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Wilde (1997) full movie (subtitled)

  • 1:09 - 1:42
    He's coming! He's coming!
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    All right, now.
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    Let's give a good
    Colorado welcome here!
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    - Hello, sir. You're most welcome.
    - Thank you, thank you.
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    All right, everybody, listen up.
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    I want to introduce you
    to Oscar Wilde.
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    Welcome to
    the Matchless Silver Mine.
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    Today, we opened up a new seam.
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    We're gonna name it after you.
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    How very kind.
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    I look forward to collecting
    the royalties.
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    Now, why don't you
    follow me over here.
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    Great lecture you gave last night.
    We're honored to have you visit us.
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    If you'd just like to step in here.
    There ya go, sir.
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    I thought I was descending
    into hell...
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    but with these angel faces to greet me,
    it must be paradise.
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    Is this the way to my personal seam?
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    Of course, I should have preferred
    gold... purple and gold.
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    But we live in a Silver Age, alas.
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    So much that is exquisitely beautiful
    is wrought from suffering, from pain...
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    from toil... broken bones
    and blistered skin.
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    Benevenuto Cellini understood silver.
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    He took the metal that you mine
    so nobly down here...
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    and transformed it into works of art
    for popes and princes.
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    Cellini... is he a wop?
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    The Renaissance man, in every sense.
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    The greatest silversmith
    the world has ever seen...
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    but a genius in life
    as well as art.
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    He experimented with
    every vice known to man.
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    - He committed murder.
    - He killed a man?
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    More than one.
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    Thank you.
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    I'd like to meet Cellini.
    Why didn't you bring him with you?
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    I'm afraid he's dead.
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    Who shot him?
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    Is Miss Lloyd connected
    to Lloyd's Bank?
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    A pity.
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    But she's comfortable, Ada.
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    A thousand a year.
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    Then I congratulate you, Lady Wilde.
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    Now that Oscar's been to America
    and sown his Wildean oats...
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    it's time he settled down.
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    But weren't they very rough?
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    No, charming.
    Well, charming to me.
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    With each other, it's true
    they could be a little brusque.
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    They hanged two men in the theater
    one night before I gave a lecture.
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    I felt like the sorbet
    after a side of beef.
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    I know your friend is famous, Ada...
    notorious, at least...
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    but I don't understand for what.
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    For being himself,
    Lady Mount-Temple.
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    Don't Americans talk
    the most wonderful slang, though?
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    Well, I did hear one lady say...
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    "After the heel-lick
    I shifted my day goods."
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    What on earth did she mean?
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    She meant that she changed
    her clothes after a dance.
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    Connie, my love, Lady Mount-Temple
    is so anxious to meet you.
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    I knew your father, Miss Lloyd.
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    She's delightful, and not stupid.
    Really, not stupid at all.
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    Is that quite a reason to marry her?
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    Well, I must marry someone.
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    And my mother has our future
    planned out in every detail:
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    I'm to go into Parliament,
    we're to have a nice house...
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    and live a proper, settled life...
    literature, lectures...
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    the House of Commons, receptions
    for the world in general at 5:00.
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    How dreary.
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    Your attendance will
    not be required at those.
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    But your sphinxiness will be essential
    for our intimate little dinners at 8:00.
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    It will be a grand life,
    a charming life.
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    I see Constance will be busy
    preparing the dinners...
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    but what will she contribute
    to the literature and lectures?
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    She'll correct the proofs
    of my articles.
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    Oh, what a little sunbeam.
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    I do love her, Ada. She's...
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    Silent.
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    - I find her very silent.
    - But so sympathetic.
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    And I do need an audience.
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    I don't see how you can possibly
    take it all in, reading at that speed.
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    Try me.
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    I know better.
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    Where are we dining tonight?
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    At the Leversons.
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    Then you must show your true colors
    as a propagandist for dress reform.
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    The cinnamon
    cashmere trousers, I think.
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    And the cape with the ends
    that turn up into sleeves.
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    I don't think I can wear
    those trousers anymore.
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    A new Wilde for the world!
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    Another genius for Ireland!
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    We shall have to buy you
    a whole new wardrobe.
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    Ernest proposed to me
    under that statue.
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    Really, the things that go on in front
    of works of art are quite appalling.
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    The police should interfere.
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    We were made not to marry,
    whereas you and Constance are so happy.
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    Everyone says so.
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    It's perfectly monstrous how people
    say things behind one's back...
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    that are absolutely true.
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    So your audience has proved
    as responsive as you hoped?
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    Receptive, yes. Responsive?
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    I always wonder what she's thinking.
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    I expect it's about the baby.
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    Yes. Well, Constance is
    such a natural mother.
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    She's invited Robbie into the nest
    while his parents are abroad.
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    Robbie is Canadian.
    You can tell by his youth.
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    Have you been brought
    to England to mature, Mr. Ross?
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    Well, that was the idea,
    but it doesn't seem to be working.
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    I've lived here since I was three,
    and you see the pitiful result.
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    Robbie comes from a long line
    of imperial governors.
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    His grandfather was
    Prime Minister of Upper Canada.
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    Or was it Lower Canada?
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    The British will take their class system
    with them wherever they go.
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    They apply it even to continents.
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    Are you planning
    to govern a continent?
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    No. I don't even plan
    to govern myself.
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    Very nicely turned leg.
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    Hello, sir.
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    Shall I give you these, my love?
    I'll see if I can find a cab.
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    Coming through there, gents.
    Mind your backs.
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    Can you move
    out of the way, please?
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    Looking for someone?
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    Cab, cab!
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    Bedtime.
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    Just one more cigarette.
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    No. No, thanks, Robbie.
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    Don't stay up too late, Robbie.
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    Good night.
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    Good night, Oscar.
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    Good night, Robbie.
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    He's asleep.
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    He's so beautiful.
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    Almost as beautiful
    as his mother.
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    I don't know what I'd do without you,
    my constant Constance.
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    Good night, my dear.
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    Good night.
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    A university education
    is an admirable thing, of course...
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    so long as you remember that nothing
    worth knowing can ever be taught...
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    least of all at Cambridge.
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    But you told me...
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    in ancient Greece the older men
    taught the younger.
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    They drew them out.
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    I look forward to being
    drawn out immensely.
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    Yes, well, Greek love...
    platonic love...
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    is the highest form of affection
    known to man, of course.
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    You also told me...
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    that the Greeks put statues of Apollo
    in the bride's chamber...
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    so she would have beautiful sons.
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    But I can't help noticing that here
    the statue's in your bedroom.
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    Constance prefers a bath.
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    She was so beautiful
    when I married her, Robbie.
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    Slim, white as a lily...
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    such dancing eyes.
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    I've never seen such love
    in a pair of eyes.
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    She was...
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    Nothing should reveal the body...
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    but the body.
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    Didn't you say?
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    There has to be a first time
    for everything, Oscar...
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    even for you.
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    Hush. There's
    a good little fellow.
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    Come on. Come on, now. There.
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    Now, come on, Cyril.
    It's time for your bath.
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    Be a good boy.
    Don't make such a fuss!
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    You've got to get undressed.
    Come on.
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    I know you hate it.
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    Boys, Mrs. Wilde,
    they never do what they're told.
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    Oh, we're going to have
    a girl next time.
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    - Aren't we, Oscar?
    - I must go.
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    Good night, my dear.
    Now you behave, Cyril.
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    Remember, a gentleman should take
    a bath at least once a year.
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    - Good night.
    - Come on, Cyril.
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    It's not that bad.
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    I shan't be back till late.
    I'm dining with the Asquiths.
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    Hush now.
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    Come on, now.
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    Do you love me?
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    I feel...
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    like a city that's been...
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    under siege for 20 years.
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    Suddenly the gates are thrown open...
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    and the citizens come pouring out...
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    to breathe the air
    and walk the fields...
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    and pluck the wildflowers.
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    I feel...
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    relieved.
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    You don't worry about Constance?
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    "Every afternoon,
    on their way home from school...
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    the children used to play
    in the garden of the selfish giant. "
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    Is that the garden where we play?
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    No, this is much larger and lovelier
    than that, with soft green grass.
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    There's grass where we go.
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    Yes, but are there 12 peach trees
    that burst into delicate blossoms...
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    of pink and pearl every springtime
    and bear rich fruit in the autumn?
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    Are there, Mama?
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    I don't think there are,
    Cyril, no.
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    Would you hand me a matchstick,
    and I'll put this hussar's head back on?
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    Thank you.
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    "The birds sat on the trees
    and sang so sweetly...
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    that the children used
    to stop their games to listen.
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    'How happy we are here,'
    they said to each other."
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    I don't know how they could be happy
    if there was a giant.
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    There wasn't, you see, not yet.
    He was away, visiting a friend.
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    You're always away.
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    Yes, but I only go for a night or two
    at a time, and I always come back.
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    Whereas this giant,
    the one whose garden it was...
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    he'd been away for seven years,
    staying with an ogre in Cornwall.
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    "And after seven years,
    when he'd said all he had to say...
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    because his conversation
    was very limited...
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    he decided to return home
    to his own castle.
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    When he found the children playing
    in his garden, he was very angry.
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    'What are you doing here? ' he cried.
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    And all the children ran away.
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    'My own garden...
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    is my own garden! '
    Said the giant.
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    'And I won't allow anyone
    to play in it except myself.'
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    So he built a high wall
    all around...
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    put up a large notice board on which
    was written, in capital letters:
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    'Trespassers will be prosecuted."'
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    Arthur, you're trespassing.
    Cyril will now eat you.
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    It's Mr. Ross, sir, with Mr. Gray.
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    Heavens, I must fly.
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    The horses of Apollo are pawing
    impatiently at the gates.
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    I beg your pardon?
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    Papa must go.
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    You will come back
    and finish the story?
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    Of course I will.
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    Come on, Cyril.
    It's almost teatime.
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    I really don't know why people bother
    painting portraits anymore.
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    You can get a much better likeness
    with a photograph.
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    A photograph's just
    one moment in time...
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    one gesture, one turn of the head.
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    Yes, portraits are not
    likenesses, Mr. Gray.
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    Painters show the soul
    of the subject, the essence.
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    The essence of the sitter's
    vanity, you mean.
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    Well...
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    this is a portrait
    of Lady Battersby as a young woman.
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    She's over there,
    as a matter of fact.
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    I must go and console her.
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    How nice to see you.
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    Poor thing.
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    I expect in her heart...
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    she thinks she still
    looks like this.
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    If we could look young
    and innocent forever...
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    Do you think we'd want to?
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    If our souls were ugly, yes.
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    Give a man a mask,
    and he'll tell you the truth.
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    Have we had enough of this?
    Shall we go and have dinner somewhere?
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    Dorian Gray is the most
    wonderful book I've ever read.
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    And the end,
    when the servants break in...
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    and they find him wizened,
    old and dead...
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    and the picture young again...
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    I fainted.
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    My family say it's dull and wicked.
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    Dull?
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    It's sublime.
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    It's about the masks
    we wear as faces...
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    and the faces we wear as masks.
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    That my son should have written
    a work of such...
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    People say it's full
    of dangerous paradoxes.
  • 21:51 - 21:54
    Hardly anyone will speak
    to us anymore.
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    We're ceasing to be respectable.
  • 22:00 - 22:05
    Artists care nothing
    about respectability.
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    It's only jealousy.
  • 22:07 - 22:14
    It's the spite of the untalented
    for the men of genius.
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    Where is Oscar?
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    He's in the Lake District,
    writing a play.
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    - A drama?
    - A comedy.
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    Robbie Ross has gone
    to keep him company.
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    I do like Robbie.
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    And they both love you.
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    Oh, it'll be a great success.
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    Oscar's made for the stage.
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    - Author! Author!
    - Author!
  • 23:05 - 23:07
    Oscar, please!
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    - Magnificent!
    - Well done, everybody.
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    Ladies and gentlemen,
    I have enjoyed this evening immensely.
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    The actors have given us a charming
    rendering of a delightful play...
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    and your appreciation
    has been most intelligent.
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    I congratulate you on the great success
    of your performance...
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    which persuades me that you think
    almost as highly of this play...
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    as I do myself.
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    Absolutely splendid, Oscar.
    An absolute triumph!
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    - Thank you so much. Thank you.
    - Well done.
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    How sweet of you to say so.
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    It went so well, Oscar.
  • 24:10 - 24:12
    Even better than I'd...
  • 24:12 - 24:15
    They loved it.
