User reviews

Based on Harwood's successful play of 1980, THE DRESSER details the relationship between "Sir" (Albert Finney), an actor/manager of the old school and Norman, his dresser (Tom Courtenay).

Set largely in and around the streets of Bradford, Yorkshire, Peter Yates' film offers a vivid recreation of performing Shakespeare during an air-raid, when the actors had to announce to the audience that they would continue the play, despite the risk of being hit by a stray bomb. To a man and a woman, the audience stay put to enjoy "Sir" playing King Lear; this was precisely what happened in most theaters. Yates captures the cramped backstage conditions in a Victorian theater (part of the No.1 touring circuit); the dressing- rooms shared by most of "Sir"'s company, and the cramped wings where the actors waited for their entrances and exits, while the backstage staff (such as they were) had to provide the sound-effects using primitive materials such as a kettledrum, a wind-machine and a thunder sheet. With little or no real opportunity to purchase new things, the company have to make do and mend: for example, purchasing cornflour to use as impromptu make-up for their Shakespearean repertoire.

Based partly on the experiences of Donald Wolfit - who was not a 'ham' actor (as some reviewers have suggested), but a performer of the old school - THE DRESSER shows "Sir's" dedication to continue touring, despite being manifestly unable to do so. Tormented by the ghosts of actors past, he believes that he can no longer give of his best; the only way he can be patched up to go onstage is through Norman's continual promptings. Finney captures the monstrous egotism of the man - who can be downright cruel to his fellow-actors yet in the next moment behave like a baby needing comfort from his carers. "Sir's" acting-style can best be described as full-on, complete with extravagant gestures and meaningful pauses. It might seem exaggerated to modern viewers, but to wartime audiences in England his productions provided much-needed respite from the strains of having to survive. The production design (by Stephen Grimes) owes a lot to Wolfit's inspiration; "Sir's" costume as Lear, and the settings are both based on the designs used in the actor/manager's stage production, which played from 1943 to 1953.

As Norman, Tom Courtenay is a protean figure - at once solicitous, angry, kind, vain, jealous and loyal. His entire life revolves around "Sir"; however much he might object to his employer's behavior. At the end he is bereft, as Sir passes away, and Norman wrings his hands and wails "What am I going to do?" Like the loyal stage-manager Madge (Eileen Atkins), he has been working in this touring company for a long time with no real thanks; and the fact that his name has been omitted from Sir's dedication in the opening paragraph of his (unfinished) autobiography proves especially galling for the Dresser. On the other hand, both Norman and Madge emphasize the strong sense of loyalty that dominated the old touring companies; despite meager salaries, poor living-conditions and indifferent treatment from their employer, they refused to do anything else, in the belief they were part of "one big happy family."

The casting of minor roles in THE DRESSER has been carefully thought out. Lockwood West makes an endearing Geoffrey, an elderly actor pitchforked into playing the role of Lear's Fool, although manifestly unsuited to the role. His equally elderly colleague Horace Brown is played by Llewellyn Rees, whose previous employment included a spell as Donald Wolfit's company manager in the early Fifties. Edward Fox turns in a malicious performance as Oxenby, a lame actor with a barely-suppressed hatred for Sir's authority.

Although three decades old, THE DRESSER remains a highly entertaining piece, as well as being a valuable recreation of an important moment in British theatrical history which remains comparatively neglected by scholars.

What happens backstage is always true drama. And often pure comedy. Such is the case of The Dresser, a film about an effeminate wardrobe man who is devoted to the deteriorating lead of the acting troupe he travels with. The film takes place in one night about a particularly difficult performance of William Shakespeare's King Lear. Albert Finney plays Sir, the lead role of the performance. He is in no condition to perform such a difficult role, yet he perseveres anyways with the help of his Dresser, Norman (Tom Courtenay). The two powerful leads are the highlight of this beautiful film.

The Dresser is what acting is all about. It is an intriguing blend of film acting and stage acting. Albert Finney and Tom Courtenay give exquisite and robust performances. Their conflicting personalities make them a delightful pair to watch interact. The acting in this film has the kind of prowess and impact of a stage performance with its loud and exaggerated movements. This kind of acting only works in certain settings, and The Dresser is a perfect example of where it not only works but is very necessary. It allows for a detachment from reality, drawing one into the theatrical world, something which stands out in such a unique and perplexing way.

