A slight film of forbidden love in early sixties Dublin. There is some great period detail and some lovely funny and touching and dark scenes, but the film IS Albert Finney - a momentous performance as a gay man desperate to consummate his passion for a man he knows he cannot have, and desperate also to create beautiful things in a grey, humdrum world which just doesn't understand him. Finney is absolutely fantastic.
12 Reviews
Nice gentle film
jakob121 March 2020
Starring Albert Finney as a deeply closeted gay man who is a bus conductor in 1960s Dublin as he endeavours direct a production of Oscar Wilde's play "Salome".
It boasts a great supporting cast of Brenda Fricker, Michael Gambon, Rufus Sewell, Tara Fitzgerald and Patrick Malahide.
It boasts a great supporting cast of Brenda Fricker, Michael Gambon, Rufus Sewell, Tara Fitzgerald and Patrick Malahide.
Gentle movie going nowhere...
wisewebwoman22 March 2004
Warning: Spoilers
One wonders sometimes about these movies that have really no beginning, no middle and no end. No three acts in other words. There were lots to admire in this, magnificent cast, some occasionally great dialogue, a distinguishing theme and wonderful moments. *****minor spoilers*****But somehow it never quite comes together and leaves you feeling a little ripped off having invested your hour and three quarters wanting the pay-off. The pay-off, unfortunately, is the most contrived scene in the movie and does not feel real at all. Little threads running throughout going nowhere, so what did happen to the play then and all the wonderful bus characters on Alfred's route? Why was Adele so accepting of her fate in England? It somehow does not qualify for the "slice of life" genre either. I gave it a 7 out of 10 for the cast and the good bits but I am still puzzled by it all, unsatisfied.
Waste of Good Actors, A
Jonathan-182 April 1999
I'll be terribly original and say this is a movie with no importance. It seems the trigger for all the story, the production of Wilder's play, is the weakest part of the movie, which should have dealt more with Finney's character and the people around him, mainly, him never being in love (he's somehow perfect for the role). Tara (as Adele) is a bit annoying, as is the fact that her character's story is mostly talked about and not seen (her being pregnant and all). The end seems kind of glued to it all, a little sad-a little happy, but more than anything a disappointing meaningless ending for an incomplete movie. Albert Finney and Brenda Fricker deserve much better.
Finney's fine performance is the film
SimonJack19 May 2016
Warning: Spoilers
Albert Finney gives a superb performance at Alfred Byrne in "A Man of No Importance." An upper middle-aged man living in Belfast, he is a warm, tender-hearted person who loves the theater, literature, poetry, etc. He's also very naïve – innocent in the ways of the world, as more than one character calls him. He has never married and shares a home with his sister. He does the cooking, and works as a public bus conductor. While he appreciates the beauty of women, he is more attracted to one young man – his coworker and friend, Robbie, who drives his bus.
Alfred has organized people in the community to stage plays. Most of them are older folks – the butcher, a retiree, a housewife, and others. He's looking to stage a new play and lines up the cast one by one. In the course of this, he tries to help a young woman who is pregnant but not married. She has led him to believe that she has a boyfriend who lives elsewhere. He is shocked when he goes to visit her and breaks in on her in bed with another young man. That arouses his passion and he visits a gay bar only to be rolled and beaten by some of the patrons.
In all of this, Finney gives a fine, sensitive performance. But for his role and the good performances of others in the cast, this film would not rate much at all. The screenplay has gaping holes in it, and the story is much too disjointed. Other reviewers have noted the incomplete script. What happened to the play that was underway? What prompted Adele to up and leave all of a sudden to go to London to have her baby? Who did she know there? Albert Finney had come a long way from playing the 1963 dashing romantic rogue in "Tom Jones." Whatever role he has played, in the many genres of films he has made, he has never failed to impress audiences with his talent and joy in entertaining.
Alfred has organized people in the community to stage plays. Most of them are older folks – the butcher, a retiree, a housewife, and others. He's looking to stage a new play and lines up the cast one by one. In the course of this, he tries to help a young woman who is pregnant but not married. She has led him to believe that she has a boyfriend who lives elsewhere. He is shocked when he goes to visit her and breaks in on her in bed with another young man. That arouses his passion and he visits a gay bar only to be rolled and beaten by some of the patrons.
In all of this, Finney gives a fine, sensitive performance. But for his role and the good performances of others in the cast, this film would not rate much at all. The screenplay has gaping holes in it, and the story is much too disjointed. Other reviewers have noted the incomplete script. What happened to the play that was underway? What prompted Adele to up and leave all of a sudden to go to London to have her baby? Who did she know there? Albert Finney had come a long way from playing the 1963 dashing romantic rogue in "Tom Jones." Whatever role he has played, in the many genres of films he has made, he has never failed to impress audiences with his talent and joy in entertaining.
