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At first glance, Albert Nobbs could seem to be another dry and stuffy period piece that would follow in the tradition and be mostly about the acting. However once you delve into it, the film ends up being a surprisingly dense character drama focused around one troubled, courageous woman whose loneliness gets the better of her years of living in secrecy. The titular waiter is a delicate, frail woman masquerading as a man and actress Glenn Close delves into the role with such complete detail that she truly does disappear.

I'm always skeptical of performances that are claimed to be "fully unrecognizable" and at first I must admit that it just felt like Close playing a man, but as the film continued I slowly lost sight of my cynicism and when a later scene portrays Nobbs wearing a dress for the first time I was blown away at the fact that I was seeing this woman be a real woman for the first time. I was amazed at how absorbed Close was in the role, I genuinely forgot all about this woman playing a character and just believed the character's facade, as well as Close's. Close has gotten attention for the role as a potential Oscar vehicle and some have lashed back against that due to the performance being quite restrained, but I admire her delicacy in taking on the role. This is a woman who spent her entire life trying to blend in and be unseen, and Close's ability to be this fly on the wall creature is remarkable.

I was glad that there weren't any hysterics on her part and when the few scenes came where, in isolation, she broke down I was devastated by this woman fearing for her life to unravel. It's such a delicate and entirely human performance, and as far as I'm concerned one of the best of Close's very strong career. The central narrative revolves around Nobbs' desire to woo a young maid named Helen (played with an Irish tilt by the up-and-coming Australian Mia Wasikowska, again shining) to leave their life of servitude and open up a tobacco shop together. Throughout the film I was bothered by this belief that Nobbs was supposed to be in love with Helen and that's why she wanted to open the shop with her, but as the film reached it's final conclusion I came to the realization that it had nothing to do with love.

Throughout her life Nobbs had put in all of her effort to having no one notice her that when she's introduced to a similar woman masquerading as a man (played by the strong and unbelievably convincing Janet McTeer) who has a happy life married to a woman, Nobbs realizes the potential that maybe she doesn't have to live her life alone. It's not about loving Helen at all, it's just about not wanting to be alone anymore and once that became apparent to me the film became quite devastating. Nobbs trapped herself in this prison and Close plays it with such restrained heartache that it truly hit a level with me. Even in writing this I am realizing that the film had a much stronger impact on me than I had previously thought. This is a devastating story of a woman trapped in circumstances of her own making, portrayed with such genuine believability by Close that I forgot I was watching an actress pretend to be a man but instead just saw Nobbs.

There's a line where McTeer's character asks Nobbs what her name is and she responds, "Albert". Then McTeer repeats the question, clearly asking for her birthname instead of the one she is hiding behind and Nobbs again responds, "Albert". At the time I rolled my eyes at the exchange, but now that the whole film has settled with me it speaks so much to this trapped, wounded soul who was so lost in herself that she couldn't escape her own prison, let alone the one that she had built for Nobbs. I found Albert Nobbs to be quite the moving, hushed character piece led by a wrenching performance by Close and backed up by several other strong performances from McTeer, Wasikowska and a grimy Aaron Johnson.

Janet McTeer is absolutely transcendent in ALBERT NOBBS.

The waves of emotion which she wraps into Hubert Page are a wonder to behold. Her performance is not one of those 'knock me over with a feather' performances; it's more like a performance that settles in the bottom of your heart and stays there well after the movie ends. It keeps you up at night, and tugs at you for days afterward.

The story itself is more layered than it appears to be. Glenn Close has brought to the screen a very private yet very emotional character. Such a character is difficult to portray -- and the 'talking to one's self scenes' were a bit annoying, as all such scenes are.

In the end, however, this is a movie well worth your time.

It was the best of times, it was the worst of times(apologies to Dickens) in this Irish drama of the affluent and the working class at the turn of he century. Glenn Close is a towering figure throughout as Albert Nobbs, a butler at an upscale hotel in Dublin. Close and Mia Wasikowska are both magnificent in this saga of gender identity. Nobbs is dressed as a man in order to work and survive in a world better suited to being a male and she is searching for who and what she should be. Her dream of opening a shop with a woman she has fallen in love with, well played by Wasikowska is deeply affecting.

Janet McTeer and Brendan Gleeson round out a perfect ensemble cast as they are two of the best actors working today. Gleeson brings some comic relief as the resident doctor and McTeer gives a sympathetic ear and emotional support to Close.