    They absolutely loved it.
  • 24:15 - 24:17
    And I, dear boy, love you.
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    Congratulations, Oscar.
  • 24:19 - 24:21
    Thank you.
  • 24:21 - 24:23
    It's good to see you.
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    Hello.
  • 24:26 - 24:28
    Mr. Wilde.
    Wonderful, really wonderful.
  • 24:28 - 24:30
    - Oscar.
    - Sphinx!
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    You really must be careful.
    You're in grave danger of becoming rich.
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    - It was wonderful. I knew it would be.
    - Thank you, Robbie.
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    Everyone's dying to know
    who the real Lady Windermere is.
  • 24:42 - 24:45
    The real Lady Windermere is every woman
    in this room, and most of the men.
  • 24:45 - 24:46
    - Oscar!
    - Lionel!
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    It's a wonderful play.
  • 24:48 - 24:50
    My cousin Lord Alfred Douglas
    is here.
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    He would like very much
    to congratulate you.
  • 25:05 - 25:08
    - Wonderful.
    - Oscar, this is Bosie Douglas.
  • 25:08 - 25:12
    We met last year.
    Lionel brought me to tea at Tite Street.
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    How could I possibly forget?
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    I love your play.
  • 25:19 - 25:22
    The audience didn't know
    whether you meant your jokes or not.
  • 25:22 - 25:24
    You shocked them...
  • 25:24 - 25:26
    especially with your speech.
  • 25:26 - 25:30
    But the more frivolous you seem,
    the more serious you are, aren't you?
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    - I love that.
    - Thank you.
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    I always say,
    the young are the only critics...
  • 25:35 - 25:37
    with enough experience
    to judge my work.
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    - Splendid, Oscar.
    - We need shocking.
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    People are so banal.
    And you use your wit like a foil.
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    You cut through all those
    starched shirt fronts.
  • 25:46 - 25:50
    You draw blood.
    It's magnificent.
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    I wish you'd draw some blood
    down in Oxford...
  • 25:53 - 25:55
    though you'd need a miracle.
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    All the dons at my college
    have dust in their veins.
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    At which college
    do you educate the fellows?
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    Magdalen.
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    My own college.
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    I shall claim the privilege of
    a graduate and take tutorials with you.
  • 26:09 - 26:13
    Come soon, then.
    They're threatening to send me down.
  • 26:13 - 26:22
    How could they be so cruel
    to one so beautiful?
  • 26:22 - 26:25
    Dons... they're so middle class.
  • 26:25 - 26:29
    Oscar, you've shocked the whole
    of London, smoking on stage like that.
  • 26:29 - 26:30
    Excellent.
    Then we shall run for a year.
  • 26:30 - 26:33
    Oscar, you must say something
    to Marion Terry.
  • 26:33 - 26:35
    She was good, wasn't she?
  • 26:35 - 26:38
    So good, I think she wrote
    most of the lines herself.
  • 26:38 - 26:47
    - Excuse me, Lord Alfred.
    - Bosie, please.
  • 26:47 - 26:50
    - You must be so thrilled, Oscar.
    - I know.
  • 26:50 - 26:52
    Isn't it humiliating?
  • 26:52 - 26:56
    " 'My own garden is my own garden, '
    said the giant.
  • 26:56 - 27:00
    So he built a high wall
    all round it...
  • 27:00 - 27:02
    and put up a notice board:
  • 27:02 - 27:05
    'Trespassers will be prosecuted.'
  • 27:05 - 27:09
    He was a very selfish giant.
  • 27:09 - 27:12
    The poor children
    had now nowhere to play.
  • 27:12 - 27:14
    They tried to play on the road...
  • 27:14 - 27:18
    but the road was very dusty and full of
    hard stones, and they did not like it.
  • 27:18 - 27:21
    They used to wander round the high wall
    when their lessons were over...
  • 27:21 - 27:25
    and talk about
    the beautiful garden inside.
  • 27:25 - 27:29
    'How happy we were there, '
    they said to each other. "
  • 27:29 - 27:33
    I hope he was
    a very beautiful boy.
  • 27:33 - 27:37
    Well, pretty, you know,
    in a street-Arab sort of way.
  • 27:37 - 27:46
    There's no point being blackmailed
    by an ugly one.
  • 27:46 - 27:50
    What's tiresome is he's threatened
    to show my letters to my father.
  • 27:50 - 27:56
    Who will show them to all his friends
    for the excellence of their style.
  • 27:56 - 28:00
    You don't know him.
    He's a brute.
  • 28:00 - 28:06
    Really. He carries a whip
    wherever he goes.
  • 28:06 - 28:09
    He used to beat my mother.
  • 28:09 - 28:12
    He beat my brothers.
    He thrashed me from the age...
  • 28:12 - 28:16
    My dear boy.
  • 28:16 - 28:21
    Of course, he's
    practically illiterate.
  • 28:21 - 28:24
    He probably won't understand
    the letters anyway.
  • 28:24 - 28:26
    By an unforgivable oversight,
    I've never been blackmailed myself...
  • 28:26 - 28:30
    but my friends assure me that
    a hundred pounds will usually suffice.
  • 28:30 - 28:31
    Really?
  • 28:31 - 28:34
    God, l... You promise?
  • 28:34 - 28:38
    Leave it to Lewis...
    George Lewis... my solicitor.
  • 28:38 - 28:49
    He knows what he's doing.
    He acts for the Prince of Wales.
  • 28:49 - 28:52
    Leave me not to pine
  • 28:52 - 28:56
    Alone and desolate
  • 28:56 - 29:01
    No fate seem fair as mine
  • 29:01 - 29:06
    No happiness
  • 29:06 - 29:08
    So great
  • 29:08 - 29:09
    Isn't he killing, Mr. Wilde?
  • 29:09 - 29:12
    - And nature day by day
    - He's perfect.
  • 29:12 - 29:15
    He's perfect in every way.
  • 29:15 - 29:19
    In accents clear
  • 29:19 - 29:25
    This joyous roundelay
  • 29:25 - 29:29
    He loves me
  • 29:29 - 29:39
    He is here
  • 29:39 - 29:43
    He loves me
  • 29:43 - 29:57
    He is here
  • 29:57 - 29:59
    That was lovely. Well done, Bosie.
  • 29:59 - 30:00
    Yes, absolutely enchanting.
  • 30:00 - 31:28
    More tea, anyone?
  • 31:28 - 31:31
    I don't want to sit here.
    I want to sit there.
  • 31:31 - 31:35
    You heard what Lord Alfred said.
  • 31:35 - 31:37
    I want everyone to look at us.
  • 31:37 - 31:50
    I want everyone to say, "Look,
    there's Oscar Wilde with his boy."
  • 31:50 - 31:55
    So, what shall we let people
    see us eating?
  • 31:55 - 31:58
    Fois gras and lobster
    and champagne.
  • 31:58 - 32:00
    For two.
    We do everything together.
  • 32:00 - 32:10
    Very good, Mr. Wilde.
  • 32:10 - 32:13
    I think he enjoyed thrashing me.
  • 32:13 - 32:17
    All my family are mad.
  • 32:17 - 32:22
    My uncle slit his throat last year
    in a railway hotel.
  • 32:22 - 32:25
    Which station?
  • 32:25 - 32:29
    Euston.
  • 32:29 - 32:34
    All life's really serious journeys
    involve a railway terminus.
  • 32:34 - 32:38
    And now I must go
    to the station myself.
  • 32:38 - 32:42
    Sarah Bernhardt thinks she knows
    better than I do how to play Salome.
  • 32:42 - 32:45
    Stay.
  • 32:45 - 32:48
    Please stay.
  • 32:48 - 32:53
    At least till this evening.
  • 32:53 - 32:56
    Sarah is divine, as you are.
  • 32:56 - 33:00
    She will be wonderful at the play's
    climax when Salome kisses the lips...
  • 33:00 - 33:03
    of the severed head
    ofJohn the Baptist.
  • 33:03 - 33:07
    "Ah, thou wouldst not suffer me
    to kiss thy mouth, Jokanaan."
  • 33:07 - 33:10
    Jokanaan is
    an old Hebrew name forJohn.
  • 33:10 - 33:12
    "Well, I will kiss it now.
  • 33:12 - 33:15
    I will bite it with my teeth
    as one bites a ripe fruit.
  • 33:15 - 33:20
    Yes, I will kiss
    thy mouth, Jokanaan.
  • 33:20 - 33:24
    Thy body is white like the snows
    that lie on the mountains...
  • 33:24 - 33:28
    like the snows that lie
    on the mountains ofJudea...
  • 33:28 - 33:31
    and come down into the valleys.
  • 33:31 - 33:33
    The roses in the garden
    of the queen of Arabia...
  • 33:33 - 33:44
    are not so white as thy body. "
  • 33:44 - 33:48
    I'm not good enough
    for him anymore.
  • 33:48 - 33:51
    I'm just the son
    of a carpenter, while Bosie...
  • 33:51 - 33:56
    Oscar's only ever
    been smitten before.
  • 33:56 - 33:59
    He was smitten with me.
    He was smitten with you.
  • 33:59 - 34:07
    I wasn't smitten.
  • 34:07 - 34:08
    I loved him.
  • 34:08 - 34:14
    Well, now he's fallen in love.
  • 34:14 - 34:18
    I'm halfway to hellfire.
    I'm not joking.
  • 34:18 - 34:23
    Someone else was
    a carpenter's son.
  • 34:23 - 34:27
    I've given in
    and become a Catholic.
  • 34:27 - 34:30
    I find confession...
  • 34:30 - 34:31
    wonderfully consoling.
  • 34:31 - 34:34
    I can't go to confession...
  • 34:34 - 34:40
    when I want to kill Bosie...
  • 34:40 - 34:50
    or myself.
  • 34:50 - 34:52
    - Oscar's furious.
    - He has no right to be.
  • 34:52 - 34:55
    He knew perfectly well the Lord
    Chamberlain would never allow...
  • 34:55 - 34:57
    a play with biblical characters.
  • 34:57 - 35:00
    Oscar doesn't think there should be
    censorship of plays at all.
  • 35:00 - 35:02
    Of course there
    must be censorship.
  • 35:02 - 35:05
    Or people would say what they meant,
    and then where should we be?
  • 35:05 - 35:08
    - When is he coming to join us?
    - He's not.
  • 35:08 - 35:10
    He must stay
    and look after Lord Alfred.
  • 35:10 - 35:14
    Those Douglases are always ill,
    when they're not demented.
  • 35:14 - 35:16
    One of them roasted
    a kitchen boy on a spit.
  • 35:16 - 35:19
    And Bosie's father,
    Lord Queensberry...
  • 35:19 - 35:21
    he's a dreadful man, Constance...
  • 35:21 - 35:24
    eoesn't believe in God
    or marriage.
  • 35:24 - 35:26
    A marquis should set
    a proper example...
  • 35:26 - 35:30
    or what are the upper classes for?
  • 35:30 - 35:31
    I tell you...
  • 35:31 - 35:37
    I wouldn't want a daughter of mine
    to marry a Douglas.
  • 35:37 - 35:39
    I haven't got a daughter.
  • 35:39 - 35:48
    Plenty of time still, my dear.
  • 35:48 - 35:51
    I see.
  • 35:51 - 35:54
    It's my fault.
  • 35:54 - 36:01
    After Vyvyan was born,
    all I could think of was the children.
  • 36:01 - 36:05
    So that's why Oscar spends
    so much time with his men friends.
  • 36:05 - 36:07
    Oscar needs disciples.
  • 36:07 - 36:11
    Lord Alfred's a poet.
    A very fine poet, Oscar says.
  • 36:11 - 36:17
    He's studying classics.
    Oscar and he talk about Plato.
  • 36:17 - 36:20
    There's nothing wrong.
  • 36:20 - 36:22
    Really, there isn't.
  • 36:22 - 36:24
    It's not whether
    there is anything wrong.
  • 36:24 - 36:27
    It's whether or not
    there appears to be.
  • 36:27 - 36:29
    That's all people care about.
  • 36:29 - 36:34
    The empire was not built
    by men like Bosie Douglas.
  • 36:34 - 36:38
    "Then the spring came...
  • 36:38 - 36:42
    only in the garden of the selfish giant
    it was still winter.
  • 36:42 - 36:44
    The birds did not care to sing in it,
    as there were no children.
  • 36:44 - 36:48
    And the trees forgot to blossom.
  • 36:48 - 36:51
    The snow covered up the grass
    with her great white cloak...