Moving film with wonderful performances
CountessGaviota21 December 2008
In once sense this comment is a response to some of the comments/reviews already posted here. Some reviewers were apparently looking for a message or statement from the film and felt disappointed. At times, I think the "message" can be secondary to the art of the actor or the filmmaker. Ironically, the main character in "A Man of No Importance" is passionate about "Art for Art's sake". Art doesn't have to have a point. Part of the art of this film is in the tapestry of colorful characters, wonderful dialog, and captivating performances. Albert Finney, Brenda Fricker, Michael Gambon, as one would expect from actors of their calibers, are completely convincing and real. Albert Finney's performance is perfectly calibrated, his character a combination of charming exuberance and subtly expressed confusion and loneliness.
It may be the director intended to put across a particular message about homosexuality, but to me it seems the real message and point to the film is the resilience of the human spirit throughout the experiences of isolation, loneliness, frustration, confusion, sadness, repression, etc. Attitudes about homosexuality in 1960s Dublin is one context in which to express this, but obviously it's a universal theme that can be played out in many settings.
The real challenge, and where this movie succeeds in spades, is in bringing humor, lightness, and real poignancy to the issue through a character one can genuinely like and relate to on so many levels. The credit for this is attributable to Albert Finney's brilliant acting in a film that is ultimately about the frailty and the endurance of one man, who could be any man.
One aside: the reviewer who liked the film but made the comment that it's unusual for Albert Finney to play a real person, must have not seen many of his films. Admittedly, he has often portrayed characters who are "bigger than life", but he can also quite effectively play ordinary people. I recommend the reviewer check out the following films: Saturday Night and Sunday Morning, Two for the Road, Charlie Bubbles, The Browning Version, Shoot the Moon, Rich in Love, The Playboys, Erin Brockovich, Gumshoe, The Run of the Country, Endless Game, Picasso Summer, and The Image.
It may be the director intended to put across a particular message about homosexuality, but to me it seems the real message and point to the film is the resilience of the human spirit throughout the experiences of isolation, loneliness, frustration, confusion, sadness, repression, etc. Attitudes about homosexuality in 1960s Dublin is one context in which to express this, but obviously it's a universal theme that can be played out in many settings.
The real challenge, and where this movie succeeds in spades, is in bringing humor, lightness, and real poignancy to the issue through a character one can genuinely like and relate to on so many levels. The credit for this is attributable to Albert Finney's brilliant acting in a film that is ultimately about the frailty and the endurance of one man, who could be any man.
One aside: the reviewer who liked the film but made the comment that it's unusual for Albert Finney to play a real person, must have not seen many of his films. Admittedly, he has often portrayed characters who are "bigger than life", but he can also quite effectively play ordinary people. I recommend the reviewer check out the following films: Saturday Night and Sunday Morning, Two for the Road, Charlie Bubbles, The Browning Version, Shoot the Moon, Rich in Love, The Playboys, Erin Brockovich, Gumshoe, The Run of the Country, Endless Game, Picasso Summer, and The Image.
The Film is a Sleeper
bear022013-588-6961018 May 2011
Dublin in 1960,such an ideal locale for a story such as this one.You may just kick yourself for not viewing it sooner.I would enjoy it more if it had nothing to do with Oscar Wilde..however it captured an Irish American's heart.
Albert Finney is just one, in this well cast movie blessed with David Kelley and Rufus Sewell.
The cinematography is so professional,that you can "FEEL"Dublin beneath your feet and before your eyes...and the city did feel better back then..before the Celtic Tiger came and went.
A bus man in Dublin attempts to eke more out of his hum-drum life,by following his dream of "the theater"and his life becomes full when he meets so many different characters.
This is a must see!
Albert Finney is just one, in this well cast movie blessed with David Kelley and Rufus Sewell.
The cinematography is so professional,that you can "FEEL"Dublin beneath your feet and before your eyes...and the city did feel better back then..before the Celtic Tiger came and went.
A bus man in Dublin attempts to eke more out of his hum-drum life,by following his dream of "the theater"and his life becomes full when he meets so many different characters.
This is a must see!
The Importance Of Being A Cliché
bob_bear5 August 2006
Warning: Spoilers
Yet another tale of gay doom and gloom...of another sad old closet case and his rosy cheeked ruffian of a love object...of unrequited lust with the inevitable gay-bashing episode thrown in...this time set in Dublin in 1960 - not that you'd tell from the inappropriate haircuts or Finney's dreadful accent!