Sinead O'Connor sings the final song as the credits roll. The story is a sad one but due to the great cast it is a movie worth watching.

The three movies that I've seen that Rodrigo García (son of Colombian author Gabriel García Márquez) directed deal with women's relationships: "Things You Can Tell Just By Looking at Her", "Mother and Child" and now "Albert Nobbs". In the latter, Glenn Close plays a woman posing as a man in 19th century Dublin and working as a butler in a posh hotel. When the hotel owner hires a painter named Hubert Page (Janet McTeer), Albert soon finds out Hubert's secret. From there, relationships with other staff members proliferate.

The movie brings up several issues. Aside from Ireland's status as a British colony in the 19th century, there's the social hierarchy in the hotel, and the forbidden relationships. Albert's posing as a man is partially because of some haunting experiences, but also because women didn't have as many opportunities open to them back then. As a result of his hiding in this male persona, Albert has been hiding from himself, one might say.

All in all, I thought that this is a very well done movie. Close looks eerily gaunt in the role, easily passing as a man, while Mia Wasikowska, playing a maid, has the perfection balance of strength and fragility. I recommend the movie. Also starring Aaron Johnson (John Lennon in "Nowhere Boy"), Pauline Collins, Brendan Gleeson, Jonathan Rhys Meyers and Maria Doyle Kennedy.

"You don't have to be anything but what you are." Hupert Page (Janet McTeer)

Albert Nobbs is a curious story, perhaps not like anything else you've seen. If you wait until the end, you may love hearing Sinead O'Connor sing "Lay Down Your Head." But in between beginning and end is a performance by Glenn Close as a gender-bending butler in 1890's Dublin to confound critics who use Meryl Streep as their litmus test.

Where Streep infuses her characters with at least a few eccentric affectations, Close's Albert is a fascinating cipher of a woman playing a man so tied up like her corset that she rarely changes expression; her immobile face resembles a plastic-surgery job wound like her too tight, afraid to laugh or cry for fear of pulling her skin down from its moorings behind the ear. The stoicism is, however, not without its oddball charm, as you are unlikely to meet such an introvert, who is rivaled only by Melville's classic Bartleby.

Albert decides to woo young Helen (Mia Wasikowska) to marry him and settle into a tobacco shop, even though he has not told her he is a woman. Albert is helped by another disguised female, Hubert, played Oscar-worthy by Janet McTeer. Although Close, a producer and co-writer, doesn't reveal much about Albert's background and the reason for remaining in disguise other than the difficulty of single women surviving in late nineteenth-century Dublin, McTeer's Hubert satisfies us with background information and a current marriage inspiring Albert to pursue Helen.

The short story and the 1982 play, for which Close as Albert won an Obie, might be warmer and more accessible. Although the film has much of John Huston's The Dead in its set design, Huston's and James Joyce's character development and disclosure are leagues ahead of this minimalist script and sets.

As annoying as Albert is in his privacy, Close's Chaplinesque costuming and minimalist performance won't go away. Watch out, Meryl.

Going into Albert Nobbs at the Toronto International Film Festival, I think my anticipation for Glenn Close's performance was high. There was a lot of early Oscar buzz going for the film, and it was the key reason I ventured into the packed final screening of the film. And now, almost two weeks later, I still feel a lot of regret for giving into the hype.

Albert Nobbs (Close) leads a simple life as a butler at a fancy hotel in turn of the century Dublin. But he is hiding a secret: he is actually a she, staying low-key while she raises enough money to start a tobacco shop. With the appearance of Hubert Page (Janet McTeer), a painter who hides a similar secret, Nobbs realizes she needs to come out of her shell a bit more and start planning her future.

I desperately wanted to adore Albert Nobbs, but after the initial play-like introduction to all of the main players (in one scene no less), I found myself horrifically bored from start to finish. Remember the stuffy British period pieces you loathe the very existence of, and were hoping were completely extinct? I am sorry to report they are alive and well. The film moves at a snail's pace, going through Nobb's attempt at prepping to move on and stop hiding. It goes through a few incredibly odd subplots, one namely involving a pretty house maid named Helen (Mia Wasikowska), but feels badly cobbled together. It is based on a critically acclaimed play that Close had previously starred in and feels like it is stuck within the confines of that pace and structure. I realize they wanted to stay true to the original source material, but I am confident in saying that we have seen enough films based on musicals and plays to know that it is not hard to think outside the box and make something a bit different and more inclined to the medium.