  • 36:51 - 37:47
    and the frost painted
    all the trees silver. "
  • 37:47 - 37:49
    Let's go out.
  • 37:49 - 37:55
    If you like.
  • 37:55 - 37:59
    The thing about renters is you
    don't have to consider their feelings.
  • 37:59 - 38:02
    But if someone is willing to give one
    pleasure, one should show gratitude.
  • 38:02 - 38:05
    No. Money, that's all they want.
  • 38:05 - 38:10
    What's wonderful about going
    to Taylor's is no one pretends.
  • 38:10 - 38:20
    You just do it
    and be done with it.
  • 38:20 - 38:24
    I do love you, Oscar.
  • 38:24 - 38:30
    But variety is
    the spice of life.
  • 38:30 - 38:34
    You can watch me, if you like.
  • 38:34 - 38:39
    You must attempt to keep a grasp
    upon your sobriety.
  • 38:39 - 38:42
    That is disgusting.
    We'll have less of that.
  • 38:42 - 38:45
    - Good evening.
    - Lord Alfred.
  • 38:45 - 38:47
    Alfred Taylor, this is Oscar.
  • 38:47 - 38:49
    Delighted to make
    your acquaintance, Oscar.
  • 38:49 - 38:52
    Charles Parker. I remember you.
  • 38:52 - 38:54
    Hello, Oscar.
  • 38:54 - 39:02
    Charming to see you again.
  • 39:02 - 39:04
    - Do you smoke?
    - I do everything.
  • 39:04 - 39:10
    - Yeah, everything that pays.
    - Expertly, I might add.
  • 39:10 - 39:12
    Mr. Wilde, some wine.
  • 39:12 - 39:14
    Thank you.
  • 39:14 - 39:20
    - It's a nice case.
    - I want you to keep it.
  • 39:20 - 39:23
    Thank you.
  • 39:23 - 39:27
    So, this is a den of vice.
    I should call it more of a garden.
  • 39:27 - 39:29
    Such pretty flowers, Mr. Taylor.
  • 39:29 - 39:32
    How wise of you to keep
    the curtains closed.
  • 39:32 - 39:34
    They would never grow
    in the common light of day.
  • 39:34 - 39:37
    - Who are you calling common?
    - Certainly not you, dear boy.
  • 39:37 - 39:49
    You seem to be a flower
    of the rarest hue.
  • 39:49 - 39:53
    Bosie never told me that you
    were a botanist, Mr. Taylor...
  • 39:53 - 39:56
    that you roam the earth, climbing
    the highest peaks of the Himalayas...
  • 39:56 - 39:58
    and plunging
    into the darkest forests...
  • 39:58 - 40:02
    of Borneo to return triumphant...
  • 40:02 - 40:05
    to this delightful conservatory
    in the shadow of Westminster Abbey...
  • 40:05 - 40:08
    to exhibit your specimens.
  • 40:08 - 40:11
    The boys are all Londoners, actually.
  • 40:11 - 40:13
    Impossible.
    I see Londoners every day...
  • 40:13 - 40:17
    but never such
    exotic blooms as these.
  • 40:17 - 40:19
    Does he always talk like this?
  • 40:19 - 40:31
    Not when he's in bed.
  • 40:31 - 40:33
    I am discreet.
  • 40:33 - 40:38
    Bosie is far too grand for that.
    He wants everyone to know.
  • 40:38 - 40:41
    - You must understand...
    - I must be with young people, Robbie.
  • 40:41 - 40:44
    They're so frank and free.
  • 40:44 - 40:46
    They make me feel young myself.
  • 40:46 - 40:48
    That's all very well,
    but what would you say...
  • 40:48 - 40:51
    if someone wanted
    to go to bed with your son?
  • 40:51 - 40:53
    Cyril's eight.
  • 40:53 - 40:58
    What will you say when he's 18?
  • 40:58 - 41:02
    Nothing. He must do
    as his nature dictates...
  • 41:02 - 41:05
    as I only wish I had done.
  • 41:05 - 41:09
    "'I do believe the spring has come
    at last,' said the giant.
  • 41:09 - 41:12
    He jumped out of bed,
    and looked out of the window."
  • 41:12 - 41:14
    - What did he see?
    - You tell me.
  • 41:14 - 41:16
    No, you tell it.
  • 41:16 - 41:20
    All right.
    "He saw the most wonderful sight.
  • 41:20 - 41:22
    Through a little hole
    in the wall...
  • 41:22 - 41:25
    the children had crept back
    into the garden and were sitting...
  • 41:25 - 41:27
    on the branches of the trees.
  • 41:27 - 41:30
    And every tree that he could see,
    there was a little child.
  • 41:30 - 41:31
    The trees were so glad that they..."
  • 41:31 - 41:34
    They covered themselves
    with blossoms!
  • 41:34 - 41:35
    Blossoms!
  • 41:35 - 41:39
    "And were waving their arms gently
    above the children's heads.
  • 41:39 - 41:43
    And the birds were twittering
    and singing above them with delight.
  • 41:43 - 41:47
    And the flowers were looking up
    through the grass and laughing.
  • 41:47 - 41:51
    Oscar, it's time the boys changed,
    or we'll miss the train.
  • 41:51 - 41:53
    Come on, boys.
  • 41:53 - 41:55
    Papa, can't we stay?
  • 41:55 - 41:59
    Papa's got to work.
    He's got to finish his play.
  • 41:59 - 42:01
    Yes, poor dear Papa.
  • 42:01 - 42:03
    Poor Papa.
  • 42:03 - 42:10
    Poor, poor, poor, poor, poor Papa.
  • 42:10 - 42:12
    Where is Oscar?
    We haven't seen him at all.
  • 42:12 - 42:15
    Where do you think he is? He's working.
    He is a writer, after all.
  • 42:15 - 42:18
    I hear your father's threatening
    to shoot Lord Roseberry.
  • 42:18 - 42:22
    Really? He usually
    prefers the horsewhip.
  • 42:22 - 42:24
    Says he's been buggering
    your brother.
  • 42:24 - 42:27
    Well, Roseberry is Secretary of State
    for Foreign Affairs...
  • 42:27 - 42:30
    and Francis is
    his private secretary.
  • 42:30 - 42:32
    Actually, Francis is
    about to get engaged.
  • 42:32 - 42:37
    What's your father
    talking about, then?
  • 42:37 - 42:39
    He's obsessed with sex.
  • 42:39 - 42:41
    He thinks Oscar's buggering me...
  • 42:41 - 42:55
    as though I'd allow
    anyone to do that.
  • 42:55 - 43:01
    I'm sick of the country.
  • 43:01 - 43:09
    Let's get back to London.
  • 43:09 - 43:12
    What's the point of us living together
    if you're always working?
  • 43:12 - 43:17
    - I have responsibilities... a family.
    - God, not that again!
  • 43:17 - 43:26
    I ask my friends over from Oxford,
    and you just disappear.
  • 43:26 - 43:28
    I'd be better off
    staying at my mother's.
  • 43:28 - 43:32
    - At least she's there.
    - You asked me to take this house...
  • 43:32 - 43:33
    Now I'm bored with it.
  • 43:33 - 43:37
    - And with you.
    - I can't give it up.
  • 43:37 - 43:42
    It's paid for in advance.
    Until I finish my new...
  • 43:42 - 43:44
    Bosie, dear...
  • 43:44 - 43:46
    you have beauty,
    you have breeding...
  • 43:46 - 43:49
    and, most glorious of all,
    you have youth.
  • 43:49 - 43:51
    But you are very fantastical
    if you think that pleasures...
  • 43:51 - 43:54
    don't have to be earned
    and paid for.
  • 43:54 - 43:58
    Whenever I want to do anything,
    you say you can't afford it...
  • 43:58 - 44:00
    but you give all those renters
    cigarette cases.
  • 44:00 - 44:03
    But I've lavished presents on you!
  • 44:03 - 44:06
    Every penny I've earned from my play
    I have spent on you!
  • 44:06 - 44:08
    I'm sure you've been counting.
  • 44:08 - 44:12
    You're so mean
    and penny-pinching...
  • 44:12 - 44:14
    and middle-class, all you can
    think about is your bank balance.
  • 44:14 - 44:17
    For God's sake!
    This is intolerable!
  • 44:17 - 44:23
    No gentleman ever has the slightest idea
    what his bank balance is!
  • 44:23 - 44:24
    You're absurd!
  • 44:24 - 44:27
    Telling everyone
    how they ought to live.
  • 44:27 - 44:30
    You're so vulgar!
  • 44:30 - 44:32
    I never want
    to see you again, ever.
  • 44:32 - 44:36
    All right, then.
    If that's what you want, then you go!
  • 44:36 - 44:41
    Get out!
  • 44:41 - 44:44
    "But in the farthest corner
    of the garden...
  • 44:44 - 44:48
    it was still winter, and in it
    was standing a little boy.
  • 44:48 - 44:53
    He was so small, he could not reach up
    to the branches of the tree.
  • 44:53 - 44:56
    'Climb up, little boy, '
    said the tree.
  • 44:56 - 44:59
    But the little boy was too tiny. "
  • 44:59 - 45:02
    Egypt is lovely this time of year.
  • 45:02 - 45:06
    - But you mustn't idle your time away.
    - Mother.
  • 45:06 - 45:10
    And I want you
    to promise me something:
  • 45:10 - 45:14
    Not to write to Oscar Wilde.
  • 45:14 - 45:18
    I can't do that.
    I love Oscar.
  • 45:18 - 45:20
    I love him as a disciple
    loves his teacher.
  • 45:20 - 45:24
    But he's not fit to teach anything.
    He's evil.
  • 45:24 - 45:28
    Do you really think your own son
    could love someone evil?
  • 45:28 - 45:32
    I just wish I could love Oscar
    as loyally, devotedly...
  • 45:32 - 45:37
    unselfishly and purely
    as he loves me.
  • 45:37 - 45:42
    But I'm not as good as he is.
  • 45:42 - 45:46
    I probably never will be.
  • 45:46 - 46:03
    Good-bye, then.
  • 46:03 - 46:05
    "I adore simple pleasures.
  • 46:05 - 46:08
    They are the last refuge
    of the complex.
  • 46:08 - 46:11
    But, if you wish,
    let us stay here.
  • 46:11 - 46:13
    Yes, let us stay here.
  • 46:13 - 46:17
    The Book of Life begins
    with a man and a woman in a garden."
  • 46:17 - 46:19
    "It ends with 'Revelations."'
  • 46:19 - 46:21
    Yes. Mr. Tree, may I?
  • 46:21 - 46:24
    I'm delighted, of course,
    that you find my lines funny...
  • 46:24 - 46:27
    but please don't try and make
    the audience laugh with them.
  • 46:27 - 46:30
    They should sound completely
    spontaneous and natural...
  • 46:30 - 46:32
    as though people spoke
    like that all the time.
  • 46:32 - 46:34
    Yes, of course.
  • 46:34 - 46:37
    Let's try again.
  • 46:37 - 46:40
    You should break with Bosie
    more often, Oscar.
  • 46:40 - 46:44
    Then we'd have more of
    your spontaneous and natural plays.
  • 46:44 - 46:47
    Bosie was envious.
    That's why he stopped Oscar working.
  • 46:47 - 46:50
    - That's not true.
    - Of course it is.
  • 46:50 - 46:53
    His poems aren't nearly
    as good as you pretend...
  • 46:53 - 46:55
    and he knows it.
  • 46:55 - 47:00
    - He's just a shallow little...
    - Rivulet.
  • 47:00 - 47:04
    Bosie's a child, a vulnerable child.
    He needs love.
  • 47:04 - 47:07
    We all need love.
  • 47:07 - 47:09
    But which of us can give it?
  • 47:09 - 47:12
    Wish you a merry Christmas
  • 47:12 - 47:17
    We wish you a merry Christmas
  • 47:17 - 47:19
    And a happy New Year
  • 47:19 - 47:22
    Good tidings we bring
  • 47:22 - 47:25
    To you and your kin
  • 47:25 - 47:27
    We wish you a merry Christmas
  • 47:27 - 47:31
    And a happy New Year
  • 47:31 - 47:33
    - Cracker time!
    - It is cracker time.
  • 47:33 - 47:36
    I won this time. Look. There.
    One for you, one for me.
  • 47:36 - 47:40
    "And the giant's heart melted
    as he looked out.
  • 47:40 - 47:43
    'How selfish I have been, '
    he said.
