
Came in at 40 to 1. | 0:49:18 | 0:49:20 | |
No horse could ever have carried me | 0:49:20 | 0:49:22 | |
over the jumps. What are you having? | 0:49:22 | 0:49:25 | |
Pea soup and salmon. | 0:49:25 | 0:49:29 | |
Then I shall join you. | 0:49:27 | 0:49:29 | |
Spring is the time to lunch on salmon. | 0:49:29 | 0:49:31 | |
Though it tastes nicer if you've caught it yourself. | 0:49:31 | 0:49:35 | |
You fish? | 0:49:35 | 0:49:39 | |
I used to. When I was in Ireland. | 0:49:36 | 0:49:39 | |
My father had a charming hunting lodge on an island. | 0:49:39 | 0:49:42 | |
Do you know the west of Ireland? | 0:49:42 | 0:49:46 | |
Not really. | 0:49:44 | 0:49:46 | |
Whereabouts exactly? | 0:49:49 | 0:49:51 | |
The Christians pretend they know who God is. I've no time for that. | 0:50:05 | 0:50:10 | |
I say that if you don't know something, you should say so, | 0:50:10 | 0:50:14 | |
not pretend you believe in some mumbo-jumbo. | 0:50:14 | 0:50:17 | |
I believe in anything incredible. | 0:50:17 | 0:50:20 | |
I shall die a Catholic, though I couldn't live as one. | 0:50:20 | 0:50:23 | |
Catholicism is a romantic religion, with saints and sinners. | 0:50:23 | 0:50:27 | |
The Church of England has respectable people | 0:50:27 | 0:50:31 | |
who believe in respectability. | 0:50:31 | 0:50:33 | |
You get to be a bishop not by what you believe but by what you don't. | 0:50:33 | 0:50:38 | |
That's true enough. | 0:50:36 | 0:50:38 | |
It's the only church where a sceptic | 0:50:38 | 0:50:41 | |
stands at the altar and St Thomas the Doubter is prince of apostles. | 0:50:40 | 0:50:46 | |
No, I couldn't possibly die in the Church of England. | 0:50:46 | 0:50:50 | |
Where do you stand on cremation? | 0:50:50 | 0:50:54 | |
I'm not sure I have a position. | 0:50:51 | 0:50:54 | |
I'm for it. | 0:50:55 | 0:50:57 | |
I wrote a poem. | 0:50:58 | 0:51:00 | |
"When I am dead, cremate me." | 0:51:00 | 0:51:02 | |
That's how it begins. | 0:51:02 | 0:51:04 | |
"When I am dead, cremate me." | 0:51:06 | 0:51:08 | |
What do you think of that for an opening line? | 0:51:08 | 0:51:11 | |
It's challenging. | 0:51:12 | 0:51:14 | |
I'm a challenging man. That's why people don't like me. | 0:51:14 | 0:51:18 | |
I don't go along with the ordinary ways of thinking. | 0:51:18 | 0:51:23 | |
Then we are exactly alike. | 0:51:21 | 0:51:23 | |
Another glass of brandy? I find that alcohol | 0:51:23 | 0:51:26 | |
in sufficient quantities can produce all the effects of drunkenness. | 0:51:26 | 0:51:31 | |
You were there for ages. You stayed talking till after four. | 0:51:33 | 0:51:37 | |
I knew you'd like him. | 0:51:37 | 0:51:39 | |
He's got charm, I admit that. | 0:51:39 | 0:51:41 | |
But that's bad. Men shouldn't be charming. It's disgusting. | 0:51:41 | 0:51:46 | |
I don't think much of his action. | 0:51:46 | 0:51:48 | |
Let's have a look at the bay. | 0:51:48 | 0:51:51 | |
Mind you, Wilde's no fool. Talks wonderfully. Really wonderfully. | 0:51:51 | 0:51:56 | |
But that means nothing when what he says is such rot. | 0:51:56 | 0:52:00 | |
Worse than rot. Evil. | 0:52:00 | 0:52:01 | |
Which is why I insist you stop seeing him forthwith. | 0:52:01 | 0:52:05 | |
Insist? What does that mean? | 0:52:05 | 0:52:11 | |
I will cut off your allowance if you don't do as I say. | 0:52:07 | 0:52:11 | |
Trot him up and down a bit! | 0:52:11 | 0:52:14 | |
Look, Father... | 0:52:12 | 0:52:14 | |
You wasted Oxford, saying you'd go into the Foreign Office. | 0:52:14 | 0:52:18 | |
Thank God you didn't, with that Jew queer Rosebery buggering the juniors. | 0:52:18 | 0:52:23 | |
You just wrote obscene poetry. | 0:52:23 | 0:52:27 | |
My poems aren't obscene. | 0:52:25 | 0:52:27 | |
They're in the manner of Wilde. That's filthy enough. | 0:52:27 | 0:52:30 | |
Have you ever read any of his poems? | 0:52:30 | 0:52:36 | |
I wouldn't sully my mind with perverted trash. | 0:52:32 | 0:52:36 | |
Tell him to pick his feet up! He's not straight! | 0:52:36 | 0:52:40 | |
Are you calling Oscar a pervert? Because that's libellous! | 0:52:40 | 0:52:45 | |
I'm not saying he is one. I'm saying he's posing as one! | 0:52:45 | 0:52:49 | |
Which is worse. | 0:52:49 | 0:52:51 | |
His wife's divorcing him. Did you know that? For sodomy. | 0:52:51 | 0:52:55 | |
That's completely untrue! | 0:52:55 | 0:52:59 | |
I hope it is. | 0:52:57 | 0:52:59 | |
Because if it were true, I'd shoot him on sight. | 0:52:59 | 0:53:03 | |
You will cease to see Wilde or I'll cut you off without a penny. | 0:53:04 | 0:53:09 | |
As though I wanted your money. | 0:53:09 | 0:53:12 | |
What little you have left from your tarts. | 0:53:12 | 0:53:15 | |
How dare you speak to your father like that! | 0:53:15 | 0:53:21 | |
What a funny little man you are! | 0:53:18 | 0:53:21 | |
Bosie! Come back here, you filthy-minded cissy! | 0:53:21 | 0:53:25 | |
You're absurd! | 0:53:25 | 0:53:27 | |
And you're nothing but a bum boy! | 0:53:27 | 0:53:30 | |
You're pathetic! | 0:53:30 | 0:53:32 | |
Bosie! | 0:53:33 | 0:53:35 | |
I'm a bloody good shot! I'll shoot him through the heart! | 0:53:35 | 0:53:39 | |
Use a silver bullet. | 0:53:39 | 0:53:41 | |
-Here's one for the Black Douglas! -HE FIRES | 0:53:41 | 0:53:44 | |
Bosie, for God's sake! | 0:53:44 | 0:53:46 | |
One for his liver! And his lights! And his stinking rotten soul! | 0:53:46 | 0:53:51 | |
Bosie! | 0:53:51 | 0:53:53 | |
I'll save one for myself. | 0:53:53 | 0:53:55 | |
My own father. He wants to kill me. | 0:53:56 | 0:54:00 | |
My life is everything I ever wanted. | 0:54:14 | 0:54:17 | |
I have fame. | 0:54:18 | 0:54:21 | |
I have recognition. | 0:54:21 | 0:54:23 | |
With two plays about to open in London, I may even have money. | 0:54:23 | 0:54:28 | |
The world is at my command. | 0:54:30 | 0:54:32 | |
Yet I can't command myself. | 0:54:33 | 0:54:36 | |
I can't command my feelings for you. | 0:54:38 | 0:54:41 | |
Thank you. | 0:54:53 | 0:54:54 | |
'Constance, my dear.' | 0:54:54 | 0:54:56 | |
How nice. | 0:54:56 | 0:54:59 | |
Constance! | 0:55:00 | 0:55:02 | |
Bosie. | 0:55:04 | 0:55:05 | |
I brought you your letters. | 0:55:07 | 0:55:10 | |