What was the point...really? The film tells us nothing new. It neither illuminates or entertains. Why cast English actors faking the "Orish"? Why bother casting Brenda Fricker in such a nothing role? And as for referencing Oscar Wilde yet again? *YAWN* Change the record, why don't you?!!
Despite its "Fairytale" ending - like would his passengers really have publicly stood up for a "sodomite" in Catholic Ireland in the 60s? - Dream on! - this film plays out like a rehash of worn out old gay clichés.
Inauthentic, dull and clichéd. Not recommended.
What was the point...really? The film tells us nothing new. It neither illuminates or entertains. Why cast English actors faking the "Orish"? Why bother casting Brenda Fricker in such a nothing role? And as for referencing Oscar Wilde yet again? *YAWN* Change the record, why don't you?!!
Despite its "Fairytale" ending - like would his passengers really have publicly stood up for a "sodomite" in Catholic Ireland in the 60s? - Dream on! - this film plays out like a rehash of worn out old gay clichés.
Inauthentic, dull and clichéd. Not recommended.
A Rare Gem
fubar-213 May 1999
Normally I do not like Albert Finney. In fact I think he's one of the most overrated actors in film (I suspect his style of acting works much better on stage). This movie was an exception. For once he played a real person, and, except for one or two scenes, managed to quench his desire to gnaw at the scenery. I found myself totally identifying with the lead character for once. All of the acting is very effective, and the story is believable. A rare thing in movies. This would be a good double bill for 'My Beautiful Laundrette'. Odd that Indian's present homosexuality believably in English films, but I have never scene an Indian film even portray homosexuality (and, yes, I have seen many Indian films).
Lacked importance
Prismark1011 February 2019
A Man of No Importance is a bittersweet drama with no substance.
Set in a conservative world of Catholic Dublin in 1963. Alfred Byrne (Albert Finney) is a middle aged bus conductor who charms his passengers with poetry. He irritates the ticket inspector by covering up for passengers who did not pay for a ticket.
Bryne has an attraction for the new handsome young bus driver Robbie Fay (Rufus Sewell.) A pretty young woman Adele (Tara Fitzgerald) inspires him to attempt to stage Oscar Wilde's Salome with his ad hoc amaetur dramatics company.
Byrne's sister Lily (Brenda Fricker) always tries to set him up with a woman, not knowing that her bookish brother is a closeted homosexual.
The dim local butcher (Michael Gambon) wants the salacious and blasphemous play not to open in the church hall. He later torments Byrne.
Albert Finney gives a sensitive performance of a man for whom love and even close companionship has been elusive. Director Suri Krishnamma sets a wonderful tone with the period setting.
However the script lacks sharpness and is so sketchy with the story and characters. It actually wastes its cast.
Set in a conservative world of Catholic Dublin in 1963. Alfred Byrne (Albert Finney) is a middle aged bus conductor who charms his passengers with poetry. He irritates the ticket inspector by covering up for passengers who did not pay for a ticket.
Bryne has an attraction for the new handsome young bus driver Robbie Fay (Rufus Sewell.) A pretty young woman Adele (Tara Fitzgerald) inspires him to attempt to stage Oscar Wilde's Salome with his ad hoc amaetur dramatics company.
Byrne's sister Lily (Brenda Fricker) always tries to set him up with a woman, not knowing that her bookish brother is a closeted homosexual.
The dim local butcher (Michael Gambon) wants the salacious and blasphemous play not to open in the church hall. He later torments Byrne.
Albert Finney gives a sensitive performance of a man for whom love and even close companionship has been elusive. Director Suri Krishnamma sets a wonderful tone with the period setting.
However the script lacks sharpness and is so sketchy with the story and characters. It actually wastes its cast.
Surprisingly dull stuff
bob the moo1 September 2006
In 1963's Dublin Alfred Byrne is a bus conductor who pleasures his working class passengers with poetry recitals as he punches their tickets. Head of a local theatre group, Byrne is inspired by meeting new passenger Adele Rice to drop his plans to do Importance of Being Earnest and instead go up with Salome. With the challenges to the material from those who would usually support him, Byrne also faces much more negative attention than he would usually like as various truths and secrets come out.
Although the plot does have some interesting aspects to it, it is hard to ignore how average a fist it makes of this story. The threads are there to be delivered and at its heart is Byrne, who is a complex character and one that could have been more interesting. Sadly Krishnamma cannot seem to bring this out of the script with any degree of sharpness. Although I get the idea of the mood and tone that the director was going for, the effect it has is to slow the film right down to the point where it crawls and is surprisingly unengaging. Visually the film has a nice feel of the period but the drab looks again tend to drag the film down a bit.