  • 47:43 - 47:46
    'Now I know why the spring
    would not come here.
  • 47:46 - 47:49
    I will put that little boy
    on top of the tree...
  • 47:49 - 47:51
    and I will knock down the wall,
    and my garden shall be...
  • 47:51 - 47:54
    the children's playground
    forever and ever. '
  • 47:54 - 47:58
    He was really very sorry
    for what he had done. "
  • 47:58 - 48:02
    This is really nice, even though...
  • 48:02 - 48:05
    "So he crept downstairs and opened
    the front door quite softly...
  • 48:05 - 48:11
    and went out into the garden.
  • 48:11 - 48:14
    That he did not see
    the giant coming.
  • 48:14 - 48:18
    And the giant stole up behind him
    and took him gently by the hand...
  • 48:18 - 48:21
    and put him up into the tree.
  • 48:21 - 48:23
    And the tree broke
    at once into blossom...
  • 48:23 - 48:25
    and the birds came and sang on it,
    and the little boy...
  • 48:25 - 48:28
    stretched out his two arms...
  • 48:28 - 48:30
    and flung them
    round the giant's neck...
  • 48:30 - 49:05
    and kissed him. "
  • 49:05 - 49:08
    I don't care what people think.
    I love you.
  • 49:08 - 49:11
    It's all that matters to me.
    It was agony being away from you.
  • 49:11 - 49:14
    Well, here I am.
  • 49:14 - 49:16
    Oh, Bosie, you're
    my catastrophe, my doom.
  • 49:16 - 49:19
    Everyone says so, even me.
  • 49:19 - 49:23
    I missed you.
  • 49:23 - 49:33
    I thought you might like something
    to celebrate your return.
  • 49:33 - 49:36
    When I saw them in the window,
    they begged me on their knees...
  • 49:36 - 49:40
    to make them yours.
  • 49:40 - 49:58
    I'll put them on now.
    They're superb.
  • 49:58 - 50:01
    - I'll sit there. I want a proper table.
    - Is there something wrong, my lord?
  • 50:01 - 50:04
    This young fool wants me
    to sit by the service door.
  • 50:04 - 50:06
    Oh, God, my father.
  • 50:06 - 50:11
    I'm extremely sorry. He's new,
    and he didn't know who you were.
  • 50:11 - 50:19
    Bosie, you're not going to flee.
  • 50:19 - 50:26
    Give me the menu.
  • 50:26 - 50:28
    I'll have the pea soup
    and then the salmon.
  • 50:28 - 50:32
    Will you have it with us, Papa?
  • 50:32 - 50:40
    I'm lunching with Oscar Wilde.
    Will you join us?
  • 50:40 - 50:43
    I told you never to see
    that vile cur again.
  • 50:43 - 50:49
    He's not vile or a cur.
    He's utterly delightful. Come and see.
  • 50:49 - 50:53
    How do you know what he's like
    when you've never met him?
  • 50:53 - 51:05
    You're not a man to be influenced
    by other people's opinions.
  • 51:05 - 51:09
    Oscar, you've never met
    my father, have you?
  • 51:09 - 51:14
    Lord Queensberry.
  • 51:14 - 51:19
    Bosie has told me so much about
    your exploits on the racetrack.
  • 51:19 - 51:24
    I've never heard such bad luck
    as yours with the Grand National.
  • 51:24 - 51:26
    Bosie tells me
    that you would have won...
  • 51:26 - 51:30
    but that your cousin
    wouldn't let you ride the horse?
  • 51:30 - 51:33
    Bloody fool said I was too old.
  • 51:33 - 51:38
    Why, you're never too old.
    I'd ridden Old Joe on the gallops.
  • 51:38 - 51:40
    Came in at 40 to 1.
  • 51:40 - 51:42
    No horse could ever have carried me
    over the jumps, I fear.
  • 51:42 - 51:45
    What are you having?
  • 51:45 - 51:47
    - Pea soup and salmon.
    - Then I shall join you.
  • 51:47 - 51:50
    Spring is the time
    to lunch on salmon...
  • 51:50 - 51:54
    though I always think it tastes so much
    nicer if you've caught it yourself.
  • 51:54 - 51:55
    You fish?
  • 51:55 - 51:57
    I used to when I lived in Ireland.
  • 51:57 - 52:00
    My father had the most charming
    hunting lodge...
  • 52:00 - 52:02
    on an island in a lake.
  • 52:02 - 52:09
    - Do you know the west of Ireland?
    - Not really.
  • 52:09 - 52:25
    Whereabouts, exactly?
  • 52:25 - 52:28
    The Christians go around pretending
    they know who God is and how He works.
  • 52:28 - 52:31
    I've got no time for that tomfoolery.
  • 52:31 - 52:34
    If you don't know something,
    you should stand up and say so...
  • 52:34 - 52:38
    not go around pretending
    you believe in some mumbo jumbo.
  • 52:38 - 52:41
    I can believe in anything,
    provided it's incredible.
  • 52:41 - 52:44
    That's why I intend to die a Catholic,
    though I couldn't possibly live as one.
  • 52:44 - 52:49
    Catholicism is such a romantic religion.
    It has saints and sinners.
  • 52:49 - 52:52
    The Church of England
    only has respectable people...
  • 52:52 - 52:54
    who believe in respectability.
  • 52:54 - 52:58
    You get to be a bishop not by what
    you believe but by what you don't.
  • 52:58 - 53:01
    That's true enough.
  • 53:01 - 53:03
    It's the only church where
    the skeptic stands at the altar...
  • 53:03 - 53:06
    and St. Thomas the Doubter
    is prince of the apostles.
  • 53:06 - 53:11
    No, I couldn't possibly die
    in the Church of England.
  • 53:11 - 53:14
    Where do you stand on cremation?
  • 53:14 - 53:18
    I'm not sure I have a position.
  • 53:18 - 53:21
    I'm for it.
  • 53:21 - 53:23
    I wrote a poem:
  • 53:23 - 53:26
    "When I am dead, cremate me."
  • 53:26 - 53:28
    That's how it begins.
  • 53:28 - 53:32
    "When I am dead, cremate me."
  • 53:32 - 53:36
    What do you think of that
    for an opening line?
  • 53:36 - 53:37
    It's challenging.
  • 53:37 - 53:39
    I'm a challenging sort of man.
  • 53:39 - 53:42
    That's why people don't like me.
  • 53:42 - 53:44
    I don't go along with
    the ordinary ways of thinking.
  • 53:44 - 53:47
    Then we are exactly alike.
  • 53:47 - 53:50
    Another glass of brandy?
  • 53:50 - 53:53
    I find that alcohol,
    taken in sufficient quantities...
  • 53:53 - 53:57
    can produce all the effects
    of drunkenness.
  • 53:57 - 54:00
    You were there for ages.
  • 54:00 - 54:04
    You stayed talking till after 4:00.
    I knew you'd like him.
  • 54:04 - 54:07
    Well, he's got charm,
    I admit that.
  • 54:07 - 54:08
    But that's bad.
  • 54:08 - 54:10
    Men shouldn't be charming.
  • 54:10 - 54:13
    It's disgusting.
    I don't think much of his action.
  • 54:13 - 54:16
    Let's have a look at the bay.
  • 54:16 - 54:18
    Mind you, Wilde's no fool.
  • 54:18 - 54:21
    Talks wonderfully,
    really wonderfully.
  • 54:21 - 54:24
    But that means nothing
    when what he says is such rot.
  • 54:24 - 54:27
    Worse than rot... evil.
  • 54:27 - 54:30
    Which is why I insist
    you stop seeing him forthwith.
  • 54:30 - 54:31
    "Insist"?
    What's that supposed to mean?
  • 54:31 - 54:36
    It means I will cut off your allowance
    if you don't do as I say.
  • 54:36 - 54:40
    - Trot him up and down a bit!
    - Look, Father.
  • 54:40 - 54:43
    You wasted time at Oxford pretending
    you were going into the Foreign Office.
  • 54:43 - 54:45
    Thank God you didn't
    when thatJew queer Roseberry...
  • 54:45 - 54:48
    can become Foreign Secretary and bugger
    all the juniors, including your brother.
  • 54:48 - 54:50
    That's all lies.
  • 54:50 - 54:52
    You spent your whole time
    writing obscene poetry.
  • 54:52 - 54:54
    My poems aren't obscene.
  • 54:54 - 54:57
    They're in the manner of Wilde.
    That's filthy enough for me.
  • 54:57 - 54:59
    Have you ever actually read
    any of Oscar's poems?
  • 54:59 - 55:03
    I wouldn't sully my mind
    with perverted trash like that.
  • 55:03 - 55:05
    Tell him to pick his feet up!
  • 55:05 - 55:08
    He's not straight!
  • 55:08 - 55:10
    Are you calling Oscar a pervert?
  • 55:10 - 55:12
    Because that's libelous.
  • 55:12 - 55:15
    I'm not saying he is one.
    I'm saying he's posing as one...
  • 55:15 - 55:17
    which is worse.
  • 55:17 - 55:19
    His wife's divorcing him.
  • 55:19 - 55:23
    Did you know that?
    For sodomy!
  • 55:23 - 55:26
    - That's completely untrue!
    - I hope it is.
  • 55:26 - 55:33
    Because if it were true,
    I'd shoot him on sight.
  • 55:33 - 55:38
    You will cease to see Wilde,
    or I'll cut you off without a penny.
  • 55:38 - 55:41
    As though I wanted your money...
  • 55:41 - 55:44
    what little you have left
    from your tarts.
  • 55:44 - 55:47
    How dare you speak
    to your father like that.
  • 55:47 - 55:51
    What a funny little man you are.
  • 55:51 - 55:54
    Come back here,
    you filthy-minded sissy!
  • 55:54 - 55:56
    You're absurd!
  • 55:56 - 55:59
    And you're nothing but a bum-boy!
  • 55:59 - 56:04
    You're pathetic!
  • 56:04 - 56:07
    I'm a bloody good shot.
    Better than he is.
  • 56:07 - 56:09
    I'll shoot him through the heart
    if he threatens me.
  • 56:09 - 56:11
    Hadn't you better use
    a silver bullet then?
  • 56:11 - 56:13
    Here's one for the Black Douglas.
  • 56:13 - 56:15
    Bosie, for God's sake!
  • 56:15 - 56:17
    And one for his liver!
    One for his lights!
  • 56:17 - 56:23
    One for his stinking rotten soul!
  • 56:23 - 56:26
    I'll save one for myself.
  • 56:26 - 56:45
    My own father...
    he wants to kill me.
  • 56:45 - 56:49
    My life is everything
    I ever wanted.
  • 56:49 - 56:52
    I have fame.
  • 56:52 - 56:55
    I have recognition.
  • 56:55 - 56:58
    With two plays
    about to open in London...
  • 56:58 - 57:01
    I may even have money.
  • 57:01 - 57:05
    The world is at my command...
  • 57:05 - 57:10
    yet I can't command myself.
  • 57:10 - 57:26
    I can't command
    my feelings for you.
  • 57:26 - 57:29
    - Thank you.
    - Constance, my dear.
  • 57:29 - 57:40
    How nice.
  • 57:40 - 57:43
    I brought you your letters.
  • 57:43 - 57:47
    You haven't been home
    for so long.
  • 57:47 - 57:53
    Thank you.
  • 57:53 - 57:56
    It's so much more convenient
    for Oscar living in the West End...
  • 57:56 - 57:58
    when he has a play coming on.
  • 57:58 - 58:01
    I'm like a northern businessman
    keeping an eye on his factory.
  • 58:01 - 58:04
    The boys ask for you
    all the time.
  • 58:04 - 58:07
    They're longing to see you.
  • 58:07 - 58:10
    Oscar has to make sure
    the play's a success, Constance.
  • 58:10 - 58:12
    I'll come round this afternoon...
  • 58:12 - 58:16
    for tea.
  • 58:16 - 58:23
    It's the dress rehearsal
    this afternoon.
  • 58:23 - 58:25
    Tomorrow then.
    I'll come tomorrow.
  • 58:25 - 58:34
    Well, tomorrow then.
  • 58:34 - 58:37
    Good-bye, my dear.
  • 58:37 - 58:46
    Good-bye.
  • 58:46 - 58:57
    Good-bye, Constance.
  • 58:57 - 59:00
    - Something like that.
    - I'm not trying to get anything.
  • 59:00 - 59:04
    I hope so. It would be rather fun.
