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Former fat kid Prince Christian lost a lot of weight in college, but when he returns home for a semester off he finds himself returning to old habits. BHM, Extreme.
Table of contents

• 2. The Catcher in the Rye by J. D. Salinger
• The Bolkiah Brothers
• The Enlightenment of the Buddha
• The Buddha & His Teachings
• The shocking side effects of extreme diets revealed

The terms of Augsburg were flouted as further church lands were secularized and Calvinism gained adherents, some in restless Bohemia. In these ways the stage was set for the subsequent wars and political developments. With the tendency, characteristic of the Renaissance period, for sovereigns to enlarge their authority and assume new rights in justice and finance, went larger revenues, credit, and patronage. Princes fought with as little regard for economic consequences as their medieval precursors had shown.

2. The Catcher in the Rye by J. D. Salinger

Ominously, the Italian wars had become part of a larger conflict, centring on the dynastic ambitions of the houses of Habsburg and Valois; similarly, the Reformation led to the formation of alliances whose objectives were not religious. The scale and expertise of diplomacy grew with the pretensions of sovereignty.

The professional diplomat and permanent embassy, the regular soldier and standing army, served princes still generally free to act in their traditional spheres. But beyond them, in finance and government, what would be the balance of powers? From the answer to this question will come definition of the absolutism that is commonly seen as characteristic of the age. The authority of a sovereign was exercised in a society of orders and corporations, each having duties and privileges. The orders, as represented in estates or diets , were, first, the clergy ; second, the nobility represented with the lords spiritual in the English House of Lords ; and, third, commoners.

Their claim to represent all who dwelled on their estates was sounder in law and popular understanding than may appear to those accustomed to the idea of individual political rights. In the empire, the estates were influential because they controlled the purse. Wherever monarchy was weak in relation to local elites, the diet tended to be used to further their interests.

The Cortes of Aragon maintained into the 17th century the virtual immunity from taxation that was a significant factor in Spanish weakness. The strength of the representative institution was proportionate to that of the crown, which depended largely on the conditions of accession. These are three samples: "I think that God, in creating man, somewhat overestimated his ability.

That is their tragedy. No man does.

That's his. Personal treatment that Wilde deems to have been hugely unjust has built up much resentment in the heart of this once so carefree flamboyant wordsmith. Consequently exiled to the shores of France and then further afield, he lives out his final years begging for handouts and favours from those he knows and loves. Those, that is, that haven't turned their back on the now disgraced writer.

Everett's film focuses upon a man whose incarceration and subsequent humiliation on charges of sodomy and gross indecency - following his lewd bordering on nefarious behaviour in the eyes of the law - have left him near destitute; a far cry from the opulent lifestyle that once he had led. The Happy Prince is built loosely around Wilde reciting his fairy tale of the same name to both his own biological sons - during happier married times - and latterly on his death bed to the rag tag 'family' of young urchins that he had befriended.

Wilde - under his newly acquired guise of Melmoth - has a kind of morbidly humorous fascination with both the hopelessness of the predicament in which he now finds himself, and with the plethora of men that continue to fawn over him. A period piece The Happy Prince may essentially be, but there's a strongly contemporary feel to the film's at times bewitching cinematography, switching neatly and expertly by way of multiple rapid cross fades between Wilde's past and present in an effort to build a picture of - and emphasise the massive disparity between - 'now' and then.

Everett's stupendous performance as Wilde is both arresting and heartfelt, whilst there are meaningful contributions from Colin Firth as Wilde's good friend Reggie, and from Colin Morgan and Edwin Thomas as Bosie and Robbie, respectively, the two mainstays in Wilde's love life who continue to compete fiercely for his attentions, and between whom there is absolutely no love lost. As for Emily Watson's portrayal of Constance, as solid as it is, one can't help but think that it remains a little peripheral to the film's narrative at times. Perhaps Everett could have made a little more of the clearly strained relationship that had existed between the two, and the impact that this had had upon their children?

It seems that Wilde was indeed harshly dealt with, and laws or no laws, would have had rightful justification to feel aggrieved at his treatment at the hands of the rather puritanical overreaching government of the time. That said, Everett's film seems intent to paint Wilde not as some sort of saintly martyr, but as a charming but deeply flawed man with a propensity for making poor life decisions.

