Review of The Dresser (1983) by Lee M — 13 Apr 2017

Peter Yates's penultimate hurrah (the final being The House on Carroll Street), contains one of the most tragic endings ever.

Tom Courtenay is Norman, a dresser who arduously endeavors to handle his best friend/charge's grievous emotional complications. At the end, after a difficult performance of King Lear, Norman sits by his charge, who is simply referred to as "Sir," reading aloud the acknowledgements in Sir's autobiography. He gives thanks to everyone, even the carpenters and sound effect operators - with the exception of Norman. Norman looks over to Sir in angry, sad confusion. Sir is dead.

Albert Finney plays the part of Sir, delivering his usual bravura performance. His character is sorrowful, peppered, and self-aggrandizing. He is dreaded yet sympathized by his costars. When he begins his 227th performance of King Lear he is static due to nervousness caused by a stirring of emotions. When he ends he has found his inner soul, and, overwhelmed with gratefulness, gives one final bow.

Norman is among the most fascinating supporting characters I have ever met at the movies. He is Sir's greatest advocate and pal, having unswerving defense of him. He shovels away all the sediment of Sir's deep-rooted emotional impair with alcohol. He is the only one who truly loves him. Courtenay serves this character better than any actor could capably do.

This is one of Peter Yates' last films, having earlier that year directed the absurd Krull, ten years earlier directing the masterful The Friends of Eddie Coyle, and in 1968 the action-packed classic Bullitt.

A beautiful triumph in visceral filmmaking, The Dresser is among the best films of the 1980's.