    Perhaps a codfish.
  • 59:04 - 59:07
    Codfish. I've a strong feeling
    that codfish live rather deeper.
  • 59:07 - 59:14
    - Do you think we'll have skate...
    - Possibly.
  • 59:14 - 59:18
    I don't think there'll be anything
    for our table tonight, my love. No luck.
  • 59:18 - 59:21
    I think I'd better stay.
    You're getting a cold.
  • 59:21 - 59:25
    No, no. I'm all right.
    Let's get the boys some ices.
  • 59:25 - 59:29
    - Boys, you stay and look after nanny.
    - Oh, all right.
  • 59:29 - 59:31
    We'll look after nanny.
  • 59:31 - 59:35
    I could take the boys to the dentist
    on Thursday on their way back to school.
  • 59:35 - 59:37
    But the whole point of them
    having dentistry now...
  • 59:37 - 59:45
    is so they can stuff themselves with
    sweets for a week before we lose them.
  • 59:45 - 60:09
    - Are you quite sure?
    - Bosie'll look after me.
  • 60:09 - 60:11
    Get your coat on, quick!
  • 60:11 - 60:15
    I've got a present for you!
  • 60:15 - 60:17
    Oh, God.
  • 60:17 - 60:20
    - You're not still seedy, are you?
    - Bosie, where have you been?
  • 60:20 - 60:23
    I've had no one to talk to,
    no one to look after me.
  • 60:23 - 60:27
    Don't be so pathetic.
    I've found you the divinest boy.
  • 60:27 - 60:30
    - Bosie, you promised Constance...
    - Bugger Constance.
  • 60:30 - 60:32
    I'm not your nanny.
    Come on. We're going out.
  • 60:32 - 60:36
    Bosie, please.
  • 60:36 - 60:40
    You look such an idiot
    lying there. Revolting.
  • 60:40 - 60:42
    - Have you forgotten how to wash?
    - As a matter of fact...
  • 60:42 - 60:46
    I'm dying for a glass of water.
  • 60:46 - 60:50
    - You know where the jug is.
    - Bosie, darling.
  • 60:50 - 60:53
    It stinks in here. You'll be wanting me
    to empty your chamber pot next.
  • 60:53 - 60:58
    Well, I emptied your chamber pot.
    I looked after you.
  • 60:58 - 61:00
    Well, I'm not looking after you.
    Not now.
  • 61:00 - 61:03
    You don't interest me.
    Not when you're ill.
  • 61:03 - 61:05
    You're just a boring middle-aged man
    with a blocked-up nose.
  • 61:05 - 61:10
    - Bosie, dearest boy.
    - Shut up!
  • 61:10 - 61:14
    "Dearest boy, darling Bosie."
    It doesn't mean anything.
  • 61:14 - 61:17
    You don't love me. The only person
    you've ever loved is yourself.
  • 61:17 - 61:19
    You like me.
    You lust after me.
  • 61:19 - 61:24
    You go about with me because
    I've got a title. That's all.
  • 61:24 - 61:26
    You like to write about
    dukes and duchesses...
  • 61:26 - 61:28
    but you know nothing about them.
  • 61:28 - 61:30
    You're the biggest snob
    I've ever met...
  • 61:30 - 61:33
    and you think you're so daring
    because you fuck the occasional boy.
  • 61:33 - 61:36
    Please, you're killing me.
  • 61:36 - 61:37
    You'll just about do
    when you're at your best.
  • 61:37 - 61:42
    You're amusing... very amusing... but when
    you're not at your best, you're no one.
  • 61:42 - 61:46
    All I asked for
    was a glass of water.
  • 61:46 - 61:52
    For Christ's sake!
    There you are then!
  • 61:52 - 62:01
    Now will you shut up
    about the fucking water?
  • 62:01 - 62:03
    There are two boys
    waiting out there.
  • 62:03 - 62:05
    If you're not coming,
    I'll fuck them both myself.
  • 62:05 - 62:10
    I'll take them to the Grand and
    fuck them in front of the whole hotel...
  • 62:10 - 62:28
    and I'll send you the bill.
  • 62:28 - 62:29
    Drink this.
  • 62:29 - 62:37
    - It will help your fever.
    - He's ashamed of loving men.
  • 62:37 - 62:40
    His father bullies him,
    his mother spoils him...
  • 62:40 - 62:42
    and then berates him
    for being spoiled.
  • 62:42 - 62:49
    Neither of them gives him any real love.
    They're torturing him.
  • 62:49 - 62:52
    And what's truly dreadful
    is that when...
  • 62:52 - 62:56
    he can't bear it
    and has one of his...
  • 62:56 - 62:58
    he becomes
    exactly like his father.
  • 62:58 - 63:04
    - And he hates himself for that.
    - You're too kind about him.
  • 63:04 - 63:10
    You can't be too kind about
    someone who's been so hurt.
  • 63:10 - 63:16
    Yet if I go on trying to come
    between Bosie and his father...
  • 63:16 - 63:18
    that'll destroy me.
  • 63:18 - 63:23
    Bosie's quite capable
    of destroying you on his own.
  • 63:23 - 63:25
    Look how much you wrote
    while he was away.
  • 63:25 - 63:29
    Two wonderful plays
    which will run for years.
  • 63:29 - 63:40
    Back comes Bosie,
    and what have you written since?
  • 63:40 - 63:44
    You know how much I...
  • 63:44 - 63:48
    Iove and admire you...
  • 63:48 - 63:51
    but you're throwing
    your genius away.
  • 63:51 - 63:54
    - For what?
    - It's highly ironic.
  • 63:54 - 63:58
    Queensberry thinks Bosie and I
    are locked in nightly embrace...
  • 63:58 - 64:04
    and in reality, we've been
    the purest model of Greek love since...
  • 64:04 - 64:09
    Bosie doesn't like doing it with me,
    but I've loved him.
  • 64:09 - 64:14
    - I've educated him.
    - But he's never grown up.
  • 64:14 - 64:17
    And he never will.
  • 64:17 - 64:20
    I'm not taking him back, Robbie.
  • 64:20 - 64:24
    Not again.
  • 64:24 - 64:26
    I can't.
  • 64:26 - 64:31
    I've been very foolish,
    very fond...
  • 64:31 - 64:33
    but now I must grow up myself.
  • 64:33 - 64:36
    Oh, please, don't do that.
  • 64:36 - 64:42
    You're an artist.
    Artists are always children at heart.
  • 64:42 - 64:49
    Oh, Robbie,
    I sometimes I wonder if...
  • 64:49 - 64:56
    Back page, sir.
  • 64:56 - 65:00
    My God. Francis Douglas.
  • 65:00 - 65:02
    - What?
    - Bosie's brother.
  • 65:02 - 65:07
    He's been found shot.
    He's dead.
  • 65:07 - 65:12
    But he's just got engaged.
  • 65:12 - 65:27
    Poor, poor Bosie.
    He'll be utterly distraught.
  • 65:27 - 65:30
    He killed himself.
  • 65:30 - 65:34
    It was my father.
    He drove him to it.
  • 65:34 - 65:39
    I'm sure your father's
    just as upset as everyone else.
  • 65:39 - 65:44
    No, he's not.
  • 65:44 - 65:47
    He says it's a judgment
    on Roseberry and my mother...
  • 65:47 - 65:59
    and me and you.
  • 65:59 - 66:03
    We've got to stop him, Oscar...
  • 66:03 - 66:09
    before he drives
    my whole family to suicide.
  • 66:09 - 66:13
    I promise you, I won't let him
    hurt you ever again.
  • 66:13 - 66:22
    I promise.
  • 66:22 - 66:28
    It's not enough.
    I want him stopped.
  • 66:28 - 66:33
    I want the whole world
    to know what he's done...
  • 66:33 - 66:40
    what an evil man he is.
  • 66:40 - 66:42
    Table, my lord?
  • 66:42 - 66:44
    Is Lord Alfred here?
    And that shit and sod Wilde?
  • 66:44 - 66:48
    No, my lord. Not tonight.
  • 66:48 - 67:04
    Bugger must be at Kettner's.
  • 67:04 - 67:09
    Is my son staying here?
  • 67:09 - 67:11
    Is Lord Alfred Douglas
    staying here?
  • 67:11 - 67:15
    No, sir, he's not.
  • 67:15 - 67:22
    - What about Wilde?
    - No, sir.
  • 67:22 - 67:26
    If I find
    they have been staying here...
  • 67:26 - 68:01
    I'll give you the biggest
    whipping of your life.
  • 68:01 - 68:14
    Well, I expect you two would
    like a drink after your exertions.
  • 68:14 - 68:16
    I must ask you to leave,
    Mr. Wilde.
  • 68:16 - 68:19
    My dear man,
    what are you talking about?
  • 68:19 - 68:22
    At once, please.
  • 68:22 - 68:38
    What's the matter? My father
    cracking the whip downstairs, is he?
  • 68:38 - 68:41
    - My lord.
    - Bosie.
  • 68:41 - 68:44
    You're not frightened of what
    this little man thinks, are you?
  • 68:44 - 68:53
    I think the pleasures of the evening
    should be resumed elsewhere.
  • 68:53 - 68:55
    You're such a coward.
  • 68:55 - 68:57
    You say you despise convention...
  • 68:57 - 69:01
    but you're the most
    conventional man I know.
  • 69:01 - 69:12
    Come on then.
    If we're going, let's go.
  • 69:12 - 69:14
    Until tomorrow, Tommy.
  • 69:14 - 69:16
    Good-bye, sir.
  • 69:16 - 69:24
    I goes in, and there's
    all this tropical fruit laid out.
  • 69:24 - 69:27
    Wait a minute, Oscar!
  • 69:27 - 69:31
    Alfred, how nice to see you.
    And Charlie, looking so well.
  • 69:31 - 69:34
    I'm afraid I'm busy this evening,
    but we must have dinner again soon.
  • 69:34 - 69:39
    It's not a question of dinner.
    I got a letter of yours to Lord Alfred.
  • 69:39 - 69:42
    It's a nice letter, Oscar.
    Beautiful.
  • 69:42 - 69:46
    "Lips like roses. The madness
    of kisses in ancient Greece."
  • 69:46 - 69:48
    Then I expect
    it's one of my prose poems.
  • 69:48 - 69:50
    There's a gentleman's
    offered me 60 pounds for it.
  • 69:50 - 69:53
    Then you must accept, Alfred.
    I've never received so large a sum...
  • 69:53 - 69:55
    for a prose work of that length
    in all my life.
  • 69:55 - 69:59
    Tell him I'm delighted that someone
    in England values my work so highly.
  • 69:59 - 70:01
    - Well, he's gone away.
    - He's gone to the country.
  • 70:01 - 70:06
    Well, I'm sure
    he'll be back soon.
  • 70:06 - 70:10
    Oscar, look. You couldn't
    let us have something, could you?
  • 70:10 - 70:14
    Bit short at the moment.
    You know.
  • 70:14 - 70:17
    Of course. Of course.
  • 70:17 - 70:19
    Here's half a sovereign. Now you mind
    you take good care of that letter.
  • 70:19 - 70:24
    Lord Alfred is going to publish it
    in sonnet form in his new magazine.
  • 70:24 - 70:29
    For fuck's sake.
  • 70:29 - 70:32
    It's no good
    trying to rent you.
  • 70:32 - 70:35
    You just laugh at us.
  • 70:35 - 70:38
    - Here.
    - Thank you.
  • 70:38 - 70:42
    He can be very careless,
    Lord Alfred.
  • 70:42 - 70:45
    What a wonderfully
    wicked life you lead.
  • 70:45 - 70:52
    You boys. You boys.
  • 70:52 - 70:55
    - Where is he?
    - Mr. Wilde is not receiving visitors.
  • 70:55 - 70:57
    - Where is he?
    - He's busy, sir. I cannot...
  • 70:57 - 71:02
    I wish you would get out of my way.
    Get out of my way!
  • 71:02 - 71:05
    Excuse me, sir,
    there's a gentleman...
  • 71:05 - 71:07
    You!
  • 71:07 - 71:10
    Listen to me.
  • 71:10 - 71:14
    You're a bugger!
  • 71:14 - 71:17
    I don't allow people to talk to me like
    that in my house, Lord Queensberry...
  • 71:17 - 71:20
    or anywhere else.
  • 71:20 - 71:24
    I suppose you've come to apologize for
    the lies you've been spreading about me?
  • 71:24 - 71:28
    I've come to tell you
    to leave my son alone, you sodomite.