For all the early Oscar talk, it disappoints me to say that Close's performance is good but nothing truly extraordinary. She is incredibly convincing as the titular character, looking nearly unrecognizable for a good portion of the film. She plays Nobbs as a timid introvert, who has an underlying fear that plagues her every move. She does want her true identity to be revealed, and must constantly downplay everything. It may seem like an incredibly layered role, but outside of some atypical glances, there is really nothing special about Close. Her character wants to hide in plain sight, and not do anything to draw attention to herself. But this affects Close's performance immensely, because it never gives her the opportunity to make something of this character. Mere glances and passing references to something truly brilliant are apparent, but I found myself really struggling to care about the character. Much like the film, paying attention to Nobbs bordered on excruciatingly boring.

McTeer as Page however, the other woman playing a man in this grand play, is the exact opposite. I had heard very little about her before the film, but found myself unable to look away when she entered the frame. She has a sassy wit about her, and truly enlivens the characters and every second-rate line that comes out of her mouth. She is the catalyst for change in Nobb's life, but she too is doing her best not to draw attention to herself. Yet somehow, she does not slog through the performance like Close does. She truly makes something of the character, and carves out something interesting and fun to watch develop. It is not surprising at all surprising to find that she provides the most emotional scenes in the movie, b both downright hilarious and incredibly sad. I just wish there was more focus on her character, as she only appears in a handful of scenes. Fortunately they are the best scenes in the entire film, but they come way too far and few between.

Wasikowska and Aaron Johnson are the only other two actors who do not spend their screen time eliciting minor laughs from the crowd (although Pauline Collins is an underplayed delight as Mrs. Baker, the head of the hotel where most of the action takes place). While they have both given significantly better performances in other films, they both deliver some fairly solid work here. They have to chisel through some absolutely obnoxious and dull character motivations and actions, but they still shine through in most cases. I appreciated their work here more than I actually enjoyed it, but I think it could have been improved if they were not stuck working within the confines of the script.

Story and acting issues aside, the art direction is simply marvelous. The look of Dublin is so rich and vivid that you can practically smell the putrid stench coming off of these streets. A lot of care was put into making these sets and costumes look as detailed as physically possible, and it shows in how great they look. I sat in awe in more than one occasion, ignoring the inane dialogue and just taking in the scenery.

While I think the laughs that made The King's Speech such a crowd-pleasing delight last year may have had a bit of an influence on at least a portion of Albert Nobbs, I really wish they took more of a directional cue from the Best Picture winner. As it is, Nobbs is the kind of stuffy, pretentious period piece that most filmgoers love to hate. It is incredibly boring, with a lot of useless side performances and only a few good performances that still manage to be dull. The only real saving grace here is a wildly enjoyable supporting turn from McTeer, who will surely not see that enthusiasm go to waste when the awards time arrives. Maybe I should not have expected so much.

6/10.

I saw this film at the Mill Valley Film Festival Opening last night and I thought it was an amazing piece. Luckily I didn't have an preconceived notions about the film. I hadn't heard anything about it which for me is always the best way to go into a film. I always set high standards for any film that Glen Close is a part of and she definitely met that expectation and then some.

Visually, Albert Nobbs had a fairy tale feel to it. I would say it was an atypical film without political agenda. A simple but highly intelligent story full of life and character detail. I would like to see this again. I have a feeling that in a second screening I would see so many new things that are so subtle in the first viewing.

Glen Close transformed completely. It was dazzling to watch. I was captivated by her face and her mannerisms. I would highly recommend this film to friends. A must see!

Oscar buzz means Albert Nobbs gets a closer look with its leading lady Glenn Close in the title role, and Janet McTeer getting herself nominated for a supporting actress award as well. And interesting enough, both play gender bender roles in a film set in the posh hotel in period Ireland, with an introduction that starkly laid out the social class divide of the time, and the norms and expectations that exist between the haves, and the have nots. Directed by Rodrigo Garcia (whose last film was Mother and Child), Albert Nobbs boasts a stellar cast including the likes of Mia Wasikowska, Aaron Johnson and even Jonathan Rhys Meyers in a very bit role of an aristocrat, and it is their fine performance all round that lifted the narrative that is steeped on the notion of secrets.

