“The Dresser” is a very odd film. It’s based on a stage play and since it involves the staging of a performance of King Lear, you could say theater suffuses the movie. It takes place in England during WWII. Albert Finney plays Sir; an aged Shakespearean actor of the old school, full of exaggerated gestures and overblown histrionic elocution. He leads a company of actors travelling around Britain performing Shakespeare to the wartime population. But it’s not going well. Because of the draft, Sir declares that he must find his actors from amongst, “old men, cripples and nancy-boys.” And he says this to his dresser Norman even though Norman is obviously one of those nancy-boys.
Tom Courtenay plays Norman as a somewhat flamboyant homosexual who assists Sir in preparing for his performances. He bathes him, helps him apply his make-up and if necessary, reminds him of his lines from the wings. But this assistance has of late become much more difficult because Sir seems to be having a mental and physical breakdown. He becomes incoherent and agitated and is liable to run screaming through the streets shouting that he can’t go on.
On the day of his first performance in a new city he is hospitalized because of one of these fits coming upon him in public. And the company and especially Madge the business manager are convinced that Sir has reached the end of his career and must retire to a rest home. But when he shows up back at the theater Norman uses all of his knowledge of Sir’s psychology to calm him and orient him into the mental state needed to perform the part of King Lear. Using visual and vocal cues he walks him through the ritual by which the make-up and costume of Lear bring Sir back into the mindset needed to perform.
And that is the film; Norman coaching, praising, wheedling and sometimes chastising the old man into producing a performance of Lear that the audience receives enthusiastically. And during the performance and the breaks in the play when the Lear character is not on stage we learn about Sir’s relationship to his troupe; Madge’s basically unrequited love for Sir and his relationship with his wife; “Her Ladyship” who is playing Cordelia and how he stands with the other members of the acting troupe, who mostly fear him for his cantankerous temper.
And by the end of the play when Sir dies peacefully in his dressing room with only Norman there to witness his end we find out that Norman loved him too although it was completely unexpressed in life. And he weeps over the body of Sir.
Now this is a very strange film. And if it’s a pro-homosexual movie then it’s a very odd one. Norman takes abuse by anyone outside the theater who sizes up his obviously gay speech pattern and mannerisms. He’s told to “sod off,” “get stuffed” and “bugger off” by three different characters. One of the actors who knows of his friendship with a homosexual actor who has been arrested, notes to Norman that, “The pansy fraternity is always upset when one of their own is caught.” And even Sir, when discussing this actor’s arrest with Norman states that he himself “holds no brief for buggers.” So obviously this is not one of the modern paeans to gayness.
But I found it quite entertaining. Albert Finney’s portrayal of Sir is by turns; interesting, humorous, sad and extremely human. The character of Norman is also well-drawn. He’s a fussy, neurotic but loyal friend to Sir and a hard-working part of the acting company. You can see that this acting troupe is his whole life and Sir’s death represents the end of his own small world. He will be all by himself.
Recommending this film is difficult. The gay identity of Norman may put off some viewers. So, let’s put that in as a caveat. If that doesn’t preclude someone from watching the film then I can recommend it from the point of view of entertainment. The play within a movie keeps your attention and the characters are well-drawn and interesting.