  • 71:28 - 71:32
    The marquis appears to be very obsessed
    with other people's sexual activities.
  • 71:32 - 71:34
    Has it anything to do
    with his new wife...
  • 71:34 - 71:37
    I wonder, and the fact that she's
    seeking divorce for non-consummation?
  • 71:37 - 71:41
    Unless you swear that you'll have
    nothing more to do with Bosie...
  • 71:41 - 71:42
    I shall go to Scotland Yard.
  • 71:42 - 71:44
    You can go to the devil.
  • 71:44 - 71:47
    You and your...
    Who is this gargoyle?
  • 71:47 - 71:51
    You're a queer!
    And a sham! A poseur!
  • 71:51 - 71:56
    If I catch you and Bosie together again,
    I'll give you such a thrashing.
  • 71:56 - 71:59
    I believe Lord Queensberry
    once invented some rules for boxing.
  • 71:59 - 72:01
    I've no idea what they are...
  • 72:01 - 72:03
    but the Oscar Wilde rule
    is to shoot on sight.
  • 72:03 - 72:06
    - Now, kindly leave my house.
    - You can shut up!
  • 72:06 - 72:14
    I shall leave
    when I'm damn well ready.
  • 72:14 - 72:16
    It's a scandal
    what you've been doing.
  • 72:16 - 72:20
    All the scandal is your own.
  • 72:20 - 72:22
    Your treatment of your wives...
  • 72:22 - 72:24
    your neglect of your children...
  • 72:24 - 72:28
    and, above all,
    the depraved insistence...
  • 72:28 - 72:33
    that they be as tyrannical
    and unloving as you are yourself.
  • 72:33 - 72:36
    Arthur, this is
    the Marquis of Queensberry...
  • 72:36 - 72:41
    the most infamous brute
    and the least tender father in London.
  • 72:41 - 72:46
    Never let him
    into my house again.
  • 72:46 - 72:49
    Very well then.
  • 72:49 - 73:37
    Let's get out of this stew.
  • 73:37 - 73:39
    - Out of the way, then!
    - I'm sorry, sir!
  • 73:39 - 73:50
    I'm very sorry,
    but it's just not possible!
  • 73:50 - 73:53
    What are you doing?
    Rotten vegetables?
  • 73:53 - 73:55
    Give that to Oscar Wilde.
  • 73:55 - 73:58
    Thank you, sir.
    We'll take care of it.
  • 73:58 - 74:03
    I wanted to give it to him
    personally as a bouquet.
  • 74:03 - 74:07
    I daresay you did, sir,
    but you're not going to.
  • 74:07 - 74:11
    He's a cur and a sod!
  • 74:11 - 74:13
    And a bugger!
  • 74:13 - 74:18
    You remember that!
  • 74:18 - 74:21
    I always told you, Gwendolen,
    my name is Ernest, didn't I?
  • 74:21 - 74:23
    Well, it is Ernest after all.
  • 74:23 - 74:26
    I mean, it naturally is Ernest.
  • 74:26 - 74:29
    Yes, I remember now
    that the general was called Ernest.
  • 74:29 - 74:35
    I knew I had some particular reason
    for disliking the name.
  • 74:35 - 74:39
    Ernest! My own Ernest!
  • 74:39 - 74:43
    I knew from the first
    you could have had no other name.
  • 74:43 - 74:46
    Gwendolen, it's a terrible thing
    for a man to find out suddenly...
  • 74:46 - 74:50
    that all his life he's been
    speaking nothing but the truth.
  • 74:50 - 74:52
    Can you forgive me?
  • 74:52 - 74:56
    I can, for I feel
    you are sure to change.
  • 74:56 - 74:58
    - My own one!
    - Laetitia.
  • 74:58 - 75:00
    Frederick! At last!
  • 75:00 - 75:06
    - Cecily! At last!
    - Gwendolen! At last!
  • 75:06 - 75:11
    My nephew, you seem to be
    displaying signs of triviality.
  • 75:11 - 75:13
    On the contrary, Aunt Augusta...
  • 75:13 - 75:17
    I've now realized
    for the first time in my life...
  • 75:17 - 75:48
    the vital importance
    of being earnest.
  • 75:48 - 75:51
    Allen, you were wonderful!
    Thank you all so much.
  • 75:51 - 75:53
    They're calling for you.
    You must come on. Curtain, curtain.
  • 75:53 - 76:43
    - No, no, George, no, no.
    - Come on!
  • 76:43 - 76:48
    - Mr. Wilde, sir.
    - Yes?
  • 76:48 - 77:02
    - For you.
    - Thank you.
  • 77:02 - 77:06
    "For Oscar Wilde...
  • 77:06 - 77:07
    Ponce," is it?
  • 77:07 - 77:09
    "Ponce and 'somdomite."'
  • 77:09 - 77:14
    "Posing as a sodomite."
    He's illiterate... illiterate, ignorant.
  • 77:14 - 77:17
    - It's hideous.
    - We've got him now, Robbie.
  • 77:17 - 77:19
    He wrote it down.
    The porter read it.
  • 77:19 - 77:21
    That makes it a public libel.
    Now we can take him to court.
  • 77:21 - 77:27
    For God's sake.
  • 77:27 - 77:30
    Oscar, you mustn't do that.
    That would be... I mean...
  • 77:30 - 77:32
    We've just been waiting for a chance
    to get him in the dock...
  • 77:32 - 77:35
    and show the world what a swine
    and shit he's always been.
  • 77:35 - 77:39
    - To me, my mother, my brothers.
    - But he'll plead justification.
  • 77:39 - 77:42
    He'll call all the renters
    as witnesses for the defense.
  • 77:42 - 77:45
    Of course he won't.
    He doesn't know what a renter is.
  • 77:45 - 77:50
    I hear he's had detectives following you
    ever since you came back from Egypt.
  • 77:50 - 77:54
    He can't prove anything.
    But we can.
  • 77:54 - 77:56
    We can prove he's the vilest man
    that ever walked the earth.
  • 77:56 - 77:58
    Tear the card up, Oscar.
    Pretend you never got it.
  • 77:58 - 78:01
    Are you mad?
    That's our main piece of evidence.
  • 78:01 - 78:03
    I'm sure if Oscar went abroad
    for a few months...
  • 78:03 - 78:06
    lived on royalties
    while your father calms down...
  • 78:06 - 78:09
    - Whose side are you on?
    - Bosie, if this goes to court...
  • 78:09 - 78:11
    Oscar will have to tell lies...
  • 78:11 - 78:13
    perjure himself...
    everything will come out.
  • 78:13 - 78:16
    Whatever the result,
    it will be utter disaster.
  • 78:16 - 78:18
    You're an enemy then.
  • 78:18 - 78:22
    No, no, Bosie, please.
    Robbie...
  • 78:22 - 78:26
    you're a dear boy, but I can't
    even think of leaving the country.
  • 78:26 - 78:31
    As a matter of fact, I can't even
    leave this hotel. I can't pay the bill.
  • 78:31 - 78:34
    We can raise you money,
    for heaven's sake.
  • 78:34 - 78:37
    Anyway, what about
    your royalties?
  • 78:37 - 78:39
    We shall need all the money
    we can get for the libel case.
  • 78:39 - 78:45
    My father can't go on making
    all our lives a torment like this.
  • 78:45 - 78:48
    Oscar, I beg you.
  • 78:48 - 78:49
    I'm not going to run away, Robbie.
  • 78:49 - 78:53
    I'm not going to hide.
    That would be the English thing to do.
  • 78:53 - 78:56
    If you take Queensberry to court,
    all hell will break loose.
  • 78:56 - 79:00
    All my life I've fought
    against the English vice:
  • 79:00 - 79:03
    Hypocrisy...
    not that that's the point.
  • 79:03 - 79:08
    The point is, Queensberry's already
    caused the death of one of his sons.
  • 79:08 - 79:14
    If I don't try and stop him now,
    whom will he harm next?
  • 79:14 - 79:17
    He's avoiding me, Robbie.
  • 79:17 - 79:21
    I know what everyone's saying,
    but it's not true.
  • 79:21 - 79:24
    It's not true.
  • 79:24 - 79:29
    - Is it?
    - Of course not.
  • 79:29 - 79:33
    Oh, it's so shaming.
  • 79:33 - 79:37
    No, I find it easier to stand.
  • 79:37 - 79:41
    I'm going to Torquay for a month,
    try to get my back right.
  • 79:41 - 79:45
    - Oscar's been so busy...
    - I'm sure he'll be terribly upset...
  • 79:45 - 79:50
    when he knows you've been
    in so much pain.
  • 79:50 - 79:54
    The truth is,
    I need some money.
  • 79:54 - 79:58
    Not even sure where he is
    to ask for it.
  • 79:58 - 80:01
    It does seem rather hard when he's
    having such an extraordinary success.
  • 80:01 - 80:06
    I think I can find him.
  • 80:06 - 80:09
    I keep hearing these stories
    about Bosie and his father.
  • 80:09 - 80:15
    - I'm sure you don't want to...
    - Oh, yes. I do.
  • 80:15 - 80:19
    Men think women should be
    protected by not knowing.
  • 80:19 - 80:25
    Not knowing only makes it worse.
  • 80:25 - 80:30
    Is there going to be trouble?
  • 80:30 - 80:34
    I hope not.
  • 80:34 - 80:36
    I believe a prosecution
    would certainly succeed...
  • 80:36 - 80:38
    provided...
    and I stress this...
  • 80:38 - 80:42
    provided there is no truth whatever in
    the accusation made by Lord Queensberry.
  • 80:42 - 80:46
    Of course
    there's no truth in it.
  • 80:46 - 81:01
    Then so long as I have Mr. Wilde's
    assurance that that is indeed the case.
  • 81:01 - 81:05
    There is no truth
    in the accusation whatever.
  • 81:05 - 81:10
    Good. Excellent.
  • 81:10 - 81:14
    The defense, I understand,
    will be led by Mr. Edward Carson.
  • 81:14 - 81:18
    Old Ned? I was at college
    with him in Dublin.
  • 81:18 - 81:25
    No doubt he will perform his task with
    all the bitterness of an old friend.
  • 81:25 - 81:27
    In writing a book or a play,
    I'm concerned entirely with literature...
  • 81:27 - 81:32
    with art... I do not aim
    at doing good or evil...
  • 81:32 - 81:34
    but at making a thing that will have
    some quality of beauty.
  • 81:34 - 81:40
    Well, listen, sir. Here is
    one of your pieces of literature.
  • 81:40 - 81:43
    "Wickedness is a myth
    invented by good people...
  • 81:43 - 81:50
    to account for the curious
    attractiveness of others."
  • 81:50 - 81:51
    Do you think that true?
  • 81:51 - 81:53
    Oh, I rarely think
    anything I write is true.
  • 81:53 - 82:02
    "If one tells the truth, one is sure,
    sooner or later, to be found out."
  • 82:02 - 82:06
    That is a pleasing paradox, but
    I do not set store by it as an axiom.
  • 82:06 - 82:09
    Is it good for the young?
  • 82:09 - 82:12
    Anything is good that stimulates
    thought, at whatever age.
  • 82:12 - 82:13
    Whether moral or immoral?
  • 82:13 - 82:17
    There's no such thing
    as morality or immorality in thought.
  • 82:17 - 82:20
    What about this then?
  • 82:20 - 82:25
    "Pleasure is the only thing
    one should live for."
  • 82:25 - 82:28
    I think that the realization of
    one's self is the prime aim of life...
  • 82:28 - 82:33
    and that to realize through pleasure is
    finer than to do so through pain.
  • 82:33 - 82:39
    I am, on this point, entirely on
    the side of the ancients, the Greeks.
  • 82:39 - 82:43
    How long have you known
    Alfred Taylor?
  • 82:43 - 82:46
    About two years,
    two-and-a-half years.
  • 82:46 - 82:50
    - Is he an intimate friend of yours?
    - I wouldn't call him that, no.
  • 82:50 - 82:52
    But you went often to his rooms?
  • 82:52 - 82:55
    About seven or eight times,
    perhaps.
  • 82:55 - 83:02
    Did you know Mr. Taylor kept
    ladies' dresses in his rooms?
  • 83:02 - 83:07
    Did you know he was notorious
    for introducing young men to older men?
  • 83:07 - 83:10
    I never heard it in my life.
  • 83:10 - 83:13
    Has he introduced
    young men to you?