You haven't been home for so long. | 0:55:10 | 0:55:12 | |
Thank you. | 0:55:12 | 0:55:13 | |
It's convenient for Oscar living in the West End | 0:55:18 | 0:55:22 | |
when he has a play coming on. | 0:55:22 | 0:55:24 | |
I'm like a northern businessman who must keep an eye on his factory. | 0:55:24 | 0:55:29 | |
The boys keep asking for you. They're longing to see you. | 0:55:29 | 0:55:33 | |
Oscar has to make sure the play's a success, Constance. | 0:55:33 | 0:55:36 | |
I'll come round this afternoon. For tea. | 0:55:36 | 0:55:39 | |
It's the dress rehearsal this afternoon. | 0:55:40 | 0:55:44 | |
Tomorrow, then. I'll come tomorrow. | 0:55:47 | 0:55:50 | |
Oh. Tomorrow, then. | 0:55:50 | 0:55:52 | |
Goodbye, my dear. | 0:55:59 | 0:56:01 | |
Goodbye. | 0:56:01 | 0:56:02 | |
-Goodbye, Constance. -> | 0:56:10 | 0:56:12 | |
Perhaps a cod fish. I've a strong feeling that cod fish live deeper. | 0:56:25 | 0:56:30 | |
Do you think there's skate? | 0:56:30 | 0:56:34 | |
Possibly. | 0:56:32 | 0:56:34 | |
I don't think there'll be anything for our table tonight. | 0:56:37 | 0:56:41 | |
I should stay. You have a cold. | 0:56:41 | 0:56:45 | |
No, no, I'm all right. | 0:56:43 | 0:56:45 | |
Let's get the boys some ices. | 0:56:45 | 0:56:48 | |
Boys, you are to stay and look after Nanny. | 0:56:48 | 0:56:51 | |
I could take the boys to the dentist on Thursday on their way to school. | 0:56:54 | 0:56:59 | |
The point about them having dentistry now | 0:56:58 | 0:57:02 | |
is that they can stuff themselves with sweets before we lose them. | 0:57:02 | 0:57:07 | |
Are you quite sure? | 0:57:07 | 0:57:10 | |
Bosie will look after me. | 0:57:08 | 0:57:10 | |
'Oscar!' | 0:57:27 | 0:57:28 | |
Oscar! | 0:57:28 | 0:57:30 | |
Get your coat on, quick! | 0:57:30 | 0:57:32 | |
I've got a present for you! | 0:57:32 | 0:57:34 | |
Oh, God... | 0:57:36 | 0:57:37 | |
You're not still seedy? | 0:57:37 | 0:57:41 | |
Where have you been? | 0:57:39 | 0:57:41 | |
I need looking after. | 0:57:41 | 0:57:44 | |
Don't be so pathetic. | 0:57:42 | 0:57:44 | |
I've found you the divinest boy. | 0:57:44 | 0:57:47 | |
You promised Constance. | 0:57:47 | 0:57:50 | |
Bugger Constance. | 0:57:48 | 0:57:50 | |
I'm not your nanny. Come on! | 0:57:50 | 0:57:52 | |
Bosie, please. | 0:57:52 | 0:57:54 | |
You look such an idiot lying there. Revolting. | 0:57:56 | 0:57:59 | |
Have you forgotten how to wash? | 0:57:59 | 0:58:02 | |
I'm dying for a glass of water. | 0:58:02 | 0:58:06 | |
You know where the jug is. | 0:58:04 | 0:58:06 | |
Bosie, darling. | 0:58:06 | 0:58:07 | |
It stinks in here. You'll want me to empty your chamber pot next. | 0:58:07 | 0:58:12 | |
I emptied your chamber pot. I looked after you. | 0:58:12 | 0:58:18 | |
Well, I'm not looking after you. | 0:58:15 | 0:58:18 | |
You don't interest me when you're ill. You're just a boring man | 0:58:18 | 0:58:22 | |
with a blocked-up nose. | 0:58:22 | 0:58:24 | |
Bosie, dearest boy... | 0:58:24 | 0:58:27 | |
Shut up! | 0:58:25 | 0:58:27 | |
"Dearest boy. Darling Bosie." It doesn't mean anything. | 0:58:27 | 0:58:32 | |
You don't love me. | 0:58:32 | 0:58:34 | |
The only person you've ever loved is yourself. | 0:58:34 | 0:58:37 | |
You like me, lust after me, you go about with me because of my title. | 0:58:37 | 0:58:42 | |
You like to write about dukes but you know nothing about them. | 0:58:42 | 0:58:46 | |
You're a snob! You think you're daring because you fuck boys. | 0:58:46 | 0:58:51 | |
Bosie, you're killing me. | 0:58:50 | 0:58:56 | |
You'll do when you're at your best. You're amusing. | 0:58:52 | 0:58:56 | |
But when you're not, you're no-one. | 0:58:56 | 0:58:59 | |
I just asked for a glass of water. | 0:58:59 | 0:59:02 | |
For Christ's sake! There you are, then! | 0:59:03 | 0:59:07 | |
Now will you shut up about the fucking water?! | 0:59:09 | 0:59:12 | |
There are two boys out there. If you don't come, I'll fuck them both. | 0:59:16 | 0:59:21 | |
I'll take them to the Grand and fuck them in front of the whole hotel. | 0:59:21 | 0:59:26 | |
And I'll send you the bill. | 0:59:26 | 0:59:28 | |
Drink this. | 0:59:42 | 0:59:44 | |
It will help your fever. | 0:59:44 | 0:59:46 | |
He's ashamed of loving men. | 0:59:46 | 0:59:49 | |
His father bullies him, his mother spoils him | 0:59:50 | 0:59:54 | |
then berates him for being spoiled. | 0:59:54 | 0:59:57 | |
Neither of them gives him any love. They're torturing him. | 0:59:57 | 1:00:01 | |
And what's truly dreadful | 1:00:01 | 1:00:04 | |
is that when he can't bear it and he has one of his... | 1:00:04 | 1:00:08 | |
..he becomes exactly like his father. | 1:00:09 | 1:00:12 | |
And he hates himself for that. | 1:00:12 | 1:00:16 | |
You're too kind about him. | 1:00:14 | 1:00:16 | |
You can't be too kind about someone who's been so hurt. | 1:00:16 | 1:00:21 | |
Yet if I go on trying to come between Bosie and his father, | 1:00:23 | 1:00:28 | |
they'll destroy me. | 1:00:28 | 1:00:30 | |
Bosie's quite capable of destroying you on his own. | 1:00:30 | 1:00:34 | |
Look how much you wrote while he was away. | 1:00:34 | 1:00:38 | |
Two wonderful plays which will run for years. | 1:00:38 | 1:00:42 | |
Back comes Bosie and what have you written since? | 1:00:41 | 1:00:46 | |
Oscar... | 1:00:50 | 1:00:52 | |
You know how much I... | 1:00:52 | 1:00:54 | |
..love and admire you. | 1:00:56 | 1:00:58 | |
But you're throwing your genius away. | 1:00:59 | 1:01:02 | |
For what? | 1:01:02 | 1:01:04 | |
It's ironic. Queensberry thinks | 1:01:04 | 1:01:06 | |
Bosie and I are locked in nightly embrace | 1:01:06 | 1:01:09 | |
and in reality we've been the purest model of Greek love since... | 1:01:09 | 1:01:13 | |
Bosie doesn't like doing it with me. | 1:01:15 | 1:01:18 | |
But I've loved him. | 1:01:18 | 1:01:20 | |
I've educated him. | 1:01:20 | 1:01:23 | |
He's never grown up. | 1:01:21 | 1:01:23 | |
And he never will. | 1:01:23 | 1:01:25 | |
I'm not taking him back, Robbie. | 1:01:27 | 1:01:30 | |
Not again. | 1:01:30 | 1:01:32 | |
I can't. | 1:01:35 | 1:01:37 | |
I've been very foolish, very fond. | 1:01:37 | 1:01:40 | |
