Ohjaus:
Peter YatesKuvaus:
Kelvin PikeSävellys:
James HornerNäyttelijät:
Albert Finney, Tom Courtenay, Edward Fox, Eileen Atkins, Michael Gough, Cathryn Harrison, Lockwood West, Sheila Reid, Sandra Gough, Zena Walker (lisää)Suoratoistopalvelut (1)
Juonikuvaukset(1)
Albert Finney stars as Sir, the aging manager and lead actor of the troupe who begins to come undone from the pressure of touring in bombed-out England. The lines between reality and drama begin to fade, leading Sir into melodramatic ramblings, soothed only by the aid of his devoted dresser, Norman (Tom Courtenay). Norman is part lover, brother, mother, and whipping boy to Sir's mercurial moods, coaxing the egocentric actor through the necessary dressing-room preparations as he readies himself for his 227th performance of KING LEAR. Norman is the backstage glue that binds the troupe of eccentric actors together, calming bruised egos and demanding respect for their aging and slightly delusional leader. In true theatrical form, the show must go on, and as bombs fall on England's finest theaters, Sir leads his troupe through another command performance of Shakespeare's tragedy. (jakelijan virallinen teksti)
(lisää)Arvostelut (3)
A proper British stage play adapted into a film, celebrating acting and Shakespeare. Sometimes it’s fun, other times rather sad. Overall, however, it comes with excellent acting performances and an homage to all actors who lived in Britain at the times. I didn’t think it was bad, but it didn’t make me vibrate with enthusiasm either. It’s a classic English story with all the usual positives and negatives that films made in the UK usually have.
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The last days of life of a star from a significant theater ensemble during World War II, when the stone theaters of London were at risk of bombing and the solution became the ensemble's relocation to the countryside, where they spent most of their time in provincial stations with a stubbornly posh and affected man as their caretaker. This man has been serving the master for 20 years and he feels that it is only thanks to his care that the master has come this far, and it is only thanks to the service he provides to his master that the theater still functions. When you consider it all, British theater survives mainly thanks to the work of the caretaker and his devotion. Given that the theater provides support to the spirit of the British people and their war effort, the fate of the entire monarchy actually depends on the caretaker. The film, which shows a study of a slightly pathological relationship dependency, could have easily shifted into the realm of a dark psycho-thriller, but in the end, it remains primarily a showcase of great classical acting in the style of Shakespeare. Overall impression: 80%.
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Overall, it seemed more theatrical to me, but rather in the context of a better connection with theater, rather than a newer version. However, in terms of the emotions presented, it felt more human and believable to me. Tom Courtenay clearly outshines Albert Finney, who is also great, but the wardrobe master is the one who truly carries the film until the end.
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