  • 83:13 - 83:15
    Yes.
  • 83:15 - 83:19
    - How many young men?
    - About five.
  • 83:19 - 83:23
    - What were their occupations?
    - I really don't know.
  • 83:23 - 83:26
    Oh, well, let me tell you,
    Mr. Wilde.
  • 83:26 - 83:30
    You met a man called
    Charles Parker there, I believe.
  • 83:30 - 83:32
    Yes.
  • 83:32 - 83:35
    Charles Parker is...
  • 83:35 - 83:38
    a gentleman's valet.
  • 83:38 - 83:40
    You met his brother there
    too, I believe.
  • 83:40 - 83:44
    - Yes.
    - He is a groom.
  • 83:44 - 83:47
    I didn't care tuppence
    what they were.
  • 83:47 - 83:51
    I liked them. I have a passion
    to civilize the community.
  • 83:51 - 83:56
    I recognize no social distinctions
    at all of any kind.
  • 83:56 - 83:58
    To me, youth...
    the mere fact of youth...
  • 83:58 - 84:02
    is so wonderful that I would sooner
    talk to a young man for half an hour...
  • 84:02 - 84:07
    than, well, than be
    cross-examined in court.
  • 84:07 - 84:10
    So, do I understand that...
  • 84:10 - 84:13
    even a boy you might pick up in the
    street would be a pleasing companion?
  • 84:13 - 84:18
    I would talk to a street Arab
    with pleasure if he would talk to me.
  • 84:18 - 84:20
    - And take him to your rooms?
    - Yes.
  • 84:20 - 84:24
    And then commit
    improprieties with him?
  • 84:24 - 84:29
    Certainly not.
  • 84:29 - 84:33
    You withdraw your libel action
    against Lord Queensberry.
  • 84:33 - 84:35
    Well and good.
  • 84:35 - 84:38
    But there remains the question
    of the evidence...
  • 84:38 - 84:42
    Lord Queensberry's evidence
    against you.
  • 84:42 - 84:48
    My information is that the Crown
    wishes to pursue the matter.
  • 84:48 - 84:53
    In which case, an arrest
    and a charge of gross indecency...
  • 84:53 - 84:55
    are certain to follow.
  • 84:55 - 84:59
    The maximum sentence
    is two years hard labor.
  • 84:59 - 85:03
    Nine months hard labor
    is reckoned to be more...
  • 85:03 - 85:05
    than a man of our background...
  • 85:05 - 85:09
    can survive.
  • 85:09 - 85:12
    The children, the boys...
  • 85:12 - 85:15
    - I must go and see them.
    - You have no time for that.
  • 85:15 - 85:19
    But my wife...
    I have to say good-bye to my wife.
  • 85:19 - 85:22
    Unless you positively wish
    to subject her...
  • 85:22 - 85:24
    to the further humiliation
    of seeing you arrested...
  • 85:24 - 85:27
    and taken away
    in front of the gutter press...
  • 85:27 - 85:36
    Mr. Wilde, you must go.
  • 85:36 - 85:41
    Oscar, you must take that train.
  • 85:41 - 85:44
    Practically everyone
    you know will be on it.
  • 85:44 - 85:53
    At least 600 single gentlemen,
    all in abject terror of arrest.
  • 85:53 - 85:57
    Where your life leads you,
    you must go.
  • 85:57 - 86:00
    I defy society.
  • 86:00 - 86:03
    Tell him to go.
  • 86:03 - 86:08
    He must save himself.
  • 86:08 - 86:10
    Tell him to go abroad.
  • 86:10 - 86:13
    I've been telling him all day.
  • 86:13 - 86:22
    He won't budge.
  • 86:22 - 86:27
    People have never understood
    the courage he needed to be himself.
  • 86:27 - 86:29
    You must go abroad too.
  • 86:29 - 86:34
    We must all go abroad at once.
  • 86:34 - 86:39
    Oscar says, will you
    tell the boys good-bye.
  • 86:39 - 86:45
    I need to go through his papers.
  • 86:45 - 86:49
    You know,
    I was always too silent.
  • 86:49 - 86:56
    If I'd known...
  • 86:56 - 86:59
    If I'd only spoken up.
  • 86:59 - 87:02
    It wouldn't have made
    any difference.
  • 87:02 - 87:05
    Perhaps not...
  • 87:05 - 87:32
    but at least I wouldn't
    blame myself now.
  • 87:32 - 87:35
    You're an Irish gentleman.
    Of course, you must stay.
  • 87:35 - 87:37
    Your father fought
    when he was libeled.
  • 87:37 - 87:41
    - I was in the courts myself. I fought...
    - Yes, I know, Madre.
  • 87:41 - 87:45
    You will fight these
    English philistines, and you'll win.
  • 87:45 - 87:49
    And even if you lose...
    if you go to prison...
  • 87:49 - 87:52
    you'll always be my son.
  • 87:52 - 87:56
    Of course, it's too late
    to change that now.
  • 87:56 - 87:58
    If you go, Oscar...
  • 87:58 - 88:00
    I'll never speak to you again.
  • 88:00 - 88:06
    No one will ever speak
    to me again, whatever I do.
  • 88:06 - 88:09
    Of course I'm your son, Madre...
  • 88:09 - 88:12
    which is why,
    even if I lose...
  • 88:12 - 88:18
    the English
    will never forget me.
  • 88:18 - 88:48
    My darling.
  • 88:48 - 88:52
    Get out of my way.
    Get out! Out!
  • 88:52 - 89:02
    Take me away at once!
  • 89:02 - 89:04
    Lady Wilde. Lady Wilde!
  • 89:04 - 89:08
    Have you anything to say about
    your son's disgrace, Lady Wilde?
  • 89:08 - 89:17
    Have you anything to say?
  • 89:17 - 89:25
    Come in.
  • 89:25 - 89:29
    Mr. Wilde, I believe.
  • 89:29 - 89:30
    Yes, yes.
  • 89:30 - 89:32
    We have a warrant here
    for your arrest...
  • 89:32 - 89:43
    on a charge
    of committing indecent acts.
  • 89:43 - 89:45
    I recommend Switzerland
    as soon as possible.
  • 89:45 - 89:51
    You will have to change
    your name, of course.
  • 89:51 - 89:52
    I can't.
  • 89:52 - 89:54
    My dear Constance,
    the name of Wilde will be...
  • 89:54 - 89:57
    a word of execration
    for the next thousand years.
  • 89:57 - 90:01
    You can't possibly let your boys grow up
    with people knowing who they are.
  • 90:01 - 90:03
    Think of their lives at school.
  • 90:03 - 90:06
    Thank you for your advice.
  • 90:06 - 90:09
    I'm sorry our friendship
    has to end like this.
  • 90:09 - 90:13
    - Oh, you will always be my friend.
    - I am still Oscar's wife.
  • 90:13 - 90:17
    That must cease forthwith.
    Forthwith. Do you understand?
  • 90:17 - 90:20
    Anybody who has anything
    to do with Oscar from now on...
  • 90:20 - 90:23
    will never be received
    in society again...
  • 90:23 - 90:30
    ever.
  • 90:30 - 90:42
    Oh, God, Ada.
    What is going to happen to him?
  • 90:42 - 90:45
    That's Oscar Wilde's boy.
  • 90:45 - 90:47
    Oscar, you must let me
    in the witness box.
  • 90:47 - 90:50
    If the jury can only hear
    what I have to say...
  • 90:50 - 90:52
    Bosie, darling boy.
  • 90:52 - 90:55
    As soon as they see you
    in all your golden youth...
  • 90:55 - 90:57
    and me in all my corruption...
  • 90:57 - 91:01
    You didn't corrupt me.
    I corrupted you, if anything.
  • 91:01 - 91:03
    That's not how it will seem.
  • 91:03 - 91:06
    But I must have my say.
    It's outrageous.
  • 91:06 - 91:09
    Everyone else has said everything,
    anything that came into his head.
  • 91:09 - 91:12
    But I'm the person
    all this is about.
  • 91:12 - 91:15
    It's me my father wants
    to get at, not you.
  • 91:15 - 91:17
    It's outrageous
    that I can't have my say.
  • 91:17 - 91:22
    It won't help, Bosie.
    It may actually make things worse.
  • 91:22 - 91:28
    But my father will win.
    I can't endure my father winning.
  • 91:28 - 91:30
    You must go away, dear boy.
  • 91:30 - 91:37
    I couldn't bear for them
    to arrest you.
  • 91:37 - 91:42
    I can't bear what they're
    saying about you in court.
  • 91:42 - 91:46
    Jesus Christ.
  • 91:46 - 91:49
    Good-bye, Bosie, dear boy.
  • 91:49 - 91:52
    Don't let anyone, anything,
    ever change your feeling for me...
  • 91:52 - 91:54
    change your love.
  • 91:54 - 91:57
    - See you next time.
    - Time's up, my lord.
  • 91:57 - 92:12
    Oscar, never. They never will.
    I won't let them.
  • 92:12 - 92:14
    You've been a great deal
    in the company of Lord Alfred Douglas?
  • 92:14 - 92:17
    Oh, yes.
  • 92:17 - 92:21
    - Did he read his poems to you?
    - Yes.
  • 92:21 - 92:24
    So, you can perhaps
    understand that...
  • 92:24 - 92:26
    some of his verses...
  • 92:26 - 92:33
    would not be acceptable to a reader
    with an ordinary balance to mind?
  • 92:33 - 92:34
    I'm not prepared to say.
  • 92:34 - 92:38
    It's a question of taste
    and temperament...
  • 92:38 - 92:40
    and individuality.
  • 92:40 - 92:43
    I should say that one man's poetry
    is another man's poison.
  • 92:43 - 92:46
    Yes, I daresay.
  • 92:46 - 92:49
    But in this poem
    by Lord Alfred Douglas...
  • 92:49 - 92:50
    "Two Loves"...
  • 92:50 - 92:53
    there is one love,
    true love...
  • 92:53 - 92:57
    which... and I quote...
  • 92:57 - 93:01
    "fills the hearts of boy and girl
    with mutual flame."
  • 93:01 - 93:04
    And, there is another:
  • 93:04 - 93:11
    "I am the love
    that dare not speak its name."
  • 93:11 - 93:14
    Was that poem explained to you?
  • 93:14 - 93:18
    - I think it's clear.
    - There's no doubt as to what it means?
  • 93:18 - 93:20
    Most certainly not.
  • 93:20 - 93:23
    So, is it not clear
    that the love described...
  • 93:23 - 93:31
    relates to natural
    and unnatural love?
  • 93:31 - 93:47
    Then what is the love
    that dare not speak its name?
  • 93:47 - 93:51
    The love that dare not
    speak its name...
  • 93:51 - 93:54
    in this century...
  • 93:54 - 93:57
    is such a great affection...
  • 93:57 - 94:00
    of an elder for a younger man...
  • 94:00 - 94:03
    as there was between
    David and Jonathan...
  • 94:03 - 94:08
    such as Plato made
    the very basis of his philosophy...
  • 94:08 - 94:12
    and such as you may find in
    the sonnets of Michelangelo...
  • 94:12 - 94:16
    and Shakespeare.
  • 94:16 - 94:20
    It is, in this century,
    misunderstood...
  • 94:20 - 94:24
    so much misunderstood
    that it may be described as...
  • 94:24 - 94:27
    the love that dare not
    speak its name.
  • 94:27 - 94:32
    And, on account of it,
    I am placed where I am now.
  • 94:32 - 94:37
    It is beautiful.
    It is fine.
  • 94:37 - 94:40
    It is the noblest form
    of affection.
  • 94:40 - 94:45
    There's nothing unnatural
    about it.
  • 94:45 - 94:47
    It is intellectual...
  • 94:47 - 94:51
    and it repeatedly exists
    between an elder and a younger man...
  • 94:51 - 94:55
    when the elder has intellect...
  • 94:55 - 94:57
    and the younger man...
  • 94:57 - 95:04
    has all the joy, hope
    and glamour of life before him.
  • 95:04 - 95:09
    That it should be so,
    the world does not understand.
  • 95:09 - 95:11
    The world mocks at it...
  • 95:11 - 95:34
    and sometimes puts one
    in the pillory for it.
  • 95:34 - 95:37
    The crime of which
    you have been convicted...
  • 95:37 - 95:40
    is so bad...
  • 95:40 - 95:43
    that I shall pass
    the severest sentence...
  • 95:43 - 95:46
    that the law will allow.