But, er, now I must grow up myself. | 1:01:41 | 1:01:43 | |
Oh, please don't do that. | 1:01:43 | 1:01:45 | |
You're an artist. Artists are always children at heart. | 1:01:45 | 1:01:50 | |
Oh, Robbie, I sometimes wonder if... | 1:01:52 | 1:01:55 | |
(Back page, sir.) | 1:01:58 | 1:02:00 | |
My God. Francis Douglas. | 1:02:05 | 1:02:07 | |
What? | 1:02:07 | 1:02:08 | |
Bosie's brother. | 1:02:08 | 1:02:11 | |
He's been found shot. He's dead. | 1:02:11 | 1:02:14 | |
He's just got engaged. | 1:02:14 | 1:02:16 | |
Bosie... | 1:02:19 | 1:02:20 | |
Poor, poor Bosie. | 1:02:20 | 1:02:22 | |
He'll be utterly distraught. | 1:02:23 | 1:02:25 | |
'He killed himself.' | 1:02:35 | 1:02:37 | |
It was my father. He drove him to it. | 1:02:38 | 1:02:41 | |
I'm sure your father's just as upset as everyone else. | 1:02:41 | 1:02:45 | |
No, he's not. | 1:02:45 | 1:02:47 | |
He says it's a judgment on Rosebery and my mother. | 1:02:50 | 1:02:54 | |
And me and you. | 1:02:54 | 1:02:56 | |
We've got to stop him, Oscar. | 1:03:06 | 1:03:08 | |
Before he drives my whole family to suicide. | 1:03:10 | 1:03:13 | |
Bosie... Bosie, I promise you, I won't let him hurt you ever again. | 1:03:13 | 1:03:19 | |
I promise. | 1:03:19 | 1:03:21 | |
It's not enough. I want him stopped. | 1:03:27 | 1:03:30 | |
I want...the whole world to know what he's done... | 1:03:33 | 1:03:37 | |
..what an evil man he is. | 1:03:38 | 1:03:41 | |
Table, my Lord? | 1:03:44 | 1:03:46 | |
Is Lord Alfred here and that shit and sod, Wilde? | 1:03:46 | 1:03:51 | |
No, my Lord. Not tonight. | 1:03:49 | 1:03:51 | |
Bugger must be at Kettners. | 1:03:51 | 1:03:53 | |
Is my son staying here? | 1:04:08 | 1:04:10 | |
Is Lord Alfred Douglas staying here? | 1:04:12 | 1:04:15 | |
Er, no, sir, he's not. | 1:04:15 | 1:04:17 | |
What about Wilde? | 1:04:19 | 1:04:22 | |
No, sir. | 1:04:20 | 1:04:22 | |
If I find they have been staying here, | 1:04:24 | 1:04:27 | |
I'll give you the biggest whipping of your life. | 1:04:27 | 1:04:31 | |
Well, I expect you two would like a drink after your exertions. | 1:05:02 | 1:05:08 | |
I must ask you to leave, Mr Wilde. | 1:05:13 | 1:05:17 | |
What are you talking about? | 1:05:17 | 1:05:21 | |
At once, please. | 1:05:19 | 1:05:21 | |
What's the matter? My father cracking the whip downstairs, is he? | 1:05:23 | 1:05:28 | |
-My Lord... -Bosie... | 1:05:38 | 1:05:40 | |
You're not frightened of what this little man thinks? | 1:05:40 | 1:05:43 | |
I think the pleasures of the evening should be resumed elsewhere. | 1:05:43 | 1:05:49 | |
You're such a coward! You say you despise convention, | 1:05:51 | 1:05:55 | |
but you're the most conventional man I know. | 1:05:55 | 1:05:58 | |
Come on, then. We're going. | 1:05:59 | 1:06:02 | |
Until tomorrow, Tommy. | 1:06:11 | 1:06:14 | |
Good night, sir. | 1:06:13 | 1:06:14 | |
-< -There's, like, all this tropical fruit laid out. | 1:06:14 | 1:06:18 | |
Oscar! | 1:06:20 | 1:06:22 | |
Wait a minute, Oscar! | 1:06:22 | 1:06:24 | |
Alfred, how nice to see you. And Charlie, too. | 1:06:24 | 1:06:27 | |
I'm busy this evening, but we must have dinner again soon. | 1:06:27 | 1:06:31 | |
It's not a question of dinner. | 1:06:31 | 1:06:34 | |
I got a letter of yours... to Lord Alfred. | 1:06:34 | 1:06:37 | |
It's a nice letter. | 1:06:36 | 1:06:38 | |
"Lips like roses. The madness of kisses in ancient Greece." | 1:06:38 | 1:06:42 | |
I expect it's one of my prose poems. | 1:06:42 | 1:06:47 | |
A gentleman's offered me £60 for it. | 1:06:44 | 1:06:47 | |
You must accept. I've never received such a sum for a work of that length. | 1:06:47 | 1:06:52 | |
I'm delighted that someone values my work so highly. | 1:06:52 | 1:06:56 | |
He's gone away. | 1:06:56 | 1:06:59 | |
To the country. | 1:06:56 | 1:06:59 | |
I'm sure he'll be back. | 1:06:57 | 1:06:59 | |
Oscar! | 1:06:59 | 1:07:00 | |
Oscar! Look, you couldn't let us have something, could you? | 1:07:02 | 1:07:07 | |
Bit short at the moment, you know. | 1:07:07 | 1:07:09 | |
Of course. Here's half a sovereign. | 1:07:09 | 1:07:12 | |
Take good care of that letter. | 1:07:12 | 1:07:14 | |
Lord Alfred is going to publish it in sonnet form in his new magazine. | 1:07:14 | 1:07:19 | |
For fuck's sake! | 1:07:19 | 1:07:21 | |
Oscar! | 1:07:23 | 1:07:25 | |
It's no good trying to rent you. You just laugh at us. Here. | 1:07:25 | 1:07:30 | |
Thank you. | 1:07:30 | 1:07:32 | |
He can be very careless, Lord Alfred. | 1:07:32 | 1:07:35 | |
What a wonderfully wicked life you lead. | 1:07:36 | 1:07:39 | |
You boys, you boys. | 1:07:39 | 1:07:41 | |
-< -Where is he? | 1:07:47 | 1:07:51 | |
-< -Mr Wilde is not... | 1:07:48 | 1:07:51 | |
-< -Where is he?! | 1:07:49 | 1:07:51 | |
-< -Get out of my way! | 1:07:51 | 1:07:53 | |
-< -I'm sorry, sir! | 1:07:53 | 1:07:55 | |
Excuse me, there's a gentleman... | 1:07:56 | 1:07:59 | |
You! | 1:07:59 | 1:08:00 | |
Listen to me. | 1:08:00 | 1:08:02 | |
You're a bugger! | 1:08:03 | 1:08:06 | |
I don't allow people to talk like that in my house, Lord Queensberry. | 1:08:06 | 1:08:11 | |
Or anywhere else. | 1:08:11 | 1:08:13 | |
I suppose you've come to apologise for the lies you're spreading? | 1:08:13 | 1:08:21 | |
Leave my son alone, you sodomite! | 1:08:17 | 1:08:21 | |
The Marquess seems obsessed with people's sexual activities. | 1:08:21 | 1:08:25 | |
It must be to do with his new wife seeking divorce for non-consummation. | 1:08:25 | 1:08:30 | |
Swear you'll have nothing to do with Bosie or I'll go to Scotland Yard! | 1:08:30 | 1:08:37 | |
You can go to the devil, you and... | 1:08:34 | 1:08:37 | |
Who is this gargoyle? | 1:08:37 | 1:08:39 | |
You're a queer! And a sham! A poseur! | 1:08:39 | 1:08:43 | |
If I catch you together, I'll give you such a thrashing. | 1:08:43 | 1:08:47 | |
I believe you once invented some rules for boxing. | 1:08:47 | 1:08:51 | |
I've no idea what they are. But my rule is to shoot on sight. | 1:08:51 | 1:08:55 | |
Now kindly leave my house. | 1:08:55 | 1:08:58 | |
You can shut up! | 1:08:56 | 1:08:58 | |
I shall leave when I'm damn well ready! | 1:08:58 | 1:09:00 | |
