O Fiel Camareiro

Ignoring the temptation to compare it with the 1983 version, its basic virtue remains the acting. Few scenes are just impressive as fair portraits of loneliness and illusion and apparences.

A film about aging and desillusions.

Beautiful chemistry between Ian McKellen and Anthony Hopkins, admirable work of Edward Fox as Geoffrey, provocative job of Sarah Lancashire and few crumbs about Anthony Hopkins in the role of King Lear in the recent cinema adaptation.

The precious gift - the clear - precise bitterness of final.

A precise circle of frustrations and defining of truth and a honest remind of the precious gifts of main actors.

The Dresser in my country is not a popular movie. As a young movie freak, I don't know this kind of movie until Lionsgate Play application coming up on my Apple TV+ app. So here is my review: The storyline of "The Dresser" somehow connected with the role of dresser and his presence to convince an old under-rated actor in ordinary theater in London, so the actor can remember the dialogue and re-motivated on his acting purposes. Sometimes the actor (played by Sir Anthony Hopkins) is being demotivated by himself. Then he can't love everybody around him. The Dresser (played by Sir Ian McKellen), is always there to support him. For me this movie is a moment of dramatic scene that I've been waiting for between McKellen & Hopkins. They are both senior actors, Sir-s, and having lead roles in any kind of movie. Their mature acting makes this movie beautiful ly wrapped with low-budget assumption, because the location is only in 1 (one theater), with the whole corridors and the preparation on the actor's room. A worth it movie to be watched. Thank you Lionsgate Play app.

Ronald Harwood has adapted his very successful play THE DRESSER for the screen and under Richard Eyre's direction and the consummate skills of a brilliant cast this made for television film is one of the finest pieces of cinema of the year.

The story is as much about the aging process as it is about the frustrations and challenges of being on the stage a bit past the moment when lines can be remembered and directions not as natural as once they were become a challenge. It is also a very fine study of British theater – not the glowing lights 'Broadway' type, but the little touring countries that brought and bring Shakespeare to the people in the little towns where the audiences respect theater.

The film opens during the blitz of England during WW II in a rundown old theater that despite the blitz an audience has packed the house for a production by a small, struggling theater company of Shakespeare's 'King Lear'. The titular head of the company (Sarah Lancashire) worries that aging actor 'Sir' (Anthony Hopkins) and his wife Her Ladyship (Emily Watson) will be able to perform. 'Sir' is plainly unwell, discharging himself from hospital and Her Ladyship believes he should cancel his upcoming performance of 'King Lear'. However Norman (Ian McKellen), his outspoken, gay dresser disagrees and is determined that the show will go on, cajoling the confused 'Sir' into giving a performance - one which will be his swansong, at the same time drawing a parallel between King Lear and his fool as Norman, despite ultimate disappointment, serves his master.

The relationship between Sir and Norman is profound and in the end very touching. Hopkins and McKellen and Watson are in top form and are ably supported by Lancashire, Edward Fox (unrecognizable in his costume as the Fool), and Vanessa Kirby. This is a splendid film on every count and one that deserves many awards.

Ronald Harwood's stage play was adapted for film in 1983 and received multiple Oscar nominations and a fruity performance from Albert Finney.

Harwood's play has now been adapted for television. Harwood wanted it to be a stage revival with Anthony Hopkins but he called time on his stage career several decades ago and so we get Hopkins for the television film.

I remember soon after Laurence Olivier died, it was Hopkins who introduced a special tribute programme on the BBC. Then he was regarded as an actor who never quiet fulfilled his immense talent on the stage or screen. He had been Olivier's understudy at the National Theater. Wild living and booze got the better off him. Hopkins was not averse to do highly paid thrash like Hollywood Wives for American television. He would also do more credible British television films, usually for the BBC and every now and then wow the stage in plays such as David Hare's Pravda.

Within a few years after that introduction of that tribute to Olivier, Hopkins entered his own golden era first by bagging a best actor Oscar for Silence of the Lambs. He would get three other Oscar nominations in the 1990s and got to work with directors such as Spielberg and Oliver Stone. He would be regarded as one of the best actors of his generation.

In The Dresser Hopkins returns to BBC television after some years and teams up with Ian McKellen for the first time on-screen. McKellen is the loyal, camp, alcoholic dresser to Hopkin's Sir, the domineering actor-manager (based on Sir Donald Wolfit) touring up and down the various stages of Britain during World War 2.

In his advancing years and in ill health, he is not up to playing the big roles, in this case King Lear. He needs all the help from his Dresser just to get on the stage and recite the opening lines.

Hopkins lays bare an actor who once thrilled the crowd, womanised, was adored and is self absorbed. Emily Watson plays the much maligned wife who in many ways has had enough of him, always playing second fiddle to the detriment of her own career. Then again so has the waspish McKellen and we see in the end as his anger and vindictiveness bubbles through.

Director Richard Eyre has deliberately not opened the play up too much. It is kept small and intimate. We get to see Hopkins deliver bits of King Lear as Sir gets to the stage and delivers one big final performance. Look out for Edward Fox playing an actor drafted in at the last moment to play the Fool who delivers a tender monologue when he drops by to pay his respects to Sir after the performance.

It's strange how a movie like THE DRESSER can echo through your memory, as I watched this well made and elegant made for STARZ version I enjoyed greatly the performances of Hopkins and McKellen and also the strong support from Vanessa Kirby and Edward Fox. However, echoes of the original movie with Albert Finney and Tom Courtney kept flooding back, Finney was a force of nature as Sir and Courtney felt much more heightened and on edge than McKellen who often appeared to be consciously downplaying Norman. There is much to like here but if you are new to The Dresser maybe you watch the Peter Yates movie first.