  • 95:46 - 95:52
    In my judgment, it is totally
    inadequate for such a case as this.
  • 95:52 - 95:56
    It is the worst case
    I have ever tried!
  • 95:56 - 95:58
    The sentence of the court...
  • 95:58 - 96:01
    is that you will be imprisoned...
  • 96:01 - 96:04
    and held to hard labor...
  • 96:04 - 96:07
    - Stand aside, please.
    - for two years.
  • 96:07 - 96:14
    - Shame.
    - Pervert.
  • 96:14 - 96:23
    Pervert!
  • 96:23 - 96:45
    Shame on you!
  • 96:45 - 97:12
    Disgusting!
  • 97:12 - 97:16
    A slim thing,
    gold-haired like an angel...
  • 97:16 - 97:18
    stands always at my side.
  • 97:18 - 97:22
    He moves in the gloom
    like a white flower.
  • 97:22 - 97:43
    I thought but to defend him from
    his father. I thought of nothing else.
  • 97:43 - 97:46
    Now my life seems
    to have gone from me.
  • 97:46 - 97:48
    I'm caught in a terrible net.
  • 97:48 - 97:51
    But so long as I think
    he is thinking of me...
  • 97:51 - 97:56
    my sweet rose, my delicate flower,
    my lily of lilies...
  • 97:56 - 98:00
    it is in prison that I shall
    test the power of love.
  • 98:00 - 98:03
    I shall see if I can't make
    the bitter waters sweet...
  • 98:03 - 98:19
    by the intensity of the love
    I bear you.
  • 98:19 - 98:24
    He asked me not to change.
    Those were his last words to me...
  • 98:24 - 98:26
    "Don't change."
  • 98:26 - 98:31
    Well, things are going to have
    to change when he comes out.
  • 98:31 - 98:33
    He'll have no money at all.
  • 98:33 - 98:36
    - So you're blaming me, too, are you?
    - I'm not blaming anyone.
  • 98:36 - 98:40
    Bosie, you're not the only person
    on this earth Oscar cares about.
  • 98:40 - 98:44
    You've always hated me,
    Robbie...
  • 98:44 - 98:57
    because Oscar loved and still loves me
    when you were just one of his boys.
  • 98:57 - 99:02
    I'm suffering just as much
    as he is, you know.
  • 99:02 - 99:03
    My life's ruined too.
  • 99:03 - 99:08
    I'm much younger than he is. I've hardly
    had any life, and it's ruined already.
  • 99:08 - 99:12
    When Oscar gets out,
    we'll live together properly.
  • 99:12 - 99:16
    We'll take a villa
    somewhere near here... Posilipo...
  • 99:16 - 99:21
    - or Ischia.
    - Or Capri.
  • 99:21 - 99:23
    I'll take care of him.
  • 99:23 - 99:27
    I'll give him
    everything he wants.
  • 99:27 - 99:31
    I love him, Robbie.
  • 99:31 - 99:51
    Oscar's mine,
    and I'm going to have him.
  • 99:51 - 99:56
    "Years went over, and the giant
    grew very old and very feeble.
  • 99:56 - 100:00
    He couldn't play about anymore,
    so he sat in a huge armchair...
  • 100:00 - 100:07
    and watched the children at their games
    and admired his garden.
  • 100:07 - 100:10
    'I have many beautiful flowers, '
    he said.
  • 100:10 - 100:53
    'But the children are
    the most beautiful flowers of all. "'
  • 100:53 - 100:57
    I'm afraid Cyril has got
    some idea why you're here.
  • 100:57 - 101:02
    I'm sending him
    to school in Germany.
  • 101:02 - 101:08
    I can't manage them on my own.
  • 101:08 - 101:11
    Your back isn't better then?
  • 101:11 - 101:14
    No, not really.
  • 101:14 - 101:19
    I may have to have an operation.
  • 101:19 - 101:23
    What I've done
    to you and the boys...
  • 101:23 - 101:25
    I can't...
  • 101:25 - 101:30
    I shall never forgive myself.
  • 101:30 - 101:35
    If we could choose
    our natures...
  • 101:35 - 101:38
    If we could only choose.
  • 101:38 - 101:43
    But it's no use.
  • 101:43 - 101:48
    Whatever our natures are,
    we must fulfill them...
  • 101:48 - 101:50
    or our lives... my life...
  • 101:50 - 101:56
    would have been filled
    with dishonesty.
  • 101:56 - 102:04
    Even more dishonesty
    than there actually was.
  • 102:04 - 102:09
    I've always loved you,
    Constance.
  • 102:09 - 102:12
    You must believe me.
  • 102:12 - 102:15
    I don't see
    how you can have done...
  • 102:15 - 102:17
    not truly.
  • 102:17 - 102:20
    Not if all the time...
  • 102:20 - 102:25
    I didn't know.
  • 102:25 - 102:29
    "Know thyself,"
    I used to say.
  • 102:29 - 102:33
    I didn't know myself.
  • 102:33 - 102:38
    I didn't know.
  • 102:38 - 102:43
    I suppose you want a divorce.
  • 102:43 - 102:48
    You have every reason.
  • 102:48 - 102:51
    I've been thinking,
    when you do come out...
  • 102:51 - 102:54
    when they let you out...
    you can go to Switzerland or Italy...
  • 102:54 - 102:58
    write another play,
    get yourself back.
  • 102:58 - 103:01
    You can.
  • 103:01 - 103:15
    You're so clever.
    You can.
  • 103:15 - 103:21
    I don't want a divorce.
  • 103:21 - 103:26
    Will you ever let me
    see the children again?
  • 103:26 - 103:35
    Of course.
  • 103:35 - 103:40
    But there must be one condition:
  • 103:40 - 103:45
    Oscar, you must never
    see Bosie again.
  • 103:45 - 103:53
    If I saw Bosie now,
    I'd kill him.
  • 103:53 - 104:04
    The children love you, Oscar.
  • 104:04 - 104:15
    They'll always love you.
  • 104:15 - 104:18
    Did anyone tell you?
  • 104:18 - 104:30
    They've been performing
    Salome in Paris.
  • 104:30 - 104:34
    "The giant hastened across the grass
    and came near to the child.
  • 104:34 - 104:36
    And when he came quite close,
    his face grew red with anger.
  • 104:36 - 104:41
    And he said,
    'Who hath dared to wound thee? '
  • 104:41 - 104:44
    For on the palms of the child's hands
    were the prints of two nails.
  • 104:44 - 105:03
    And the prints of two nails
    were on his little feet.
  • 105:03 - 105:08
    'Who hath dared to wound thee? '
    Cried the giant.
  • 105:08 - 105:11
    'Tell me, that I may take
    my big sword and slay him. '
  • 105:11 - 105:14
    'Nay, 'answered the child.
  • 105:14 - 105:25
    'For these are
    the wounds of love. "'
  • 105:25 - 105:27
    Bosie thinks I'm jealous.
  • 105:27 - 105:30
    I think it will come as a shock
    to Bosie to realize...
  • 105:30 - 105:33
    that even he is relatively unimportant
    in the scheme of things.
  • 105:33 - 105:37
    But, no doubt, Bosie will be
    remembered as long as Oscar...
  • 105:37 - 105:44
    unfortunately.
  • 105:44 - 105:48
    I sometimes wonder...
  • 105:48 - 105:54
    if I hadn't...
  • 105:54 - 105:56
    pushed him into...
  • 105:56 - 105:59
    Don't.
  • 105:59 - 106:03
    Oscar was very lucky
    to meet you, Robbie.
  • 106:03 - 106:06
    Think who else
    it might have been.
  • 106:06 - 106:08
    Oh, I'll have that one.
    Thank you.
  • 106:08 - 106:15
    - Must you go abroad again at once?
    - I shouldn't be here now.
  • 106:15 - 106:18
    But has he got anywhere to go
    when he's released?
  • 106:18 - 106:20
    It'll have to be in France.
  • 106:20 - 106:23
    I'm going to see
    what I can arrange.
  • 106:23 - 106:24
    But here...
  • 106:24 - 106:33
    when he leaves prison...
  • 106:33 - 106:35
    - Good-bye, Mr. Harris.
    - Good-bye, sir.
  • 106:35 - 106:44
    Good-bye, Mr. Snow.
    Thank you.
  • 106:44 - 106:48
    My dear Sphinx.
  • 106:48 - 106:51
    How marvelous of you to know what hat
    to wear at 7:00 in the morning...
  • 106:51 - 106:54
    to meet a friend
    who's been away.
  • 106:54 - 106:57
    - No, I'll keep this.
    - What is it.
  • 106:57 - 107:00
    It's a letter to Bosie
    telling him...
  • 107:00 - 107:01
    how I love him
    but can never see him again.
  • 107:01 - 107:05
    I'm going to ask Robbie
    to have it copied out before I send it.
  • 107:05 - 107:08
    I rather fear Bosie
    might throw it on the fire.
  • 107:08 - 107:47
    I call it De Profundis.
    It comes from the very depths.
  • 107:47 - 107:49
    "I know not whether laws
    be right...
  • 107:49 - 107:52
    or whether laws be wrong.
  • 107:52 - 107:54
    All that we know
    who lie in jail...
  • 107:54 - 107:57
    is that the wall is strong...
  • 107:57 - 108:00
    and that each day
    is like a year...
  • 108:00 - 108:07
    a year whose days are long.
  • 108:07 - 108:11
    Yet each man kills
    the thing he loves.
  • 108:11 - 108:13
    By each, let this be heard.
  • 108:13 - 108:15
    Some do it with a bitter look...
  • 108:15 - 108:18
    some with a flattering word.
  • 108:18 - 108:21
    The coward does it
    with a kiss...
  • 108:21 - 108:26
    the brave man with a sword.
  • 108:26 - 108:28
    Some kill their love
    when they are young...
  • 108:28 - 108:31
    and some when they are old.
  • 108:31 - 108:35
    Some strangle
    with the hands of lust...
  • 108:35 - 108:38
    some with the hands of gold.
  • 108:38 - 108:41
    The kindest use a knife...
  • 108:41 - 108:52
    because the dead
    so soon grow cold. "
  • 108:52 - 108:58
    I'm sure we can find
    an hotel near here.
  • 108:58 - 109:08
    Somewhere where you can work.
  • 109:08 - 109:13
    - I've decided to see him again, Robbie.
    - Yes.
  • 109:13 - 109:17
    - I thought you might.
    - I've nothing left.
  • 109:17 - 109:20
    I've lost my wife.
  • 109:20 - 109:24
    I've lost my children.
  • 109:24 - 109:27
    They won't allow me
    to see them now.
  • 109:27 - 109:29
    No one will ever read
    my plays or books again.
  • 109:29 - 109:31
    Yes, they will.
  • 109:31 - 109:36
    Bosie loves me more
    than he loves anyone else...
  • 109:36 - 109:38
    as much as he can love...
  • 109:38 - 109:45
    and allow himself to be loved.
  • 109:45 - 109:51
    I think we need
    some more wine.
  • 109:51 - 109:54
    I find that alcohol...
  • 109:54 - 110:00
    taken in
    sufficient quantities...
  • 110:00 - 110:47
    Can bring about
    all the effects of drunkenness.
  • 110:47 - 110:48
    "Life cheats us with shadows.
  • 110:48 - 110:52
    We ask it for pleasure.
    It gives it to us...
  • 110:52 - 110:56
    with bitterness
    and disappointment in its train.
  • 110:56 - 110:59
    And we find ourselves looking
    with dull heart of stone...
  • 110:59 - 111:01
    at the tress
    of gold-flecked hair...
  • 111:01 - 111:04
    that we had once
    so wildly worshipped...
  • 111:04 - 111:43
    and so madly kissed. "
  • 111:43 - 111:46
    In this world, there are
    only two tragedies.
  • 111:46 - 111:49
    One is not getting
    what one wants.
  • 111:49 -
    The other is getting it.
Title:
Wilde (1997) full movie (subtitled)
Description:

Directed by Brian Gilbert
Based on the book "Oscar Wilde" by Richard Ellmann (http://www.amazon.com/Oscar-Wilde-Richard-Ellmann/dp/0394759842)
Starring Stephen Fry, Jude Law, Vanessa Redgrave, Jennifer Ehle, Michael Sheen, Judy Parfitt, Gemma Jones, Zoë Wanamaker

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Duration:
01:57:01
Amara Bot edited English subtitles for Wilde (1997) full movie (subtitled)
Amara Bot added a translation

English subtitles

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