It's a scandal what you've been doing. | 1:09:04 | 1:09:07 | |
All the scandal is your own. | 1:09:07 | 1:09:10 | |
Your treatment of your wives, your neglect of your children | 1:09:10 | 1:09:15 | |
and, above all, the depraved insistence | 1:09:15 | 1:09:18 | |
that they be as tyrannical and unloving as you are yourself. | 1:09:18 | 1:09:23 | |
Arthur, this is the Marquess of Queensberry, | 1:09:23 | 1:09:26 | |
the most infamous brute and the least tender father in London. | 1:09:26 | 1:09:31 | |
Never let him into my house again. | 1:09:31 | 1:09:34 | |
Very well, then. | 1:09:35 | 1:09:37 | |
Let's get out of this...stew. | 1:09:39 | 1:09:42 | |
-Out the way, man! -I'm sorry, sir! | 1:10:25 | 1:10:27 | |
I'm very sorry, but it's just not possible! | 1:10:27 | 1:10:31 | |
What are you doing? Rotten vegetables? | 1:10:36 | 1:10:39 | |
I want you to give that to Oscar Wilde. | 1:10:39 | 1:10:42 | |
Thank you, sir. We'll take care of it. | 1:10:42 | 1:10:45 | |
I wanted to give it to him personally, as a bouquet. | 1:10:45 | 1:10:49 | |
I dare say you did, sir, but you're not going to. | 1:10:49 | 1:10:53 | |
He's a cur. | 1:10:54 | 1:10:56 | |
A sod. | 1:10:55 | 1:10:57 | |
And a bugger! | 1:10:57 | 1:10:59 | |
You remember that! | 1:10:59 | 1:11:02 | |
I always told you, Gwendolen, my name was Ernest, didn't I? | 1:11:02 | 1:11:07 | |
Well, it is Ernest after all. I mean, it naturally is Ernest. | 1:11:07 | 1:11:11 | |
Yes, I remember now that the General was called Ernest. | 1:11:11 | 1:11:16 | |
I knew I had some particular reason for disliking the name. | 1:11:16 | 1:11:20 | |
Ernest, my own Ernest! | 1:11:20 | 1:11:22 | |
I knew from the first you could have had no other name. | 1:11:22 | 1:11:27 | |
Gwendolen, it's a terrible thing for a man to find out suddenly | 1:11:27 | 1:11:31 | |
that all his life he's been speaking nothing but the truth. | 1:11:31 | 1:11:36 | |
Can you forgive me? | 1:11:36 | 1:11:40 | |
I can, for I feel you are sure to change. | 1:11:37 | 1:11:40 | |
My own one! | 1:11:40 | 1:11:42 | |
-Laetitia! -Frederick! At last! | 1:11:42 | 1:11:44 | |
-Cecily! At last! -Gwendolen! At last! | 1:11:44 | 1:11:49 | |
My nephew, you seem to be displaying signs of triviality. | 1:11:50 | 1:11:55 | |
On the contrary, Aunt Augusta, | 1:11:55 | 1:11:57 | |
I've now realised for the first time in my life | 1:11:57 | 1:12:01 | |
the vital importance of being earnest. | 1:12:01 | 1:12:04 | |
Allen, you were wonderful! Thank you all so much. | 1:12:30 | 1:12:34 | |
They're calling for you, Oscar! | 1:12:34 | 1:12:37 | |
No, no, George. | 1:12:35 | 1:12:37 | |
RAPTUROUS APPLAUSE | 1:12:37 | 1:12:39 | |
Er, Mr Wilde, sir? | 1:13:23 | 1:13:26 | |
Yes? | 1:13:24 | 1:13:26 | |
For you. | 1:13:27 | 1:13:29 | |
Thank you. | 1:13:29 | 1:13:31 | |
"For Oscar Wilde... | 1:13:41 | 1:13:45 | |
"Ponce," is it? "Ponce and somdomite." | 1:13:45 | 1:13:48 | |
"Posing as a sodomite." He's illiterate, ignorant. | 1:13:48 | 1:13:52 | |
It's hideous. | 1:13:52 | 1:13:55 | |
We've got him now, Robbie. | 1:13:53 | 1:13:55 | |
He wrote it, the porter read it. It's public libel. | 1:13:55 | 1:13:59 | |
We can take him to court. | 1:13:59 | 1:14:02 | |
For God's sake... | 1:14:00 | 1:14:02 | |
Oscar! | 1:14:02 | 1:14:04 | |
You mustn't do that. That would be... | 1:14:04 | 1:14:07 | |
We've been waiting for a chance | 1:14:07 | 1:14:09 | |
to get him in the dock and show what a swine he is. | 1:14:09 | 1:14:12 | |
To me, my mother, my brothers... | 1:14:12 | 1:14:14 | |
He'll plead justification. He'll call the renters as witnesses. | 1:14:14 | 1:14:19 | |
Of course he won't. He doesn't know what a renter is. | 1:14:19 | 1:14:23 | |
No? I hear he's had detectives following you since Egypt. | 1:14:22 | 1:14:27 | |
He can't prove anything. We can. | 1:14:27 | 1:14:29 | |
We can prove he's the vilest man that walked the Earth. | 1:14:29 | 1:14:33 | |
Tear the card up, Oscar. | 1:14:33 | 1:14:38 | |
Are you mad? That's our main evidence. | 1:14:35 | 1:14:38 | |
If Oscar went abroad while your father calms down... | 1:14:38 | 1:14:41 | |
Whose side are you on? | 1:14:41 | 1:14:43 | |
If this goes to court, Oscar will have to tell lies, perjure himself! | 1:14:43 | 1:14:48 | |
Everything will come out. Whatever the result, it'll be disaster! | 1:14:48 | 1:14:53 | |
-You're an enemy, then. -Bosie... | 1:14:53 | 1:14:56 | |
Robbie, you're a dear boy, but I can't think of leaving the country. | 1:14:56 | 1:15:02 | |
I can't even leave this hotel. | 1:15:02 | 1:15:04 | |
I can't pay the bill. | 1:15:04 | 1:15:07 | |
We can raise you money! What about your royalties? | 1:15:07 | 1:15:10 | |
We need all the money we can get for the libel case. | 1:15:10 | 1:15:14 | |
My father can't go on making all our lives a torment like this. | 1:15:14 | 1:15:19 | |
Oscar, I beg you. | 1:15:18 | 1:15:22 | |
I'm not going to run away, Robbie. | 1:15:22 | 1:15:24 | |
That would the English thing to do. | 1:15:24 | 1:15:27 | |
If you take Queensberry to court, all hell will break loose. | 1:15:27 | 1:15:31 | |
All my life I've fought against the English vice - hypocrisy. | 1:15:31 | 1:15:35 | |
Not that that's the point. | 1:15:35 | 1:15:37 | |
Queensberry's already caused the death of one of his sons. | 1:15:37 | 1:15:42 | |
If I don't try and stop him now, who will he harm next? | 1:15:42 | 1:15:46 | |
'He's avoiding me, Robbie.' | 1:15:47 | 1:15:49 | |
I know what everyone's saying but it's not true. It's not true. | 1:15:49 | 1:15:55 | |
Is it? | 1:15:57 | 1:15:58 | |
Of course not. | 1:15:58 | 1:16:01 | |
Oh, it's so shaming. | 1:16:03 | 1:16:06 | |
I find it easier to stand. | 1:16:06 | 1:16:09 | |
I'm going to Torquay for a month to get my back right. | 1:16:09 | 1:16:13 | |
Oscar's been so busy. | 1:16:12 | 1:16:14 | |
I'm sure he'll be terribly upset | 1:16:14 | 1:16:17 | |
when he knows... you've been in so much pain. | 1:16:17 | 1:16:21 | |
The truth is, I need some money. | 1:16:23 | 1:16:25 | |
I'm not even sure where he is to ask for it. | 1:16:25 | 1:16:28 | |