Peter Yates directs this film with precise and aesthetically glamorous grandeur. It is a grand film that doesn't go too far out of line and never gets lost in itself. Yates directs with a keen eye for subtle detail and sparkling brilliance. The film is written with the same kind of subdued wit and beauty, making the film fit together nicely. The dialouge is great and the actors who deliver it bring so much life to the characters and script that it makes for a brilliant expose of the acting world.

The Dresser is a great film that accomplishes beauty and immersion without an immaculate setting. The film is subtly fantastic. Definitely check this one out.

"The Dresser" is a small but absolutely wonderful film, brilliantly acted by Albert Finney and Tom Courtenay. How in the world this tiny film attracted enough attention to garner five major Academy Award nominations back in 1983 is a mystery to me, but it's nice to know the Academy can be guilty of a display of good taste every once in a while (of course, they gave the award that year to "Terms of Endearment"-- after all, they don't want to be accused of showing TOO much taste).

Albert Finney is a drunken Shakespearean actor in a production of "King Lear"; Tom Courtenay is the man who works double time behind the scenes to keep this actor in front of the footlights. It's both hilarious and piteous to see Courtenay's character showering Finney's with attention and affection, only to see his efforts utterly unappreciated and dismissed, even up to the very bitter end. Finney and Courtenay work wonders together, and though Finney gets the showiest moments (he does get to recite Shakespeare after all), Courtenay is the heart and soul of the film.

Grade: A

I just watched The Dresser this evening, having only seen it once before, about a dozen years ago.

It's not a "big" movie, and doesn't try to make a big splash, but my God, the brilliance of the two leads leaves me just about speechless. Albert Finney and Tom Courtenay are nothing less than amazing in this movie.

The Dresser is the story of Sir, an aging Shakespearean actor (Finney), and his dresser Norman (Courtenay), sort of a valet, putting on a production of King Lear during the blitz of London in World War II. These are two men, each dependent upon the other: Sir is almost helpless without the aid of Norman to cajole, wheedle, and bully him into getting onstage for his 227th performance of Lear. And Norman lives his life vicariously through Sir; without Sir to need him, he is nothing, or thinks he is, anyway.

This is a character-driven film; the plot is secondary to the interaction of the characters, and as such, it requires actors of the highest caliber to bring it to life. Finney, only 47 years old, is completely believable as a very old, very sick, petulant, bullying, but brilliant stage actor. He hisses and fumes at his fellow actors even when they're taking their bows! And Courtenay is no less convincing as the mincing dresser, who must sometimes act more as a mother than as a valet to his elderly employer. Employer is really the wrong term to use, though. For although, technically their relationship is that of employer and employee, most of the time Sir and Norman act like nothing so much as an old married couple.

Yes, there are others in the cast of this movie, but there is no question that the true stars are Finney, Courtenay, and the marvelous script by Ronald Harwood. That is not to say that there aren't other fine performances, most notably Eileen Atkins as the long-suffering stage manager Madge. There is a wonderful scene where Sir and Madge talk about old desires, old regrets, and what might have been.

Although it doesn't get talked about these days, it is worth remembering that The Dresser was nominated for five Academy Awards: Best Actor nominations for both Finney and Courtenay, Best Picture, Best Director (Peter Yates), and Best Adapted Screenplay.

I had remembered this as being a good movie, but I wasn't prepared to be as completely mesmerized as I was from beginning to end. If you want to see an example of what great acting is all about, and be hugely entertained all the while, then I encourage you to see The Dresser.

'The Dresser' is one of those films which are so perfect you really struggle to find something not to like about them. Written by Ronald Harwood (himself a former dresser to the legendary Donald Wolfit), it sparkles with energy and true love of life behind the footlights.

As 'Sir', the overbearing actor and main focus of the play, Albert Finney is a joy to watch - whether complaining about the lack of a storm during the 'blow, winds ...' bit of 'King Lear' or chatting to his faithful stage manager, Madge (Eileen Atkins, good as ever) about the old times. As Norman, his camp dresser, Tom Courtenay gives a fabulous performance, wiggling around at the beck and call of 'Lear', collecting a bottle to go at the pub, or bitchily disparaging the former Fool, Mr Davenport-Scott (often mentioned, but never seen!).

In an engaging support cast, there's Edward Fox as Oxenby (a typical arrogant second lead), Zena Walker as her Ladyship, Lockwood West as the replacement Fool, and many others.

This film has great energy, bringing with it some of the greasepaint of its stage origins, it is true, but being so well-acted you don't notice. Very well done indeed.

