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.
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.