It does seem rather hard when he's having such success. | 1:16:28 | 1:16:32 | |
I think I can find him. | 1:16:32 | 1:16:34 | |
I keep hearing stories about Bosie and his father. | 1:16:36 | 1:16:40 | |
I'm sure you don't want to. | 1:16:40 | 1:16:44 | |
Oh, yes. I do. | 1:16:41 | 1:16:44 | |
Men think women should be protected by not knowing. | 1:16:46 | 1:16:50 | |
Not knowing only makes it worse. | 1:16:50 | 1:16:53 | |
Is there going to be trouble? | 1:16:56 | 1:16:59 | |
I hope not. | 1:17:00 | 1:17:02 | |
I believe a prosecution | 1:17:03 | 1:17:05 | |
would succeed provided there is no truth | 1:17:05 | 1:17:09 | |
in the accusation made by Lord Queensberry. | 1:17:09 | 1:17:12 | |
Of course there's no truth in it. | 1:17:12 | 1:17:16 | |
Then so long as I have Mr Wilde's assurance that that is the case... | 1:17:16 | 1:17:21 | |
There is no truth in the accusation whatever. | 1:17:29 | 1:17:33 | |
Good. | 1:17:34 | 1:17:36 | |
Excellent. | 1:17:37 | 1:17:38 | |
The defence, I understand, will be led by Mr Edward Carson. | 1:17:38 | 1:17:42 | |
Old Ned? I was at college with him in Dublin. | 1:17:42 | 1:17:46 | |
No doubt he will perform his task | 1:17:46 | 1:17:48 | |
with all the added bitterness of an old friend. | 1:17:48 | 1:17:51 | |
LAUGHTER | 1:17:51 | 1:17:52 | |
In writing a book, I'm concerned with literature, | 1:17:52 | 1:17:56 | |
with art. I do not aim at doing good or evil, | 1:17:56 | 1:17:59 | |
but at making a thing that will have some quality of beauty. | 1:17:59 | 1:18:04 | |
Here is one of your pieces. | 1:18:03 | 1:18:06 | |
"Wickedness is a myth invented by good people | 1:18:06 | 1:18:09 | |
"to account for the curious attractiveness of others." | 1:18:09 | 1:18:13 | |
LAUGHTER | 1:18:13 | 1:18:15 | |
GAVEL BANGS | 1:18:15 | 1:18:17 | |
Do you think that true? | 1:18:17 | 1:18:19 | |
I rarely think what I write is true. | 1:18:19 | 1:18:21 | |
"If one tells the truth, one is sure sooner or later to be found out." | 1:18:21 | 1:18:27 | |
That is a pleasing paradox, | 1:18:27 | 1:18:29 | |
but I do not set very high store by it as an axiom. | 1:18:29 | 1:18:33 | |
Is it good for the young? | 1:18:33 | 1:18:35 | |
Anything is good that stimulates thought at whatever age. | 1:18:35 | 1:18:39 | |
Whether moral or immoral? | 1:18:39 | 1:18:43 | |
There's no morality or immorality in thought. | 1:18:40 | 1:18:43 | |
What about this, then? "Pleasure is the only thing one should live for." | 1:18:43 | 1:18:49 | |
I think that the realisation of oneself is the prime aim of life | 1:18:48 | 1:18:53 | |
and that to realise through pleasure is finer than to do so through pain. | 1:18:53 | 1:18:58 | |
I am on this point on the side of the ancients, the Greeks. | 1:18:58 | 1:19:02 | |
LAUGHTER | 1:19:02 | 1:19:04 | |
'How long have you known Alfred Taylor?' | 1:19:04 | 1:19:07 | |
'About two years, two and a half years.' | 1:19:07 | 1:19:11 | |
Is he an intimate friend? | 1:19:11 | 1:19:15 | |
I wouldn't call him that, no. | 1:19:12 | 1:19:15 | |
But you went often to his rooms? | 1:19:15 | 1:19:19 | |
About seven or eight times perhaps. | 1:19:16 | 1:19:19 | |
Did you know Mr Taylor kept ladies' dresses in his rooms? | 1:19:19 | 1:19:23 | |
No. | 1:19:24 | 1:19:26 | |
Did you know he was notorious for introducing young men to older men? | 1:19:26 | 1:19:31 | |
I never heard it in my life. | 1:19:31 | 1:19:34 | |
Has he introduced young men to you? | 1:19:34 | 1:19:36 | |
Yes. | 1:19:36 | 1:19:38 | |
How many young men? | 1:19:39 | 1:19:43 | |
About five. | 1:19:41 | 1:19:43 | |
What were their occupations? | 1:19:43 | 1:19:46 | |
I really don't know. | 1:19:44 | 1:19:46 | |
Oh, well, let me tell you. | 1:19:46 | 1:19:48 | |
You met a man called Charles Parker there, I believe. | 1:19:48 | 1:19:53 | |
Yes. | 1:19:54 | 1:19:55 | |
Charles Parker is... a gentleman's valet. | 1:19:55 | 1:19:58 | |
You met his brother there, too, I believe. | 1:19:58 | 1:20:02 | |
Yes. | 1:20:02 | 1:20:03 | |
He is a groom. | 1:20:03 | 1:20:05 | |
I didn't care tuppence what they were. I liked them. | 1:20:07 | 1:20:11 | |
I have a passion to civilise the community. | 1:20:11 | 1:20:14 | |
I recognise no social distinctions. | 1:20:14 | 1:20:17 | |
To me, youth, the mere fact of youth, | 1:20:17 | 1:20:20 | |
is so wonderful that I would sooner talk to a young man for half an hour | 1:20:20 | 1:20:25 | |
than, well, than be cross-examined in court. | 1:20:25 | 1:20:29 | |
So even a young boy you might pick up in the street | 1:20:29 | 1:20:32 | |
would be a pleasing companion? | 1:20:32 | 1:20:35 | |
I would talk to him with pleasure. If he would talk to me. | 1:20:35 | 1:20:39 | |
Take him to your rooms? | 1:20:39 | 1:20:41 | |
Yes. | 1:20:40 | 1:20:41 | |
And commit improprieties with him?! | 1:20:41 | 1:20:47 | |
SPECTATORS MURMUR | 1:20:44 | 1:20:47 | |
Certainly not. | 1:20:45 | 1:20:47 | |
Certainly not. | 1:20:47 | 1:20:49 | |
You withdraw your libel action | 1:20:49 | 1:20:52 | |
against Lord Queensberry, well and good. | 1:20:51 | 1:20:55 | |
But there remains the question of the evidence. | 1:20:55 | 1:20:59 | |
Lord Queensberry's evidence against you. | 1:20:59 | 1:21:02 | |
My information is that the Crown wishes to pursue the matter. | 1:21:02 | 1:21:08 | |
In which case, an arrest and a charge of gross indecency | 1:21:08 | 1:21:13 | |
are certain to follow. | 1:21:13 | 1:21:15 | |
The maximum sentence is two years' hard labour. | 1:21:15 | 1:21:19 | |
Nine months is reckoned to be more than a man of our background | 1:21:19 | 1:21:24 | |
can survive. | 1:21:24 | 1:21:27 | |
Um, the children, er, the boys... | 1:21:27 | 1:21:31 | |
I-I must go and see them. | 1:21:31 | 1:21:34 | |
You have no time for that. | 1:21:32 | 1:21:34 | |
But my wife... I-I... I have to say goodbye to my wife. | 1:21:34 | 1:21:38 | |
Unless you wish to subject her to the shame of seeing you arrested | 1:21:38 | 1:21:43 | |
and taken away in front of the gutter press, | 1:21:43 | 1:21:46 | |
Mr Wilde, you must go. | 1:21:46 | 1:21:48 | |
Oscar, you must take that train. | 1:21:54 | 1:21:57 | |