This film will definitely appeal to the niche LGBT crowd, given the subject matter where Albert Nobbs is Albert only to allow a woman, brutally violated in the past, to come out into society and earn an independent living all by herself. She cannot be who she is, and has to be someone whom she is not, but even then comes struggles of finding attractiveness in someone of the same gender, that of a fellow colleague cum chambermaid Helen (Mia Wasikowska) whose flirty nature finds the attention not of a rich man to whisk her off her feet and into a palace of riches, but by Aaron Johnson's Joe the handyman who knocks her up and complicates her employment status in the later act.

The narrative by Istvan Szabo's story is based upon George Moore's short story and adapted into a screenplay with Glenn Close's involvement, and is a story that's deeply weaved around the different relationships amongst the characters. There's the friendship forged between Albert and McTeer's painter character Hubert Page, who got engaged by the hotel for a job and had to put up together with Albert in his room, and for deeply buried secrets to be revealed, one which in a way inspires Albert to be less inhibited when inadvertently seeking out someone with whom he can possibly spend the rest of his life with given his inching toward his goal to become a shopkeeper.

Which brings us to the core love triangle of the story involving Albert's love for Helen, who in turn is in a relationship with the roguish Joe. This provides some form of a contrast between the usual heterosexual romance between Joe and Helen, and that of the same sex one between Albert and Helen, though I would have thought the latter came across more like a sisterly bond being created especially since beneath Helen's tough, happy go lucky exterior comes a certain vulnerability that can be exploited. Albert, being Albert for so long, assumes the very protective role of a guardian of sorts, and with Helen we see shades of inhibitions being stripped away as he discovers some inner happiness which had eluded him for some time.

Glenn Close may be getting a lot of accolades for her performance, and it's true she disappears into her role straddling between that of a woman and a man whom she spends a lot more time under the guise, complete with deep voice, but I thought this naturalness was somewhat a given since Close had been playing this role on stage years before. Mia Wasikowska continues in her hot streak playing diverse roles in her career so far, although I felt this one was probably the least challenging of the lot. But the one who stole the show was Janet McTeer's gruff portrayal of Hubert, stealing the show from under everyone's nose even with her limited screen time, and will probably put up quite the fight come awards season.

Besides fine acting, Albert Nobbs also has excellent production values that every self- respecting period film will focus on having in order to recreate and bring to life the littlest of details to transport any audience back to the late 19th century. You may have to suspend disbelief if you suppose the two ladies in men's disguise should have easily been found out, but like how the characters keep things under wraps, it's exploration of various relationships that is the film's kept under very poignant drama.

This film is about a woman who pretends to be a man to survive back in the 19th century Ireland.

"Albert Nobbs" is a well made film. It portrays Albert Nobbs down to the last detail. His personality, his hopes and dreams, his sad past are all told exquisitely and engagingly. The character is well portrayed and enacted. He is intensely private to guard his deepest secret, and yet he is also an emotional person that longs for love and companionship. His tormented soul creates much resonance and sympathy from the viewers. Albert's sad past and present is heartbreaking, and the film makes viewers yearn for a better future for Albert. "Albert Nobbs" is a beautiful film about a person's sad and repressed life.

Greetings again from the darkness. We are accustomed to movies with men posing as women for comedic effect ... Mrs. Doubtfire and Tootsie come to mind. Watching an extremely serious, even bleak, film with a woman (Glenn Close) posing as a man is a bit unusual, and I will say, downright uncomfortable. When Albert Nobbs is described by his co-workers as an odd little man, they have no idea!

The film is based on a novella by George Moore, and has been a pet project of Glenn Close since she starred in an off-Broadway play in the 1980's. Her dream has been realized in this film directed by Rodrigo Garcia. The film has an extremely talented cast including Brendan Gleeson as a doctor, Bronagh Gallagher as Mrs Page, Mia Wasikowska, Aaron Johnson and Brenda Fricker as hotel staff, Pauline Collins as the hotel proprietor, and Jonathan Rhys Meyers as a frequent hotel guest.

Beyond that fabulous cast, the only thing that really makes the film worth watching is the curious performance of Ms. Close as Albert Nobbs and the colorful turn by Janet McTeer as Mr. Page ... the only one (we know of) who can understand what Albert is going through. Both are nominated for Oscars. During the film, we get the personal story from each of these characters on why they made their choice, but Albert's story is a bit muddled. He/she seems to have just fallen into the life and been unable to stop for the past 30 years. Now, Albert has a dream that can only be achieved through the wages earned as the non-descript, efficient waiter.