This is a movie that deserves another look--if you haven't seen it for a while, or a first look--if you were too young when it came out (1983). Based on a play by the same name, it is the story of an older actor who heads a touring Shakespearean repertory company in England during World War II. It deals with his stress of trying to perform a Shakespeare each night while facing problems such as bombed theaters and a company made up of older or physically handicapped actors--the young, able bodied ones being taken for military service. It also deals with his relationship with various members of his company, especially with his dresser. So far it all sounds rather dull but nothing could be further from the truth. While tragic overall, the story is told with a lot of humor and emotions run high throughout. The two male leads both received Oscar nominations for best actor and deservedly so. I strongly recommend this movie to anyone who enjoys human drama, theater--especially Shakespeare, or who has ever worked backstage in any capacity. The backstage goings-on make up another facet of the movie that will be fascinating to most viewers.

Some plays translate well to film, and others don't. Glengarry Glen Ross is an examples of one that translates beautifully. The Dresser is certainly an interesting film; Albert Finney and Tom Courtenay deliver strong performances, (although they both are over the top) and one does feel the atmosphere of World War II England, but this story simply works better on stage.

What more can you ask for? A great screenplay based on one of the finest plays of the latter half of the 20th century, two fine emotional performances by Courtney and Finney, a realistic vision of war time london, a great supporting cast. This film takes you on an emotional rollercoaster through humour, sadness, loss and fulfillment. if you are in the theatre it is even more effective. This is a true 10 on the rating scale !

The heart of this film is about character interactions, however it is so much so that the storyline feels neglected. There is not much of a story to it, and even with the interactions in focus, they often land up in simple bickering and/or shouting matches. Still, some witty lines keep the film reasonably brisk, and although too limited, the insights into wartime rations and attitudes, as well as stage production, are relatively interesting. Courtenay and Finney both have some fine moments on screen, however they both overplay their roles here and there, especially Courtenay towards the end. There is an intriguing - albeit too infrequently played - score too, and in general the film is filled with little virtues. But they are not quite enough to make a brilliant piece of cinema overall.

I really admired the fabulous job of acting displayed by Tom Courtenay in this film but story- wise, this wasn't an entertaining two hours for me. I mean, who wants to watch a senile old man (played by Albert Finney) rant and rave for two hours? Not me.

I endured it, especially in the first hour which was brutal, to admire Courtenay's work and the nice cinematography in the early train scene. From that point, it was nothing but dressing room scenes (I'm told this was a much better play than film) with Courtney trying to calm down Finney. It gets better in the second half when we see why people put up with this obnoxious actor,. because he CAN act really well, as he demonstrates in this King Lear production staged during the WWII blitz on London.

As I said, Courtney, playing the patient dresser, "Norman," to the aging star (Finney, who only is called "sir" in here) was terrific and many thought deserving of an Academy Award. I could understand him better, too, because Finney started yelling I couldn't understand a lot of what he said with his accent. That also hurt my enjoyment of the film.

Eloquent performances from Finney and Courtney propel this film adaptation of the Ronald Harwood play about a reclusive old actor barely able to make it on stage and his mother-hen valet. It's a true story of friendship and comradeship. Both performers are brilliant in every scene. Bravo!

A fantastic cinema experience. I really enjoyed seeing this truly magnificent film in the theater when it came out. There is nothing to add, except that is a terrible shame that sir Albert Finney still isn't accepted by the AMPAS (American Academy). After roles in such films as Tom Jones, Murder on the Orient Express, Under the Volcano (to name only few - for these he was nominated for the Oscar), The Dresser is arguably his highlight, yet...

I know, Oscars are just a popularity contest, but if Americans like British actors and actresses ("and the Oscar goes to" Jeremy Irons, Daniel Day-Lewis, Anthony Hopkins, Emma Thompson, Glenda Jackson etc. - and they all deserved the award!), why they always left Sir Finney with empty hands?

On the other hand, they gave it to John Wayne and Marisa Tomei (in My Cousin Vinny). I don't know, should I laugh or cry?

If you have seen the two leads in The Dresser you won't forget what is the art of acting. Watch this film and enjoy! I recommend it to everyone who loves art.

I give 9/10 for this excellent film (1 point missing for non-cinematic material, after all it is "just" a filmed stage play).

Note: My rating criteria is much stricter than the one on IMDb (10 only for the Cinematic masterpiece that should/could last forever).