Practically everyone you know will be on it. | 1:21:58 | 1:22:02 | |
At least 600 single gentlemen all in abject terror of arrest. | 1:22:02 | 1:22:06 | |
No. | 1:22:06 | 1:22:08 | |
Where your life leads you, you must go. | 1:22:10 | 1:22:14 | |
'I defy society.' | 1:22:14 | 1:22:16 | |
Tell him to go. | 1:22:16 | 1:22:18 | |
He must save himself. | 1:22:20 | 1:22:22 | |
Tell him to go abroad. | 1:22:25 | 1:22:27 | |
I've been telling him all day. | 1:22:27 | 1:22:29 | |
He won't budge. | 1:22:30 | 1:22:32 | |
People have never understood the courage he needed to be himself. | 1:22:38 | 1:22:43 | |
You must go abroad, too. | 1:22:43 | 1:22:45 | |
We must all go abroad. | 1:22:45 | 1:22:47 | |
At once. | 1:22:47 | 1:22:49 | |
Oscar says, will you tell the boys goodbye? | 1:22:49 | 1:22:52 | |
I'm to go through his papers. | 1:22:55 | 1:22:57 | |
I was always too silent. | 1:23:01 | 1:23:03 | |
If I'd known... | 1:23:03 | 1:23:05 | |
Bosie... | 1:23:08 | 1:23:10 | |
If I'd only spoken up. | 1:23:10 | 1:23:12 | |
It wouldn't have made any difference. | 1:23:12 | 1:23:15 | |
Perhaps not. But at least I wouldn't blame myself now. | 1:23:17 | 1:23:22 | |
-LADY WILDE: -'You're an Irish gentleman. Of course you must stay.' | 1:23:43 | 1:23:48 | |
Your father fought when he was libelled. I fought. | 1:23:48 | 1:23:53 | |
Yes, I know. | 1:23:51 | 1:23:53 | |
You will fight these English Philistines and you'll win. | 1:23:53 | 1:23:57 | |
'And even if you lose, if you go to prison, you'll always be my son.' | 1:23:57 | 1:24:03 | |
'Well, of course, it's too late to change that now.' | 1:24:03 | 1:24:07 | |
If you go, Oscar, I'll never speak to you again. | 1:24:07 | 1:24:13 | |
No-one will ever speak to me again whatever I do. | 1:24:13 | 1:24:17 | |
Of course I'm your son, Madre. | 1:24:18 | 1:24:21 | |
Which is why, even if I lose, the English will never forget me. | 1:24:21 | 1:24:26 | |
Get out of my way! Get out, get out! | 1:24:58 | 1:25:01 | |
Take me away as fast as you can! | 1:25:01 | 1:25:04 | |
Lady Wilde! Have you anything to say about your son's disgrace?! | 1:25:11 | 1:25:17 | |
'Have you anything to say?' | 1:25:17 | 1:25:19 | |
KNOCK AT DOOR | 1:25:22 | 1:25:24 | |
-KNOCK -Come in. | 1:25:26 | 1:25:28 | |
Mr Wilde, I believe? | 1:25:34 | 1:25:36 | |
Yes, yes. | 1:25:37 | 1:25:38 | |
We have a warrant for your arrest on a charge of committing indecent acts. | 1:25:38 | 1:25:44 | |
-LADY MOUNT-TEMPLE: -'I recommend Switzerland as soon as possible.' | 1:25:48 | 1:25:53 | |
You will have to change your name, of course. | 1:25:53 | 1:25:57 | |
Oh, I can't... | 1:25:57 | 1:25:59 | |
The name of Wilde will be a word of execration for 1,000 years. | 1:25:59 | 1:26:03 | |
You can't let your boys grow up with people knowing who they are. | 1:26:03 | 1:26:08 | |
Think of their lives at school. | 1:26:08 | 1:26:11 | |
Thank you for your advice. | 1:26:11 | 1:26:13 | |
I'm sorry our friendship has to end like this. | 1:26:13 | 1:26:16 | |
Oh, you will always be my friend. | 1:26:16 | 1:26:20 | |
I am still Oscar's wife. | 1:26:18 | 1:26:20 | |
That must cease forthwith. Forthwith. Do you understand? | 1:26:20 | 1:26:24 | |
Anybody who has anything to do with Oscar from now on | 1:26:24 | 1:26:28 | |
will never be received in society again. Ever. | 1:26:28 | 1:26:32 | |
Oh, God, Ada... What is going to happen to him? | 1:26:36 | 1:26:40 | |
That's Oscar Wilde's boy. | 1:26:48 | 1:26:50 | |
You must let me in the witness box. If the jury hear what I say... | 1:26:50 | 1:26:55 | |
Bosie, as soon as they see you in all your golden youth | 1:26:55 | 1:26:59 | |
and me in all my corruption... | 1:26:59 | 1:27:01 | |
You didn't corrupt me. I corrupted you, if anything. | 1:27:01 | 1:27:05 | |
That's not how it will seem. | 1:27:05 | 1:27:07 | |
I must have my say! It's outrageous! | 1:27:07 | 1:27:10 | |
Everyone has said anything that came into his head! | 1:27:10 | 1:27:14 | |
I'm the person this is about. It's me my father wants to get at, | 1:27:14 | 1:27:18 | |
not you! It's outrageous that I can't have my say! | 1:27:18 | 1:27:21 | |
It won't help. It may actually make things worse. | 1:27:21 | 1:27:25 | |
But my father will win. | 1:27:25 | 1:27:27 | |
I can't endure my father winning. | 1:27:27 | 1:27:30 | |
You must go away, dear boy. | 1:27:31 | 1:27:33 | |
I couldn't bear for them to arrest you. | 1:27:33 | 1:27:36 | |
I can't bear what they're saying about you in court. | 1:27:39 | 1:27:43 | |
BELL RINGS | 1:27:43 | 1:27:44 | |
Jesus Christ! | 1:27:44 | 1:27:46 | |
Goodbye, Bosie, dear boy. | 1:27:49 | 1:27:51 | |
Don't let anyone change your feeling for me, change your love. | 1:27:51 | 1:27:56 | |
Time's up, my Lord. | 1:27:57 | 1:27:59 | |
Oscar, never! They never will. I won't let them. I won't let them! | 1:27:59 | 1:28:05 | |
'You've been a great deal in the company of Lord Alfred Douglas.' | 1:28:11 | 1:28:16 | |
Oh, yes. | 1:28:16 | 1:28:18 | |
Did he read his poems to you? | 1:28:18 | 1:28:21 | |
Yes. | 1:28:21 | 1:28:22 | |
So, you can perhaps understand that some of his verses | 1:28:22 | 1:28:27 | |
would not be acceptable to a reader with an ordinary, balanced mind? | 1:28:27 | 1:28:33 | |
I'm not prepared to say. | 1:28:33 | 1:28:35 | |
It's a question of taste and temperament and individuality. | 1:28:35 | 1:28:40 | |
I should say that one man's poetry is another man's poison. | 1:28:40 | 1:28:44 | |
Yes, I daresay. | 1:28:44 | 1:28:46 | |
But in this poem by Lord Alfred Douglas, "Two Loves", | 1:28:47 | 1:28:51 | |
um, there is one love, true love, | 1:28:51 | 1:28:53 | |
which, and I quote, | 1:28:53 | 1:28:55 | |
"fills the hearts of boy and girl with mutual flame" | 1:28:55 | 1:29:00 | |
and there is another - "I am the love that dare not speak its name." | 1:29:00 | 1:29:08 | |
Was that poem explained to you? | 1:29:10 | 1:29:13 | |
I think it's clear. | 1:29:13 | 1:29:15 | |
There's no question as to what it means? | 1:29:15 | 1:29:19 | |
Most certainly not. | 1:29:17 | 1:29:19 | |
