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The Dresser

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Product Details

  • Actors: Albert Finney, Tom Courtenay, Edward Fox, Zena Walker, Eileen Atkins
  • Directors: Peter Yates
  • Writers: Ronald Harwood
  • Producers: Peter Yates, Nigel Wooll, Ronald Harwood
  • Format: Closed-captioned, Color, NTSC, Subtitled, Widescreen
  • Language: English (Dolby Digital 1.0)
  • Subtitles: English, Japanese
  • Subtitles for the Hearing Impaired: English
  • Region: Region 1 encoding (US and Canada only)
    Some Region 1 DVDs may contain Regional Coding Enhancement (RCE). Some, but not all, of our international customers have had problems playing these enhanced discs on what are called "region-free" DVD players. For more information on RCE, click .
  • Aspect Ratio: 1.85:1
  • Number of discs: 1
  • Rated: PG (Parental Guidance Suggested)
  • Studio: Sony Pictures Home Entertainment
  • DVD Release Date: April 6, 2004
  • Run Time: 118 minutes
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (50 customer reviews)
  • ASIN: B0001BRSRQ
  • Amazon Best Sellers Rank: #165,627 in Movies & TV (See Top 100 in Movies & TV)
  • Learn more about "The Dresser" on IMDb

Special Features


Editorial Reviews

The lives and relationships of those within a British traditional touring stage company provide thebackdrop for the five-time Oscar(r) nominee, The Dresser (Best Picture; Best Actor; Best supporting Actor; Best Director; Best Screenplay Adaptation). The Dresser is a compelling study of the intense relationship between the leader of the company and his dresser. Sir (Albert Finney), a grandiloquent old man of the theater, has given his soul to his career, but his tyrannical rule over the companyis now beginning to crack under the strain of age and illness as he prepares for his two-hundred-twenty-seventh performance of King Lear. Sir's fastidious and fiercely dedicated dresser, Norman (TomCourtenay), submits to Sir's frequently unreasonable demands, tends to his health and reminds him of what role he is currently playing. The two men are essential to each other's life. This is a film rich in comedy, compassion and love for theater.

Customer Reviews

Courtenay takes all the abuse because he lives his sheltered life through Finney and is grateful for that.
This is not a big spectacle type film; it is a small and personal film that makes a big impact because of the very, very strong performances it has holding it up.
Andrew Ellington
Albert Finney gives the performance of his life as he portrays the role of an ageing Shakespearean actor who litterally gives the last performance of HIS life.
Eric A. Daily

Most Helpful Customer Reviews

32 of 32 people found the following review helpful By James R. Mccall on January 17, 2003
Format: VHS Tape Verified Purchase
England, 1940, during the blitz: all the young actors are in uniform, hospital, or dead. Albert Finney, playing an aging Shakespearean, carries on as best he can, leading his troupe of women, and men too old or damaged to fight. Actually, he doesn't lead, but rather is daily cajoled into carrying on by his dresser (played by Tom Courtenay). Courtenay is wonderful as the fussy, loyal, oh-so-English man behind the man, maintaining a desperate hold on his good humour even as his life is coming apart in shreds as Finney disintegrates.
It is easy to see that Finney was classically trained, and that his booming stage voice must have rung through many a theater. The snatches of Shakespeare that we do see are great fun, as is the byplay between the old man who can do them in his sleep and even the most humble members of the crew, who by now know all the cues. But mainly this is the story of two men, one an artist who is used to taking what he needs from those around him, and the other who gives his life over to that man, and to some idea of carrying on the great work. This is not a happy film, but it is a great one.
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19 of 20 people found the following review helpful By P. M Simon on January 24, 2006
Format: DVD
England--WWII-- Albert Finney is the aging star of a Shakespearean stage company, and Tom Courtney is his backstage "nancy-boy" dresser, who must somehow deal with the egomaniacal old ham in the early statges of senile dementia or Alzheimer's. The show must go on, despite bombing raids, Finney's collapse, and other difficulties--or must it?

