THE DRESSER
UK, 2016, 100 minutes, Colour.
Ian Mc Kellen, Anthony Hopkins, Emily Watson, Sarah Lancashire, Vanessa Kirby, Edward Fox..
Directed Richard Eyre.
The Dresser is based on a very popular play by Ronald Harwood. It was filmed in the 1980s with Albert Finney in the role of a dominating actor and Tom Courtenay in the title role of his dresser. It was directed by Peter Yates and nominated for several Academy Awards.
This version has been made for television. It has been directed by Richard Eyre, best known for his work in the theatre and many awards, and director of several films including The Ploughman’s Lunch, Iris, Notes on a Scandal.
This version is very much a performed play, the action taking place in the dressing room, backstage, on stage with a performance of King Lear – with glimpses of the audience. It is tour-de-force for the two actors, Hopkins as the actor and Mc Kellen as the dresser. But, the supporting roles are particular well done, Emily Watson being particularly strong as the Lady, Sarah Lancashire is the stage manager and an almost unrecognisable Edward Fox as The Fool.
The setting is a provincial theatre during World War II, the audience coming out for entertainment but always with the risk of an air raid.
The portrait of the actor is said to have been based on Sir Donald Wolfit, a bombastic actor in his day, lording it over the rest of the company, ageing, losing his faculties, full of vanity as regards his performances and the desire to go on. He is supported by his wife though she wishes him to retire, and is the subject of devoted admiration from the stage manager. He interacts at various times with different members of the cast, some of whom are loyal, and others who despise him.
He has been looked after by his dresser for many years. The dresser is a mixture of weakness and strength, seemingly devoted to his master, at his every beck and call, proffering advice and encouragement – although prone to a drink as well. Towards the end, when the actor seems to be ignoring the role of his dresser, he turns rather nasty, speaking go out against the pomposity of the actor.
The film is a very strong version of the play and its words, dialogue interactions, reflections on the theatre and acting, as well as the strength and foibles of the actors.
1. Ronald Harwood’s play? Theatrical success? The 1980s film version? This version retaining the dialogue and the confined sets for television? The room, the corridor, backstage, the stage? Glimpses of the audience and their response? The confined spaces? The editing style, the focus on dialogue, the speakers, close-ups of reactions?
2. The World War II setting, the provinces, the acting style and entertainment? The air raids?
3. The strong cast?
4. The title, Norman is the focus, in Mc Kellen’s presence and performance? Working with Anthony Hopkins?
5. Anthony Hopkins is Served, his character, presence? The interactions with in McKellen? and his style as Norman?
6. The backstage, the dressing room, her leadership? The cast reactions? Sir and his bombast? As a second-rate actor, not having a night would, and his scrapbook of reviews?
7. The interactions between Norman and Sir? The different characters, the role of a dresser, his gay sensibilities and manner? Identifying with Sir? The time for make up, clothes, cajoling Sir into action? The years? Sharing the experience, celebrations, knowing all the lines, watching from the side? The scene with Sir mixing up all the plays – and the rigmarole about the Scottish play?
8. Norman, his life, totally devoted to Sir, his friendship with her leadership, the interactions with Madge, bullying Irene, the male actors? His drinking? The testament and he’s reading it, adding the word “dresser�, his anger with Sir? The reality of his service Sir, liking it or not?
9. Her leadership, not marrying, no knighthood from the King, her devotion and love, yet her speech about being tired, of the years, the reviews, her age, wanting her husband to give up? The affectionate names, yet the exasperation? Her attempts at control, his response? Wanting to announce that he would retire, whether she could go on not? A haughty woman, imperious in manner, it tended with her husband, collaborating with Norman? And the humorous improvisation when he failed to come on stage? Her decision to leave, her missing his death?
10. Sir, his life, bombast, age, illness, the tears and collapse, the fears for his lines, going blank? It is carry on, to any? Is listening to the speech by the Clown, his reaction to the pompous actor refusing to staff the wind machine, his attraction to its Irene, the lascivious touch? Madge, her devotion throughout the years, that being enough for her, giving her the ring?
11. Sir and his fears, the delay, the cast having to improvise, going on, audience acclaim? His ranting about wanting the storm seemed to be louder – and the whole cast and crew playing the drums, the wind machine, trying to make it loud with impact?
12. The interval, so having sleep, Norman’s devotion, her leadership and her ultimatum, his going to the table, beginning to write his testimony?
13. His response to her leadership, wanting Norman to take care of her? Madge and the interaction, matches a character, her work, devotion, doing all this enough for her?
14. The clown, without the make up, his speech, not wanting to be an actor who took risks, comfortable and enjoying his acting, hoping for more?
15. Sir, ready to die, the quickness of his death, no long drama? His loneliness?
16. Norman, reacting to the testimony, his drinking, his reaction to Madge? Letting her leadership no? His sitting quietly in the room at the end, wondering about his friendship?
