Slow pace in the most part of the movie.

Good start, but then it gets ruined

It's fun, it's light, [but] it has a hard time when its tries to get heavy.

This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

I don't give tens easily, but this film just grabbed me by the throat and wouldn't let go. Next morning and I'm still with them. Right, let's put something right - I see review after review talking about the Blitz in London. This is based in Yorkshire - nowhere near London, but still receiving bombs, right? The accents are different, the architecture is different and the whole point of the story is that it's a touring Shakespearian company, not based in London. They are taking the bard to those in the rest of the country who are also suffering. Really!! The cast is stellar, not a dud among them. The two leads, Finney and Courtney have long been among the gods in British Acting, since the 60s I believe, and can do no wrong. They fit their roles like handmade kid gloves. Contrary to one review, I didn't catch them 'acting' at all, I felt they lived and breathed every second, and any exaggeration was totally in keeping with the character. Devoted dressers are the stuff of legends in theatre lore, and Courtney's character captures that perfectly. Finney is the epitome of the Knight of the theatre and even his poor wife doesn't wait for him following the harrowing, nail- biting cliffhanger of a performance. The SM who has quietly yearned for him for 20 years is perfect. I'm not going to list names and credits, to me the film was beautiful and of a quality that we see all too rarely nowadays, as making a huge profit takes priority to fine, delicate and gripping acting.

one of great roles of Tom Courtenay. and a splendid performance of Albert Finney. a film about Shakespeare, theater, sacrifice, need of the other and circle of life. touching. and powerful. a play who, in this adaptation, seems be a kind of parable. because not only the acting is brilliant but the atmosphere soul. a world. like an iceberg. and nuances of sacrifice as only reality. a good film. and little more. because it has the rare gift not only impress but reflect hided places of each life. the actor. and the dresser. and a subtle touching fight. against yourself and against the other. that is all. so, it is not a bad idea to see it ! not only as old movie. but as a rare gem about the things who are really important.

Acting with a capital A is the name of the game here, but of course that can be a lot of fun sometimes. Albert Finney plays an aging, senile Shakespearian actor during the Luftwaffe bombings of England of WWII. He clearly doesn't have much left in him and is nearly insane, but, man, when he goes on stage, he can play any part you ask him to the fullest. His dresser, that is the person who assists him in getting ready for the performances, is played by Tom Courtenay, a pretty obviously homosexual man with theatrical tendencies of his own, though he couldn't actually bare to go out on stage (he makes an announcement at one point to the audience and can barely speak over his stage fright). Without Courtenay, Finney wouldn't get anywhere. He is, as they say, the man behind the curtain. Most of the film takes place on a night that Finney's Shakespearian company is performing King Lear. Most of the best stuff in the film, in my opinion, takes place before the actual play starts, with Courtenay trying to coax Finney into getting ready while the rest of his company worries that he won't possibly be able to make it out on stage. And the end of the film, after the play, is quite brilliant, as well. The actual play part is really well done, too. Most of the film's actions take place off the side of the stage, where Courtenay watches and sometimes helps with sound effects. Both Finney and Courtenay are brilliant (I've often said that I'm not a fan of Finney, but he's brilliant here) and both were nominated for Oscars (and lost to Robert Duvall, deservedly). The film is both funny and emotionally moving. Ronald Harwood's screenplay, based on his own play, is brilliant, and Peter Yates' direction is wonderfully subtle. The film itself was nominated for Best Picture, and it seems to be the most forgotten of the five from 1983. It deserves to be remembered.

'The Dresser' is one of those films which are so perfect you really struggle to find something not to like about them. Written by Ronald Harwood (himself a former dresser to the legendary Donald Wolfit), it sparkles with energy and true love of life behind the footlights.As 'Sir', the overbearing actor and main focus of the play, Albert Finney is a joy to watch - whether complaining about the lack of a storm during the 'blow, winds ...' bit of 'King Lear' or chatting to his faithful stage manager, Madge (Eileen Atkins, good as ever) about the old times. As Norman, his camp dresser, Tom Courtenay gives a fabulous performance, wiggling around at the beck and call of 'Lear', collecting a bottle to go at the pub, or bitchily disparaging the former Fool, Mr Davenport-Scott (often mentioned, but never seen!).In an engaging support cast, there's Edward Fox as Oxenby (a typical arrogant second lead), Zena Walker as her Ladyship, Lockwood West as the replacement Fool, and many others.This film has great energy, bringing with it some of the greasepaint of its stage origins, it is true, but being so well-acted you don't notice. Very well done indeed.