This film is mildly recommended.
Not only is Albert Nobbs an odd little man, it's an odd little movie too. Based on a modest Off-Broadway show that starred a younger Glenn Close in the title role, the film was always a pet vanity project for the actress, who produced the film as well. It is obvious that the central character's dilemma and the script's feminist viewpoint appealed to the actress ( who also co- wrote the screenplay with John Banville ). But, on screen, Albert is rather unappealing and his / her rationale to become a cross-dresser in late 19th century Ireland seems like a rather flimsy financial excuse for such a drastic lifestyle makeover.
Ms. Close portrays Mr. Nobbs in a very restrained manner. She becomes the manservant, with an emphasis on the first syllable in this case, a man who wants to go unnoticed, earn his keep, and save his money for a future investment. Yes, she's caught up a male dominated society, but other women still owned property and attained wealth without the need of disguises. So this method of masquerade becomes slightly suspect, serving more as a plot device than a customary way of achieving one's goals.
With so much riding on the gender switch, the physical transformation of Mr. Nobbs is so crucial to the film's success. The angularity of Ms. Close's facial features downplays her more feminine traits and, with expert make-up and prosthetics, compliments the male side of the character. ( Special praise goes to Martial Corneville, Lynn Johnston, and Matthew W. Mungle on their creative and believable contributions to the film. ) The final result is a slight and homely man, a Casper Milquetoast type of less-than-manly proportions. The filmmakers want the movie audience to automatically root for this meek and milky white 98 lb. weakling. I didn't. The character of Albert remained too lifeless and emotionally bland, and a bit problematic in an underwritten role for me to truly care.
This is not the fault of the actress who gives a flawless performance with her flawed character. Rather, it's the script that fails to fully develop the film's characters and its story, allowing subplots and minor characters to become preachy and melodramatic in words and actions.
Ms. Close does bring to this timid soul a steely reserve and highlights his anxiety in most subtle ways. ( In perhaps her best scene, Albert's walk of freedom on the beach is so beautifully rendered and the actress masterfully shows her conflicted viewpoint without words. ) Yet I kept questioning Albert's choice to live an on-going lie on a daily basis. How can such a character ever find true happiness and live a full life? Is money that all encompassing and worth the sacrifice of sexual identity? This interpretation exacts a toll on its main character, who seems chiefly concerned with his own personal profit and pleasures. The film becomes more convoluted when asexual Albert begins to develop feelings for a cute and unsuspecting chambermaid, played by Mia Wasikowska, who is herself attracted to a handsome and available cad named Joe ( Aaron Johnson ). Can Albert be that delusional about his sense of self and his future goals? HIs motivations are never explained, only inferred.
Later, Albert befriends a painter named Hubert Page, also a woman disguised as a man, but he / she is the direct opposite of Albert: a person full of life, happy and unafraid, a woman in love and involved in a positive lesbian relationship. This character is so much more interesting and is played to the hilt by Janet McTeer. McTeer's much more showier role upstages our hero and sends the film off-kilter from the moment she enters the story. She quickly energizes the film, especially since Rodrigo Garcia directs this moralistic tale in a deliberately slower pace than needed, which only makes Albert Nobbs ( the character ) and Albert Nobbs ( the movie ) become the ultimate drag. ( Pardon the pun, I just couldn't resist the urge. Do I hear an amen, sister? )
Still the film boasts two of the strongest female performances this year and is worth seeing just for their nuanced portrayals. Albert Nobbs wants the moviegoer to empathize and care for its central character, but its message is as confused and addled as its hero/ heroine. GRADE: B-
NOTE: Visit my movie blog for more reviews: www.dearmoviegoer.com
Not only is Albert Nobbs an odd little man, it's an odd little movie too. Based on a modest Off-Broadway show that starred a younger Glenn Close in the title role, the film was always a pet vanity project for the actress, who produced the film as well. It is obvious that the central character's dilemma and the script's feminist viewpoint appealed to the actress ( who also co- wrote the screenplay with John Banville ). But, on screen, Albert is rather unappealing and his / her rationale to become a cross-dresser in late 19th century Ireland seems like a rather flimsy financial excuse for such a drastic lifestyle makeover.
Ms. Close portrays Mr. Nobbs in a very restrained manner. She becomes the manservant, with an emphasis on the first syllable in this case, a man who wants to go unnoticed, earn his keep, and save his money for a future investment. Yes, she's caught up a male dominated society, but other women still owned property and attained wealth without the need of disguises. So this method of masquerade becomes slightly suspect, serving more as a plot device than a customary way of achieving one's goals.
With so much riding on the gender switch, the physical transformation of Mr. Nobbs is so crucial to the film's success. The angularity of Ms. Close's facial features downplays her more feminine traits and, with expert make-up and prosthetics, compliments the male side of the character. ( Special praise goes to Martial Corneville, Lynn Johnston, and Matthew W. Mungle on their creative and believable contributions to the film. ) The final result is a slight and homely man, a Casper Milquetoast type of less-than-manly proportions. The filmmakers want the movie audience to automatically root for this meek and milky white 98 lb. weakling. I didn't. The character of Albert remained too lifeless and emotionally bland, and a bit problematic in an underwritten role for me to truly care.
This is not the fault of the actress who gives a flawless performance with her flawed character. Rather, it's the script that fails to fully develop the film's characters and its story, allowing subplots and minor characters to become preachy and melodramatic in words and actions.
Ms. Close does bring to this timid soul a steely reserve and highlights his anxiety in most subtle ways. ( In perhaps her best scene, Albert's walk of freedom on the beach is so beautifully rendered and the actress masterfully shows her conflicted viewpoint without words. ) Yet I kept questioning Albert's choice to live an on-going lie on a daily basis. How can such a character ever find true happiness and live a full life? Is money that all encompassing and worth the sacrifice of sexual identity? This interpretation exacts a toll on its main character, who seems chiefly concerned with his own personal profit and pleasures. The film becomes more convoluted when asexual Albert begins to develop feelings for a cute and unsuspecting chambermaid, played by Mia Wasikowska, who is herself attracted to a handsome and available cad named Joe ( Aaron Johnson ). Can Albert be that delusional about his sense of self and his future goals? HIs motivations are never explained, only inferred.
Later, Albert befriends a painter named Hubert Page, also a woman disguised as a man, but he / she is the direct opposite of Albert: a person full of life, happy and unafraid, a woman in love and involved in a positive lesbian relationship. This character is so much more interesting and is played to the hilt by Janet McTeer. McTeer's much more showier role upstages our hero and sends the film off-kilter from the moment she enters the story. She quickly energizes the film, especially since Rodrigo Garcia directs this moralistic tale in a deliberately slower pace than needed, which only makes Albert Nobbs ( the character ) and Albert Nobbs ( the movie ) become the ultimate drag. ( Pardon the pun, I just couldn't resist the urge. Do I hear an amen, sister? )
Still the film boasts two of the strongest female performances this year and is worth seeing just for their nuanced portrayals. Albert Nobbs wants the moviegoer to empathize and care for its central character, but its message is as confused and addled as its hero/ heroine. GRADE: B-
NOTE: Visit my movie blog for more reviews: www.dearmoviegoer.com