Rupert Everett's a triple threat as writer/director/star of THE HAPPY PRINCE

The final years of Oscar Wilde, with a few flashbacks to happier times, are shown us in THE HAPPY PRINCE, a new film from Rupert Everett -- who not only wrote and directed but stars in it, too, as Oscar himself. He makes a wonderful Wilde, as good as Robert Morley, Peter Finch and even Stephen Fry, who, up to now, had been TrustMovies' favorite Oscar. Best of all, the movie that surrounds the character is very good indeed -- written and directed with finesse and subtlety, allowing us to see pieces of this man that come together to form quite a whole.

Mr. Everett, above and below, allows us to see not only the dissipated older Wilde (who can still belt out a nifty music hall ditty and/or enjoy pleasuring a much younger man) but also gives us glimpses of the successful playwright and bon vivant whose work set audiences laughing so merrily for so long.

The Happy Prince is both the title of the movie and of a story (first published in 1888) that Wilde wrote for children (he was a master at this, just as he was at theater), and Everett threads this sad, sweet tale throughout his movie, as Wilde is first seen reading it to his own children and later to one of the young boys he has befriended and cared for who loves to hear his stories.

Woven into this are Wilde's friendships with Reggie Turner (Colin Firth, above) and Robbie Ross (a wonderful Edwin Thomas, below, left), both of whom were great and good friends to Wilde, helping him through some of the darkest times.

And of course there is "Bosie," Oscar's most beloved friend and lover, Lord Alfred Douglas (Colin Morgan, below), portrayed here, as usual, as the young twit/twat most responsible for Oscar's downfall. How you'll wish that Wilde had a bit more sense in choosing a soulmate, but, as ever, the heart has its reasons....

Also on hand are an underused Emily Watson (below) as Wilde's wife) and the great Tom Wilkinson as a kindly and delightful priest, called upon toward the end. But it is, first to last, Everett's show, and he imbues our Oscar with such life and vitality, such understanding his own flaws and foibles, that Wilde indeed lives anew.

The film's funniest scenes involves an orgy into which crashes the mother of the main attraction (Antonio Spagnuolo, below, left), certain that her married son is having an affair with another woman. When no other female can be found -- instead just a bevy of near-naked men -- she leaves, abashed and contrite about her unfounded suspicions.

The movie moves from a rainy, bleak Paris to sunny Italy and back. Though quite obviously a labor of love on the part of the filmmaker, Everett has made it with enough intelligence and discipline to pass muster in every respect. The pacing proves near-perfect, while the many small, impressionistic incidents slowly build and combine to offer up a marvelous, productive, sad, beautiful and far-too-short life. I think Wilde himself would have loved this film.

From Sony Pictures Classics and running 105 minutes, The Happy Prince, after opening on both coasts and elsewhere, hits South Florida this coming Friday, October 26. In the Miami areas, look for it at the AMC Aventura 24 and the Regal South Beach 18; in Fort Lauderdale at the Classic Gateway, and in Boca Raton at the Living Room Theaters and the Regal Shadowood 16; and at the Movies of Delray and Lake Worth. Wherever you live around the country, to find a theater near you, click here and then click on GET TICKETS in the task bar.

Stream Clio Barnard's THE SELFISH GIANT -- which is even better than you've heard

A movie, the power of which acumulates into something approaching tragedy -- not in the classic rendition of hubris and great men brought low, but in the even deeper experience of characters like us, who possess possibilities, being robbed of them and finally of an entire society sinking unnecessarily into the chasm -- THE SELFISH GIANT is British filmmaker Clio Barnard's follow-up to her unusual The Arbor. It is, first to last, a marvelous, engrossing, enlightening piece of work. Said to be inspired by Oscar Wilde's children's tale of the same name, though I defy you to connect all the dots that led from the story to the movie (doesn't matter, for I believe the spirit of the story is captured by the film), Barnard tells the tale of two young chums, both with problems, physical and/or behavioral, trying to make a go of it in a highly depressed area of Britain.

The writer/director's work here (Ms Barnard is shown at left) is quite unlike that of  The Arbor,  with its layers of irony and distancing. Instead, she has chosen to tell the tale from the viewpoint of the two boys, and from her screen newcomers, she has drawn the kind of near-perfect performances you don't often see, even from adult Oscar winners, let alone kids like these. There is not a false moment in either of their work, and if you might have a question about a bit else that goes on here (the confession/ apology from the film's "giant," a scrap metal dealer played very well by Sean Gilder, you won't be able to find fault with the two boys, played magnificently by Connor Chapman (below, left) and Shaun Thomas (below, right).

Mr. Chapman, in particular, is amazing as Arbor (odd name for a boy, but it does call to mind Ms Barnard's last film): tow-headed, small, scrappy, smart and asthmatic, his energy level is as enormous as it is put generally to ill use. He's always finding ways to scam. But, then, what else is available to poor kids in this depressed economic environment?

As his pal Swifty, young Mr. Thomas is equally fine. Slower than Arbor in nearly all ways, his innate kindness always shines forth. His love for and understanding of horses proves a saving grace, as that scrap metal dealer also deals in trotting races and ends up using Swifty as his jockey.

The Gilder character's preference for Swifty over Arbor also leads to understandable jealousy which finally takes form in action, leading to a truly awful consequence. The compact film, just 90 minutes in length, is psychologically, sociologically and economically sound, and it is formed so cunningly that we follow it as we would a suspense drama.

The Selfish Giant is also a beautiful film in its way. The countryside is hardly lush, yet we experience, as do the boys, the joy of being outside in it and away from the family problems -- drugs, alcohol, abuse -- that both kids endure.

Normally I worry about over-praising certain films, but I don't think this could even be a problem here -- so right in all regards is Ms Barnard's approach and execution. This is a small film that never tries to be any more than it is. But what it is turns out to be extraordinary.

At the end we're left with the question: How do we make this sort of thing not happen? There are ways. Time to get started. (If only the world had much time left before climate change begins eradicating us all.)

The Selfish Giant -- from Sundance Selects and Protagonist Pictures -- out now on DVD, is also streamable via Netflix streaming.  (If you get the DVD, as I did -- before I knew the film was streamable -- watch the Bonus features. These will add even more to your understanding and enjoyment.)