A man who had flown too close to the sun, and who perhaps had been more than a little guilty of using and abusing those that knew and loved him so much for his own personal gain. The Happy Prince, whilst at times cheeky and playful in its outlook, never strays too far from its melancholic roots in its elegantly crafted, poignant regaling of the final days of the late great Oscar Wilde. A masterpiece made and performed by Rupert Everett. Fabulous,they way of such a great writer. Such shame ,not every Cinema show that movie. I was unsure whether a film about his last years was a story worthy of telling.

I was wrong.

The Bolkiah Brothers

The genius known as Oscar Wilde had more than his fair share of flaws. This is laid bare in his final story. I think it's the hardest form of storytelling to weave a tragedy as if it were an inspirational poem, a hymn to the best within us. You watch this film and ache for past wrongs, while marveling at the greatness of a soul that sees beauty even in squalor and celebrates life to the utmost despite its pain.

I know I could talk about the social wrongs behind Wilde's story, what he must have felt as a boy when his highest secret emotions were condemned-but this isn't what this movie is about. The opposite is true. It might have been a sad history. But Everett transformed the events into a Wilde-like fairytale. Indeed, the prince was happy even as his heart broke.

All credit to Rupert Everett for bringing to life his story of Wilde's final years following his exile from England after his release from prison. The film is never less than interesting and often fascinates but it suffers because Everett cannot fully live up to his decision to play the lead, write the script and helm the picture. He's best when acting but even this falters in some scenes with Bosie that are distinctly undercooked. The script in parts needed a tighter edit and there's only so much reflected light in the camera that you can put down to cinematic meaning making and artistic licence.

Sorry Rupert - just too little butter over too much bread I'm afraid. However, the film is never less than distracting and Everett successfully makes Wilde the man that he was: At once irritating, outrageous but always to be loved. His performance of Wilde incited many emotions in me but I always returned to compassion.

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Worth a look! Superb set, excellent costumes, great location, strong cast, good acting, filmed well.. Half way through, I began to not like Oscar Wilde! In this film, he comes over as a total alcoholic loser, rather bitchy and quite selfish. Was he like that in real life? I don't know? Was he like that in this film, yup.

I think what annoyed me about this film was that it just never got going. It's just 90 odd minutes of a bloke getting off his face, bonking some men and overall being quite moany.

It looks nice though! Rupert Everett fulfils a long-held ambition here to make a film about the last days of Oscar Wilde, and in the title role he is simply terrific - he is never off the screen. To write it and direct it as well, however, is to take on too much; indeed the need for an objective view is often apparent when it comes to narrative and structure. The film starts slowly with a dreadful cardboard cut-out of London by night that could have taken from Olivier's wartime Henry V and it's some time before the flashbacks and flashbacks within flashbacks begin.

Supporting performances, especially from Colin Morgan as Bosie and Emily Watson under-used as Constance, are excellent and the photography, particularly in the Italian sequences beautiful, though I found the half-shadows of the faces in the candlelight rather tiresome. I must add that, for someone who is penniless and constantly on the run, Wilde does possess a large wardrobe. There is more humour than one might expect I won't spoil your enjoyment by quoting any of the jokes but I found the sequence where the priest Tom Wilkinson comes to give Wilde the extreme unction especially hilarious.

Great attention is paid to the soundtrack, but why the use of Tchaikovsky's Pathetique Symphony at the end? All in all a fine effort, but I did leave the cinema strangely unmoved. We are, of course, blessed in England with a language in which often a single word can be made to do double duty and capture a given situation to perfection. Rupert Everett's passion for and commitment to the project is undeniable and shines through every frame but like at least one other person writing here I was strangely unmoved ultimately and I cry at card tricks.

Bosie, it appears, was bad for Wilde in more ways than one.

Everett has spent nearly a decade bringing his passion project to the screen, including extracting promises from friends such as Colin Firth and Emily Watson, that they would appear in his film. The drive and determination behind that has got to be admired. Appropriately for a film which was financed by numerous backers, the story depicts Everett as Oscar Wilde, during his years of exile and insolvency following his imprisonment.