The fop and the falling star share brilliantly-acted interactions that are alternately infuriating and touching. With well-timed direction, a great screenplay, and a sturdy plot, this film won 5 Oscar nominations but --amazingly-- no Oscars.

That doesn't mean this incipient classic should be overlooked. A fine addition to any DVD library, and one that may not "stay in print;" Order THE DRESSER now--you won't be disappointed!
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12 of 12 people found the following review helpful By A Customer on August 18, 2001
Format: VHS Tape
An acting tour-de-force! Ok, sounds like an ad-blurb, but it's true. A beautifully scripted and acted film. Adapted from a stageplay,taking place mostly in a theatre, The Dresser somehow manages, at least to my mind, not to seem like a stageplay at all. This film should be compulsory viewing for any acting student. As far as the complaints that Finney chews the scenery a bit, ummmmm, how do I put this...he's playing an, aging, egotistical scene-chewing actor! That could be why. Yeeesh. Highly recommended to any fan of great acting. "I'd like a nice, cup of tea with my coffee...."
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11 of 11 people found the following review helpful By Gerard D. Launay on October 10, 2010
Format: DVD
When I watched this movie in theaters when it was initially released during 1983 I was just thirty years old. I just did not get it. Sure, I could appreciate the splendid acting and dialogue...but the range of human emotions was beyond my range. I had to mature. I had to become a caretaker for a loved one. I had to experience the death of my twin sister who chose to live a life in the theater. I had to become emotionally intimate with another. Then, and only then, did I get it. And WOW is this film powerful.

On one level, it is a film, possibly the best film about the meaning of theater. An aging and once great Shakespearean actor is reduced to playing second rate venues in the provinces when all the good actors are off to war against the Nazis. The year is 1940...the fate of the war is uncertain. Theaters and homes are being bombed. And yet, "Sir" the lead actor continues on playing the major roles of the Shakespeare plays...having never missed giving a performance.

He is now exhausted, physically and emotionally. He is seriously ill..near senilty. And yet - like the soldiers faced with another dreary, impossible day...he goes on. But it is all made possible now by his dresser, his confidante, his caretaker, his friend, and most importantly, his intimate.

And more than anything else, this is a film about intimacy. It is quite clear that Norman (brilliantly played by Tom Courtenay) has a homosexual crush on his 'Sir." But more than that, they really are a pair, feeding and working off each other...Sir is an outstanding actor because his dresser has the skill, reverance, and love to make it happen. In a sense they perform - together.
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5 of 5 people found the following review helpful By GODFREY H. on September 8, 2008
Format: DVD Verified Purchase
There's a very peculiar review here by one Eric A. Daily, who thinks that the eponymous Dresser is played by John Hurt. Oh no he isn't. It's Tom Courtenay, in one of his most affecting performances. I saw Courtenay play this on the London Stage nearly 30 years ago; unforgettable. By the time I saw the play, Finney had left the cast and "Sir" was played superbly by Freddie Jones, a sometimes underrated, undervalued actor who still is working on UK TV, although now in his eighties; we should be so spry. But this film boasts Albert Finney, and in him and Tom Courtenay you have two of the British theatre's -indeed the World's- greatest living actors.

As the playwright Ronald Harwood has repeatedly said, the play (and film) are based on his own experiences dressing the great, legendary, barnstorming actor Donald Wolfit, who made relatively few film appearances but whose voice was powerful enough to rattle the front-of-house chandeliers. So this is a loving and poignant elegy to a particular era and a particular style of acting that both have passsed from view. This is neither good nor bad, it's just the way things are; cyclical and ever-renewing, because tastes change and interpretations of the classic texts shift from generation to generation. However... experience tells me that when some of today's British theatrical Knights are booming their way through Shakespeare and Chekhov, the backstage corridors at the National Theatre may yet echo with passions and tensions and the creak of over-stretched egos that would sound very familiar to Sir Donald Wolfit's still-growling spectre.
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