So, is it not clear that the love described relates to natural | 1:29:19 | 1:29:24 | |
and unnatural love? | 1:29:24 | 1:29:26 | |
No. | 1:29:25 | 1:29:27 | |
Oh. | 1:29:27 | 1:29:29 | |
Then what is "the love that dare not speak its name"? | 1:29:29 | 1:29:34 | |
The love that dare not speak its name, | 1:29:46 | 1:29:49 | |
in this century... | 1:29:49 | 1:29:51 | |
..is such a great affection of an elder for a younger man... | 1:29:52 | 1:29:57 | |
as there was between David and Jonathan, | 1:29:57 | 1:30:01 | |
such as Plato made the very basis of his philosophy | 1:30:00 | 1:30:05 | |
and such as you may find | 1:30:05 | 1:30:07 | |
in the sonnets of Michelangelo and Shakespeare. | 1:30:07 | 1:30:11 | |
It is in this century misunderstood. | 1:30:13 | 1:30:16 | |
So much misunderstood that it may be described as | 1:30:16 | 1:30:19 | |
"the love that dare not speak its name." | 1:30:19 | 1:30:23 | |
And on account of it, I am placed where I am now. | 1:30:22 | 1:30:27 | |
It is beautiful. | 1:30:27 | 1:30:29 | |
It is fine. | 1:30:30 | 1:30:32 | |
It is the noblest form of affection. | 1:30:32 | 1:30:35 | |
There is nothing unnatural about it. | 1:30:36 | 1:30:40 | |
It is intellectual | 1:30:40 | 1:30:42 | |
and it repeatedly exists between an elder and a younger man | 1:30:42 | 1:30:47 | |
when the elder has intellect and the younger man... | 1:30:47 | 1:30:51 | |
has all the joy, hope and glamour of life before him. | 1:30:51 | 1:30:57 | |
That it should be so, the world does not understand. | 1:30:59 | 1:31:03 | |
The world mocks at it... | 1:31:03 | 1:31:06 | |
and, sometimes, puts one in the pillory for it. | 1:31:06 | 1:31:10 | |
SMATTERING OF APPLAUSE AMIDST BOOING | 1:31:18 | 1:31:21 | |
Oscar Wilde, | 1:31:26 | 1:31:28 | |
the crime of which you have been convicted is so bad | 1:31:28 | 1:31:32 | |
that I shall pass the severest sentence that the law | 1:31:32 | 1:31:38 | |
will allow. | 1:31:38 | 1:31:40 | |
In my judgment, it is totally inadequate for such a case as this. | 1:31:40 | 1:31:44 | |
It is the worst case I have ever tried. | 1:31:44 | 1:31:47 | |
The sentence of the court | 1:31:47 | 1:31:49 | |
is that you be imprisoned | 1:31:49 | 1:31:53 | |
and held to hard labour... | 1:31:53 | 1:31:55 | |
..for two years. | 1:31:57 | 1:31:59 | |
Shame. | 1:31:59 | 1:32:03 | |
Pervert. | 1:32:00 | 1:32:03 | |
Pervert! | 1:32:06 | 1:32:08 | |
Shame on you! | 1:32:14 | 1:32:16 | |
Disgusting! | 1:32:36 | 1:32:37 | |
"A slim thing, | 1:33:01 | 1:33:03 | |
"gold-haired like an angel, | 1:33:03 | 1:33:05 | |
"stands always at my side. | 1:33:05 | 1:33:07 | |
"He moves in the gloom like a white flower. | 1:33:07 | 1:33:11 | |
"I thought but to defend him from his father. | 1:33:11 | 1:33:14 | |
"I thought of nothing else. | 1:33:14 | 1:33:17 | |
"Now my life seems to have gone from me. | 1:33:31 | 1:33:34 | |
"I'm caught in a terrible net. | 1:33:34 | 1:33:37 | |
"But so long as I think he is thinking of me, | 1:33:37 | 1:33:40 | |
"my sweet rose, my delicate flower, my lily of lilies, | 1:33:40 | 1:33:44 | |
"it is in prison that I shall test the power of love. | 1:33:44 | 1:33:48 | |
"I shall see if can't make the bitter waters sweet | 1:33:48 | 1:33:52 | |
"by the intensity of the love I bear you." | 1:33:52 | 1:33:55 | |
'He asked me not to change. Those were his last words to me.' | 1:34:06 | 1:34:10 | |
"Don't change". | 1:34:10 | 1:34:12 | |
Well, things are going to have to change when he comes out. | 1:34:12 | 1:34:17 | |
He'll have no money at all. | 1:34:17 | 1:34:19 | |
So you're blaming me too, are you? | 1:34:19 | 1:34:23 | |
I'm not blaming anyone. | 1:34:21 | 1:34:23 | |
You're not the only person Oscar cares about! | 1:34:23 | 1:34:26 | |
You've always hated me. Because Oscar loved and still loves me | 1:34:26 | 1:34:31 | |
when you were never more than one of his boys. | 1:34:31 | 1:34:35 | |
I'm suffering just as much as he is, you know. | 1:34:42 | 1:34:46 | |
My life's ruined, too. | 1:34:46 | 1:34:48 | |
I'm younger than he is. I've hardly had a life and it's ruined. | 1:34:48 | 1:34:53 | |
When Oscar gets out, we'll live together properly. | 1:34:53 | 1:34:57 | |
We'll take a villa somewhere near here. | 1:34:57 | 1:35:00 | |
Posillipo or Ischia. | 1:35:00 | 1:35:03 | |
Or Capri. | 1:35:01 | 1:35:03 | |
I'll take care of him. | 1:35:05 | 1:35:07 | |
I'll give him everything he wants. | 1:35:07 | 1:35:10 | |
I love him, Robbie. | 1:35:10 | 1:35:12 | |
Oscar's mine and I'm going to have him. | 1:35:14 | 1:35:18 | |
"Years went over and the giant grew very old and very feeble. | 1:35:34 | 1:35:39 | |
"He couldn't play about any more, | 1:35:39 | 1:35:41 | |
"so he sat and watched the children at their games | 1:35:41 | 1:35:45 | |
"and admired his garden. | 1:35:45 | 1:35:47 | |
"'I have have many beautiful flowers,' he said, | 1:35:49 | 1:35:53 | |
"'but the children are the most beautiful flowers of all.'" | 1:35:53 | 1:35:57 | |
I'm afraid Cyril has got some idea of why you're here. | 1:36:32 | 1:36:36 | |
I'm sending them to school in Germany. | 1:36:36 | 1:36:39 | |
I can't manage them on my own. | 1:36:42 | 1:36:45 | |
Your back isn't better, then? | 1:36:48 | 1:36:51 | |
No, not really. | 1:36:51 | 1:36:53 | |
I may have to have an operation. | 1:36:55 | 1:36:57 | |
What I've done... | 1:36:59 | 1:37:01 | |
to you and the boys, I can't... | 1:37:01 | 1:37:03 | |
I shall never forgive myself. | 1:37:04 | 1:37:07 | |
If we could choose our natures... | 1:37:09 | 1:37:12 | |
If we could only choose. | 1:37:14 | 1:37:16 | |
But it's no use. | 1:37:16 | 1:37:18 | |
Whatever our natures are, we must fulfil them. | 1:37:21 | 1:37:25 | |
Or our lives, my life, would have been filled with...dishonesty. | 1:37:26 | 1:37:31 | |
Even more dishonesty than there actually was. | 1:37:34 | 1:37:38 | |
I've always loved you, Constance. | 1:37:42 | 1:37:45 | |
You must believe me. | 1:37:45 | 1:37:47 | |
I don't see how you can have done. Not truly. | 1:37:50 | 1:37:53 | |
Not if all the time... | 1:37:55 | 1:37:57 | |
I didn't know. | 1:37:57 | 1:37:59 | |