On paper the cast suggests that they can lift the material themselves but surprisingly nobody does and many of them deserved better. Finney's accent is pretty awful (which didn't help anything) and although he has a certain dignity befitting the character, and brings out some pain, he is never as convincing as he should have been. Fricker, Gambon, Sewell and Fitzgerald are mostly OK but they are given little to do in this film.
A fairly uninspiring affair then. There are things of interest in here but they aren't delivered that well and the film is surprisingly dull.
Although the plot does have some interesting aspects to it, it is hard to ignore how average a fist it makes of this story. The threads are there to be delivered and at its heart is Byrne, who is a complex character and one that could have been more interesting. Sadly Krishnamma cannot seem to bring this out of the script with any degree of sharpness. Although I get the idea of the mood and tone that the director was going for, the effect it has is to slow the film right down to the point where it crawls and is surprisingly unengaging. Visually the film has a nice feel of the period but the drab looks again tend to drag the film down a bit.
On paper the cast suggests that they can lift the material themselves but surprisingly nobody does and many of them deserved better. Finney's accent is pretty awful (which didn't help anything) and although he has a certain dignity befitting the character, and brings out some pain, he is never as convincing as he should have been. Fricker, Gambon, Sewell and Fitzgerald are mostly OK but they are given little to do in this film.
A fairly uninspiring affair then. There are things of interest in here but they aren't delivered that well and the film is surprisingly dull.
Byrne's Thespians
ygwerin113 February 2019
Warning: Spoilers
Albert Finney is a great actor and I haven't seen enough of his films, I just caught this one by accident and I'm glad I did.
I really like the film its great story and it has a good collection of colourful characters played by brilliant actors.
It was good to see David Kelly playing (Christy Ward) other than the 'cod Irish man', in daft comedies like A man about the house.
It's not that complicated to follow the storyline, one just needs to watch the film.
Alfred Byrne (Albert Finney) is trying to put on a play entitled Salome by Oscar Wilde. He cons the priest into allowing the use of the church hall for rehearsals. Carney the butcher (Michael Gambon) was in the play until he actually started to read the story. He then considered it salacious and tried to get evidence, by convincing Lily Byrne (Brenda Fricker) to help by searching her brother Alfred's room. Carney convinced the priest and parish committee of the plays nature, and they decided to withdraw permission for the halls use, making Albert Byrne unable to put on the play.
Albert Byrne is unwise in his choice of venue for his coming out, and gets duffed up for his pains. Bus Inspector Carson rounds on Byrne saying Robbie Fay (conductor on Byrnes bus) knew Byrne "for what he was, and had left him".
Carney tried to turn Christy Ward and fellow thespians and bus passengers against Alfred Byrne and betray him.
But none of it worked, Byrne's actors decided instead to stand by him. Robbie Fay returned saying that he was transferred. He said he did not care about what Carson had said, that Byrne was his mate. He was interested in the play, he knew who Bosie was (Oscar Wildes friend and infatuation. Byrne had continually called Fay Bosie) and that it didn't matter.
Adele Rice (the star of Byrne's play Salome) decided to leave Dublin for England, with her unborn child. Why? This was not an uncommon situation for pregnant women, especially in the 1960s, to try and escape provincial Ireland, in the hope of starting a new life in England.
It was good to see David Kelly playing (Christy Ward) other than the 'cod Irish man', in daft comedies like A man about the house.
It's not that complicated to follow the storyline, one just needs to watch the film.
Alfred Byrne (Albert Finney) is trying to put on a play entitled Salome by Oscar Wilde. He cons the priest into allowing the use of the church hall for rehearsals. Carney the butcher (Michael Gambon) was in the play until he actually started to read the story. He then considered it salacious and tried to get evidence, by convincing Lily Byrne (Brenda Fricker) to help by searching her brother Alfred's room. Carney convinced the priest and parish committee of the plays nature, and they decided to withdraw permission for the halls use, making Albert Byrne unable to put on the play.
Albert Byrne is unwise in his choice of venue for his coming out, and gets duffed up for his pains. Bus Inspector Carson rounds on Byrne saying Robbie Fay (conductor on Byrnes bus) knew Byrne "for what he was, and had left him".
Carney tried to turn Christy Ward and fellow thespians and bus passengers against Alfred Byrne and betray him.
But none of it worked, Byrne's actors decided instead to stand by him. Robbie Fay returned saying that he was transferred. He said he did not care about what Carson had said, that Byrne was his mate. He was interested in the play, he knew who Bosie was (Oscar Wildes friend and infatuation. Byrne had continually called Fay Bosie) and that it didn't matter.
Adele Rice (the star of Byrne's play Salome) decided to leave Dublin for England, with her unborn child. Why? This was not an uncommon situation for pregnant women, especially in the 1960s, to try and escape provincial Ireland, in the hope of starting a new life in England.
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