Sorry, this movie sucks

This movie was so-so. It had it's moments, but wasn't the greatest.

A movie that not only functions as a solid scarefest but a razor-sharp satire.

It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties.

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.

Excellent picture about life backstage at the theater and an actor desperately trying to get through a performance of King Lear. Albert Finney as the failing actor and Tom Courtenay as his subordinate dresser, richly deserved Oscar nominations for best actor. A case could have been made to have put Courtenay in the supporting division, but that's old history.Finney lets loose with a terrific performance as a domineering, nasty performer who lets loose with just about everyone. Courtenay, with his effeminate ways, only gets his freedom when the ending occurs. You wonder if the two ever had a homosexual relationship going.There is a lot of comedy as well. The film takes place during World War 11 England and might have been better served to have been filmed in black and white, more suitable for the period. The performance is about to begin when the air-raid sirens are sounded and the bombs begin to fall. This suggests that these bombs might cancel the performance which seems to be leading to an even bigger bomb cast.Patriotism is shown by Finney at the end. The play must go on and its head must rise to the occasion.

This is a tremendous adaption of Ronald Harwood's play. The two leads are as hammy as a spam factory, but having witnessed Sir Donald Wolfitt( or Chewitt,scenery, that is)on whom the thing's based trying, unsuccessfully, to tone it down for the cameras in Room At The Top Finney and Courtney are understated by comparison. "Sir" as Finney's character is referred to is an unbearable egotist and tyrant; you wonder why the rest of the company put up with him but you stop wondering when he stills the whole house with his hauntingly visceral"Never, Never, Never" in the last scene of the play. Not only the audience cry but the first violin and even performance-hardened stage hands in the wings who have seen the play a hundred times. Although primarily theatre bound the exteriors of war time England are wonderfully evoked. But the lasting greatness of this piece is that it imparts the magic that an hour or two of theatre can create to spellbind an audience and the life long thrall in which "the boards" hold the players

'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.