"Know thyself," I used to say. | 1:38:01 | 1:38:04 | |
I didn't know myself. | 1:38:06 | 1:38:08 | |
I-I didn't know. | 1:38:10 | 1:38:12 | |
I suppose you want a divorce? | 1:38:14 | 1:38:17 | |
You have every reason. | 1:38:19 | 1:38:21 | |
I've been thinking, when you come out, when they let you out, | 1:38:23 | 1:38:28 | |
you can go to Switzerland or Italy, | 1:38:28 | 1:38:30 | |
write another play, get yourself back. | 1:38:30 | 1:38:34 | |
You can. | 1:38:34 | 1:38:36 | |
You're so clever. You can. | 1:38:37 | 1:38:39 | |
Oscar... | 1:38:46 | 1:38:47 | |
I don't want a divorce. | 1:38:49 | 1:38:52 | |
Will you ever let me see the children again? | 1:38:55 | 1:38:59 | |
Of course. | 1:39:00 | 1:39:01 | |
But there must be one condition. | 1:39:07 | 1:39:10 | |
Oscar, you must never seen Bosie again. | 1:39:13 | 1:39:16 | |
If I saw Bosie now, I'd kill him. | 1:39:19 | 1:39:22 | |
The children love you, Oscar. | 1:39:26 | 1:39:28 | |
They'll always love you. | 1:39:37 | 1:39:39 | |
Did anyone tell you? | 1:39:47 | 1:39:50 | |
They've been performing Salome in Paris. | 1:39:49 | 1:39:53 | |
"The giant hastened across the grass and came near to the child. | 1:39:59 | 1:40:04 | |
"When he came quite close, his face grew red with anger | 1:40:04 | 1:40:08 | |
"and he said, 'Who hath dared to wound thee?' | 1:40:08 | 1:40:12 | |
"For on the palms of the child's hands | 1:40:12 | 1:40:15 | |
"were the prints of two nails | 1:40:15 | 1:40:17 | |
"and the prints of two nails were on his little feet. | 1:40:17 | 1:40:21 | |
"'Who hath dared to wound thee?' cried the giant. | 1:40:34 | 1:40:38 | |
"'Tell me that I may take my big sword and slay him.' | 1:40:38 | 1:40:42 | |
"'Nay,' answered the child, 'for these are the wounds of love.'" | 1:40:42 | 1:40:47 | |
Bosie thinks I'm jealous. | 1:40:54 | 1:40:56 | |
It will come as a shock to Bosie | 1:40:56 | 1:40:58 | |
to realise that even he is unimportant in the scheme of things. | 1:40:58 | 1:41:03 | |
But no doubt he will be remembered as long as Oscar. Unfortunately. | 1:41:03 | 1:41:08 | |
I sometimes wonder... | 1:41:13 | 1:41:15 | |
..if I hadn't, um... | 1:41:17 | 1:41:19 | |
..pushed him into... | 1:41:21 | 1:41:23 | |
Don't. Oscar was very lucky to meet you, Robbie. | 1:41:23 | 1:41:30 | |
Think who else it might have been. | 1:41:31 | 1:41:33 | |
Oh, I'll have that one. | 1:41:33 | 1:41:35 | |
Must you go abroad again at once? | 1:41:35 | 1:41:39 | |
I shouldn't be here now. | 1:41:37 | 1:41:39 | |
But has he got anywhere to go when he's released? | 1:41:41 | 1:41:45 | |
It'll have to be in France. | 1:41:45 | 1:41:47 | |
I'm going to see what I can arrange. | 1:41:47 | 1:41:50 | |
But here...when he leaves prison? | 1:41:50 | 1:41:53 | |
Goodbye, Mr Harris. Goodbye, Mr Snow. | 1:42:00 | 1:42:03 | |
Thank you. | 1:42:03 | 1:42:05 | |
Oscar. | 1:42:08 | 1:42:10 | |
My dear Sphinx. | 1:42:10 | 1:42:12 | |
How marvellous of you to know what hat to wear at seven in the morning | 1:42:12 | 1:42:17 | |
to meet a friend who's been away. | 1:42:17 | 1:42:20 | |
No, I'll keep this. | 1:42:20 | 1:42:21 | |
What is it? | 1:42:21 | 1:42:27 | |
A letter to Bosie, saying how I love him but cannot see him again. | 1:42:23 | 1:42:27 | |
I'll ask Robbie to have it copied before I send it. | 1:42:27 | 1:42:31 | |
I fear Bosie might throw it on the fire. | 1:42:31 | 1:42:34 | |
I call it De Profundis. It comes from the very depths. | 1:42:34 | 1:42:38 | |
"I know not whether laws be right or whether laws be wrong. | 1:43:09 | 1:43:14 | |
"All that we know who lie in gaol is that the wall is strong | 1:43:14 | 1:43:20 | |
"and that each day is like a year, | 1:43:20 | 1:43:22 | |
"a year whose days are long." | 1:43:22 | 1:43:25 | |
"Yet each man kills the thing he loves. | 1:43:30 | 1:43:33 | |
"By each let this be heard. | 1:43:33 | 1:43:36 | |
"Some do it with a bitter look, some with a flattering word. | 1:43:35 | 1:43:41 | |
"The coward does it with a kiss, | 1:43:41 | 1:43:43 | |
"the brave man with a sword." | 1:43:43 | 1:43:45 | |
"Some kill their love when they are young | 1:43:47 | 1:43:50 | |
"and some when they are old. | 1:43:50 | 1:43:53 | |
"Some strangle with the hands of lust, some with the hands of gold." | 1:43:53 | 1:43:57 | |
"The kindest use a knife | 1:43:59 | 1:44:01 | |
"because the dead so soon grow cold." | 1:44:01 | 1:44:04 | |
I'm sure we can find an hotel near here. | 1:44:13 | 1:44:17 | |
Somewhere where you can work. | 1:44:19 | 1:44:21 | |
I've decided to see him again. | 1:44:28 | 1:44:31 | |
Yes. | 1:44:31 | 1:44:32 | |
I thought you might. | 1:44:32 | 1:44:34 | |
I've nothing left. | 1:44:34 | 1:44:36 | |
I've lost my wife, I've lost my children. | 1:44:38 | 1:44:41 | |
They won't allow me to see them now. | 1:44:42 | 1:44:45 | |
No-one will ever read my plays or books again. | 1:44:45 | 1:44:48 | |
Yes, they will. | 1:44:48 | 1:44:50 | |
Bosie loves me more than he loves anyone else. | 1:44:50 | 1:44:54 | |
As much as he can love... | 1:44:56 | 1:44:58 | |
and allow himself to be loved. | 1:44:58 | 1:45:00 | |
I think we need some more wine. | 1:45:02 | 1:45:06 | |
I find that alcohol, taken in sufficient quantities... | 1:45:10 | 1:45:15 | |
..can bring about all the effects of drunkenness. | 1:45:18 | 1:45:22 | |
BELLS RING | 1:45:31 | 1:45:33 | |
Subito! | 1:45:38 | 1:45:40 | |
"Life cheats us with shadows. | 1:46:03 | 1:46:05 | |
"We ask it for pleasure. It gives it to us | 1:46:05 | 1:46:08 | |
"with bitterness and disappointment in its train. And we find ourselves | 1:46:08 | 1:46:13 | |
"looking with dull heart of stone at the tress of gold-flecked hair | 1:46:13 | 1:46:18 | |
"that we had once so wildly worshipped | 1:46:18 | 1:46:20 | |
"and so madly kissed." | 1:46:20 | 1:46:23 | |
Oscar! | 1:46:21 | 1:46:23 | |
"In this world there are only two tragedies. | 1:46:57 | 1:47:00 | |
"One is not getting what one wants. | 1:47:00 | 1:47:03 | |
"The other...is getting it." | 1:47:03 | 1:47:06 | |
IMS Subtitles by Julie Sutherland | 1:48:15 | 1:48:18 | |
E-mail us at [email protected] | 1:48:18 | 1:48:20 |