If ever there was a year and a film where two actors should have shared an Oscar, this is the one. Albert Finney and Tom Courtenay are as co-dependent on each other for their performances as their characters are on each other in this film.
It's fitting that the backdrop for the film is a performance of King Lear, since there are elements of the play that are happening in the characters lives. One of the subtle things about this film that make it so good. While, of course, there is no dividing of a kingdom among three sons, there is a man slowly, then rapidly, descending into madness. In both cases, that madness is often amusing to we the audience. There is the Fool, who never leaves his King's side. Digging deeper, you could say that there is a great man who is forced to live among the rabble, who does not get the respect he deserves. And like Lear, maybe a sort of realization, understanding and acceptance in the end that gives him peace before his demise.
Lear aside, what this film is really about is the relationship between two men, each of whom is dependent on the other. I wouldn't have thought it possible for Albert Finney to give a character more depth than he did the detective in Murder on the Orient Express, but he does it here. Courtenay is every bit Finney's thespian equal. Both roles required Finney and Courtenay to walk a very thin line that teeters dangerously close to "over the top". Both of the characters are outrageous and animated, and the actors easily could have gone overboard, but walked the line beautifully.
SPOILER...The final scenes of The Dresser are among the best I've ever seen. Courtenay reads the litany of people who "Sir" thanks in his memoir, and realizes his name isn't there. Before it fully registers with him that maybe he hasn't played such an important role in Sir's life after all, Sir passes away. Then, all in a moment, Norman comes to the sinking and horrible conclusion that he may have wasted the best years of his life for nothing, since all he cares about is Sir's mutual love, respect and gratitude. As Madge watches on, we pretty much know that she feels the same way about Sir, but long ago accepted what Norman is just now finding out. The film concludes with two time elapsed shots of Norman clinging to Sir's corpse, not wanting to let go and fully face the truth. These moments are built up to throughout the film, and deliver a payoff that is unsurpassed in most every film.
The Dresser is as good a character study as you'll ever see because the characters (TWO of them, not just one) are so fascinating, and the performances so brilliant. The result is one of the best films ever made, and unfortunately, very unknown, despite all the Oscar nominations.
It's fitting that the backdrop for the film is a performance of King Lear, since there are elements of the play that are happening in the characters lives. One of the subtle things about this film that make it so good. While, of course, there is no dividing of a kingdom among three sons, there is a man slowly, then rapidly, descending into madness. In both cases, that madness is often amusing to we the audience. There is the Fool, who never leaves his King's side. Digging deeper, you could say that there is a great man who is forced to live among the rabble, who does not get the respect he deserves. And like Lear, maybe a sort of realization, understanding and acceptance in the end that gives him peace before his demise.
Lear aside, what this film is really about is the relationship between two men, each of whom is dependent on the other. I wouldn't have thought it possible for Albert Finney to give a character more depth than he did the detective in Murder on the Orient Express, but he does it here. Courtenay is every bit Finney's thespian equal. Both roles required Finney and Courtenay to walk a very thin line that teeters dangerously close to "over the top". Both of the characters are outrageous and animated, and the actors easily could have gone overboard, but walked the line beautifully.
SPOILER...The final scenes of The Dresser are among the best I've ever seen. Courtenay reads the litany of people who "Sir" thanks in his memoir, and realizes his name isn't there. Before it fully registers with him that maybe he hasn't played such an important role in Sir's life after all, Sir passes away. Then, all in a moment, Norman comes to the sinking and horrible conclusion that he may have wasted the best years of his life for nothing, since all he cares about is Sir's mutual love, respect and gratitude. As Madge watches on, we pretty much know that she feels the same way about Sir, but long ago accepted what Norman is just now finding out. The film concludes with two time elapsed shots of Norman clinging to Sir's corpse, not wanting to let go and fully face the truth. These moments are built up to throughout the film, and deliver a payoff that is unsurpassed in most every film.
The Dresser is as good a character study as you'll ever see because the characters (TWO of them, not just one) are so fascinating, and the performances so brilliant. The result is one of the best films ever made, and unfortunately, very unknown, despite all the Oscar nominations.