There are many painful scenes to watch, but none moreso than Albert courting Helen so that he can have a partner for his new business. He has no idea of how a real relationship works or why people are attracted to each other. Albert just sees Helen as a means to an end. Some will enjoy this much more than I, as the thought of pretending to be someone you aren't for 3 decades is just more than I can even comprehend. When Gleeson's doctor spouts that he has no reason why people choose to lead such miserable lives, I concur whole-heartedly.

Close plays Nobbs, a female dressing as a male butler in 19th century Ireland. As she dreams of opening her own shop with the money she saved over the years, she finds herself in need of a spouse. But since she is in reality a female, some unforeseen complications ensue.

Although Close is transformed marvelously and convincingly into a male, the movie suffers progressively from the lack of a compelling narrative and suspense. It just beautifully stumbles from one unfortunate or silly event to the next leaving little memorable scenes in its wake. Even though the role of Janet McTeer also posing as a man, is lauded, the role is particularly unconvincing causing some irritation. Suggesting Close should be up for an Oscar for this movie is ridiculous; she barely has 20 lines in the film and is simply a vehicle for a very convincing make up job.

This film is mildly recommended.

Not only is Albert Nobbs an odd little man, it's an odd little movie too. Based on a modest Off-Broadway show that starred a younger Glenn Close in the title role, the film was always a pet vanity project for the actress, who produced the film as well. It is obvious that the central character's dilemma and the script's feminist viewpoint appealed to the actress ( who also co- wrote the screenplay with John Banville ). But, on screen, Albert is rather unappealing and his / her rationale to become a cross-dresser in late 19th century Ireland seems like a rather flimsy financial excuse for such a drastic lifestyle makeover.

Ms. Close portrays Mr. Nobbs in a very restrained manner. She becomes the manservant, with an emphasis on the first syllable in this case, a man who wants to go unnoticed, earn his keep, and save his money for a future investment. Yes, she's caught up a male dominated society, but other women still owned property and attained wealth without the need of disguises. So this method of masquerade becomes slightly suspect, serving more as a plot device than a customary way of achieving one's goals.

With so much riding on the gender switch, the physical transformation of Mr. Nobbs is so crucial to the film's success. The angularity of Ms. Close's facial features downplays her more feminine traits and, with expert make-up and prosthetics, compliments the male side of the character. ( Special praise goes to Martial Corneville, Lynn Johnston, and Matthew W. Mungle on their creative and believable contributions to the film. ) The final result is a slight and homely man, a Casper Milquetoast type of less-than-manly proportions. The filmmakers want the movie audience to automatically root for this meek and milky white 98 lb. weakling. I didn't. The character of Albert remained too lifeless and emotionally bland, and a bit problematic in an underwritten role for me to truly care.

This is not the fault of the actress who gives a flawless performance with her flawed character. Rather, it's the script that fails to fully develop the film's characters and its story, allowing subplots and minor characters to become preachy and melodramatic in words and actions.

Ms. Close does bring to this timid soul a steely reserve and highlights his anxiety in most subtle ways. ( In perhaps her best scene, Albert's walk of freedom on the beach is so beautifully rendered and the actress masterfully shows her conflicted viewpoint without words. ) Yet I kept questioning Albert's choice to live an on-going lie on a daily basis. How can such a character ever find true happiness and live a full life? Is money that all encompassing and worth the sacrifice of sexual identity? This interpretation exacts a toll on its main character, who seems chiefly concerned with his own personal profit and pleasures. The film becomes more convoluted when asexual Albert begins to develop feelings for a cute and unsuspecting chambermaid, played by Mia Wasikowska, who is herself attracted to a handsome and available cad named Joe ( Aaron Johnson ). Can Albert be that delusional about his sense of self and his future goals? HIs motivations are never explained, only inferred.

Later, Albert befriends a painter named Hubert Page, also a woman disguised as a man, but he / she is the direct opposite of Albert: a person full of life, happy and unafraid, a woman in love and involved in a positive lesbian relationship. This character is so much more interesting and is played to the hilt by Janet McTeer. McTeer's much more showier role upstages our hero and sends the film off-kilter from the moment she enters the story. She quickly energizes the film, especially since Rodrigo Garcia directs this moralistic tale in a deliberately slower pace than needed, which only makes Albert Nobbs ( the character ) and Albert Nobbs ( the movie ) become the ultimate drag. ( Pardon the pun, I just couldn't resist the urge. Do I hear an amen, sister? )

Still the film boasts two of the strongest female performances this year and is worth seeing just for their nuanced portrayals. Albert Nobbs wants the moviegoer to empathize and care for its central character, but its message is as confused and addled as its hero/ heroine. GRADE: B-

NOTE: Visit my movie blog for more reviews: www.dearmoviegoer.com

"Albert Nobbs" is a Drama - Romance movie in which we watch a woman posing as a man and working as a butler in Dublin's most elegant hotel in late 19th-century. Everything change for her when she meets a handsome painter.

