it is the rare 'crazy' movie that actually has something to say.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Exactly the movie you think it is, but not the movie you want it to be.

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

one of great roles of Tom Courtenay. and a splendid performance of Albert Finney. a film about Shakespeare, theater, sacrifice, need of the other and circle of life. touching. and powerful. a play who, in this adaptation, seems be a kind of parable. because not only the acting is brilliant but the atmosphere soul. a world. like an iceberg. and nuances of sacrifice as only reality. a good film. and little more. because it has the rare gift not only impress but reflect hided places of each life. the actor. and the dresser. and a subtle touching fight. against yourself and against the other. that is all. so, it is not a bad idea to see it ! not only as old movie. but as a rare gem about the things who are really important.

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.

"The Dresser" was nominated for several Oscars--including Best Picture and Best Actor for both leads (Tom Courtenay and Albert Finney)--so obvious, it was a well-respected film when it debuted. However, I wasn't quite as bowled over by it for a variety of reasons. It's not a bad film but I can't help but think that there MUST have been a lot of other films of the day that I would have chosen instead for such honors. I have two major complaints--BOTH leads had a tendency to over-act and their parts seemed overly broad and the other is that the film, while very original, is quite unpleasant.The film is set during WWII and follows a touring Shakespearean company in Britain. Because of the war, it's hard to get good actors, they are constantly in danger of being blown up by German bombers and their lead (Finney) is emotionally exhausted and on the verge of a nervous breakdown. So, it's up to his dresser (Courtenay) to massage this fragile soul through his next performance. Time and time again, folks expect the show to be canceled since Finney is incoherent and appears to be cracking up--and time and time again, the dresser tells them that he'll be fine! A HUGE portion of the film consists of Courtenay and Finney in the dressing room--and Finney is slowly transformed into a competent and accomplished actor once again. Another HUGE portion is the performance itself--which is GREAT if you adore Shakespeare. And, following the performance comes a shock--and Courtenay gets to have a very strange monologue himself.The film is interesting in some ways. Seeing the obvious parallel between the actor balancing between insanity and greatness and his playing the lead in "King Lear" is pretty clever--as Lear, himself, was much like Finney's character. It also was interesting at the end--Courtenay's character shows a darker side and there is a strong homo-erotic aspect of this that makes the performance one you cannot just dismiss. However, and this is what bothered me, I thought Courtenay's gay character was too campy--too flamboyant and too difficult to believe to be true. Making the character less stereotypical would have made him much more believable and universal. As for Finney, his was a maddening performance. At times, he was mesmerizing and other times he seemed like a bellowing water buffalo in the throes of a bleeding ulcer! Subtlety also would have helped with this character. And, combined with the unpleasantness of the plot, it was a chore to finish this one. Not bad, but it could have been so much better.By the way, Finney looks amazingly old yet he was only about 47--he looked at least 65! Also, read through the reviews for this film--it's rare to see such divergent views on a film--folks loved it and folks hated it!

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.