Albert Finney and Tom Courtenay are brilliant as Sir and his Dresser. Of course the play is brilliant to begin with and nothing can compare with the immediacy and collegiality of theatre, and I think you listen better in theatre; but on the screen we become more intimate, we're 'up-close' more than we are in the theatre, we witness subtle changes in expression, we "see" better as well as listen. Both the play and the movie are wondrous: moving, intelligent, illuminating--of the backstage story of the company, of historical context, of the two main characters, and of the parallel characters in "Lear" itself. If you cannot get to see it in a theatre (I don't imagine it's produced much these days) then, please, do yourself a favor, and get the video.

The first half of the movie evokes its era with great panache. The entire cast is brilliant. Costumes, set design, and photography are all rather first rate. The end itself is equally well performed and memorable. However, director Yates gives Courtenay much too much slack in his leash prior to the denouement. The result is a series of interminable ramblings leading to a none-too-shocking disclosure. Nevertheless, the film recovers nicely at its conclusion.

This film has its detractors, and Courtney's fey dresser may offend some folks (who, frankly, need a good smack upside the head) -- but the film is top notch in every way: engaging, poignant, relevant. Finney, naturally, is larger than life. Courtney makes an ideal foil. I thought the performances to be terribly strong in both leads, and Courtney's character provides plenty of dark humor. The period is well captured, the supporting cast well chosen. This is to be seen and savored like a fine cordial. I only wish it were out on DVD already...(*sigh*)...

Adapted by a 1981 Broadway sensation, its film counterpart is a hidden treasure of its time (although it achieved 5 nominations in the Oscar including BEST PICTURE, BEST DIRECTOR, BEST ACTORX2 and BEST ADAPTED SCREENPLAY) but has been rarely mentioned and seen by a younger generation, I have no idea of its existence until recently. I feel kind of cherished to have a chance to watch this UK production since the play-in-a-play structure generally is my cup of tea.

Then it proves that this is an exceedingly diverting film from the late director Peter Yates even though the quintessence of pleasure may lie in Finney and Courtenay's crack two-hander, which is beyond any thespian methods, two utterly gallant performances brilliantly deliver every tiny little nuance and never descend into a stasis of tedious affectation. Theatrical adaption has always been an impeccable showcase for actors. A copybook triumph from both Finney and Courtney. The King Lear play in the film proffers a tour-de-force stage for Finney's expertise and his overpowering sway is both intimidating and entertaining; as for Courtenay, whose character molding even merits more pluck due to the self-challenging devoutness. Which one I prefer, after some contemplative thinking, despite of Finney's pretty fierce endeavor, I will choose Courtenay, a lesser known actor but achieves a more startling reverberation.

Among the supporting roles, Eileen Atkins is managing to steal some flare from two leading players, she is so underrated and should be ranked alongside Maggie Smith, Judi Dench and Helen Mirren, among the most venerated names inside the so-called UK Dame coterie.

The film has set up a perfect mode for the contemporary play-goes-film trend, within some minimal usage of settings, the impact has been magnified in an index level to be seen by a much larger audience. The screenplay is the keystone here, that's why they're emerging in an inexhaustible tide which verifies that theatrical play is an endless fodder-provider for both awards-craving production companies and thespians.

This is one of my three all-time favorite movies. My only quibble is that the director, Peter Yates, had too many cuts showing the actors individually instead of together as a scene, but the performances were so great I forgive him.

Albert Finney and Tom Courtenay are absolutely marvelous; brilliant. The script is great, giving a very good picture of life in the theatre during World War II (and, therefore, what it was like in the 30s as well). Lots of great, subtle touches, lots of broad, overplayed strokes, all of it perfectly done. Scene after scene just blows me away, and then there's the heartbreaking climax.

The many other comments about the film say it all - just like to add that we showed it last week to around 30 at our Community Cinema, and it got an overall average score of 8.6. We'd 100% recommend it, then, for today's audiences, especially if they can see it on a real cinema screen, and can talk about it with others afterwards, as our audience did.

The sheer power of the acting performances by the whole troupe was incredible and quite spellbinding. Of course, Finney and Courtenay were truly the stars. but everybody was thoroughly well cast. For our afternoon audience, the majority of whom are "senior citizens", the fact that the plot could be followed with such ease because of the clarity of speech and the wonderful non-techy use of camera and sound was a great influence

How delightful, many said, to see a really great film that's British: still not dated twenty years on: not full filled with blood & guts: not confusing because of bob-about-all-over-the-place camera shots, and back and forth through time story lines: no seedy sex scenes. Such views were even uttered by some who were younger.