I liked this movie because it had an interesting plot that was captivating. The interpretation of Glenn Close who played as Albert Nobbs was simply amazing and she made the difference. Some other interpretations that have to be mentioned were Mia Wasikowska's who played as Helen, Aaron Taylor-Johnson's who played as Joe and Janet McTeer's who played as Hubert Page. In conclusion, I have to say that "Albert Nobbs" is an interesting movie and I believe that everybody will gain something by watching it so, I highly recommend it to everyone especially for the interpretation of Glenn Close.

Glenn Close's portrayal of the title character was excellent! She was at her best in this picture. Perhaps the reason why other people who saw the movie felt that the movie is draggy and her portrayal is so-so was because there wasn't any hysteria in it. There wasn't any grandstanding scene. There wasn't a shouting match. No loud confrontations. No slapping and hair-pulling scenes. It's a quiet movie so unlike of Close's other known portrayals.

But one can't simply ignore the greatness she has shown in her eyes. You can feel the sadness, the pain, the fears and the hope in her eyes. It was a quiet, restrained performance that is quite haunting that stays in your mind even after watching it. And that's what happened to me. Hours after watching it, the scenes and her story still lingers in my mind.

Everyone in the movie gave worthy performances.... Mia Wasikowska, Aaron Johnson, Pauline Collins, Brendan Gleeson, Jonathan Rhys Myers (even though he was in 3-4 scenes only) and most especially, Janet McTeer.

McTeer's characterization was superb. Her body built helped a lot in her portrayal of Hubert Page. But i don't believe that she upstaged Close's here. Her character was quite different from the character that Glenn Close was portraying. And both did quite well in giving justice to the roles they played in the movie.

The beach scene was excellent... quiet, yet conveys so much feelings...

How i wish that those who've seen the movie and saw it differently will watch it again and see the story from Albert Nobbs' point of view. See the expressions in 'his' eyes and feel the tragedy of the life 'he' has gone through.

Glenn Close really deserves to win the Oscar's Best Actress plum with this movie.

19th Century Ireland and women have little opportunity to demonstrate their independence. Glenn Close plays the titular Nobbs, a timid and seemingly rather lost person who has impersonated a man all her life. One day she meets a decorator who persuades her how she can improve her life.

I had grave reservations about what seemed like an ego trip come experiment for a top actress and one where obvious make up would be a distraction throughout. I was though pleasantly surprised. It's a slight tale full of drama, societal cruelty and snobbery that offers precious little that is new, albeit what there is, is skilfully conveyed and by a strong supporting cast. It is also really rather heart warming with a genuinely impressive performance by Close, and possibly even more so by McTeer.

This film perfectly exemplifies what happens to a script and to the creative instincts of the people behind a project when the journey to the screen takes almost thirty years.

The script that was filmed has lost its way.

The film is agnostic as to whether it is about gender politics, the impact of the class system or is simply a charming Oirish romp.

It's drowning in stereotypes, which is a travesty considering the quality of the cast. Only Janet McTeer put in an interesting performance and kept me from walking out. Close is unwatchable. The attention she has gotten for this role is baffling.

I can't even recommend it as a curiosity. It is simply dreadful.

Albert Nobbs was a passion project of Glenn Close's for years, and now it's finally realized on the big screen, but probably not as well as she had hoped. The movie is admirable for what it tries to do, but I found the screenplay's characterization a bit uneven. Rodrigo Garcia's direction is decent stuff, elegant, but also a bit stuffy, draggy, and even bland in a way that hinders a good chunk of the cast, two in particular. Aaron Johnson sticks out like a sore thumb, and I adore Mia Wasikowska, but she just didn't do much for me in this movie.

However, the movie finds strength in the performances of two actors: Glenn Close and Janet McTeer. They, costume designer Pierre Yves-Gayraud, and the fantastic makeup artists have to go to great lengths to make us think their characters are male, and they succeed to the point that you forget these people are even women at all. Close is quietly controlled and emotionally layered, and McTeer is scene stealing with her gentle presence. They give two performances that deserve a lot better than the movie they're in.

**1/2 out of ****