L'habilleur

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.

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.

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.

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.