In this summer blockbuster season of franchise overkill and souped-up CGI decadence, it’s not hard to crave the more understated, yet still electric thrill that can be found in watching two performers encircle one another, building in intensity with every exchanged snatch of dialogue, exploring their respective ranges through mere interaction.
The Dresser, Starz’s stately entrance into the original filmmaking game, is an archetypal reminder of what makes those sorts of movies, when done right, so inherently cinematic. Two-handers are a classic of real, performance-driven entertainment, and with the starry one-two punch of Sirs Ian McKellen and Anthony Hopkins leading this latest take on the Ronald Harwood play, The Dresser goes for the theatric jugular early on, with an extended conversation between steadfast backstage assistant Norman (McKellen) and his boss’s quietly miserable wife (Emily Watson) that effortlessly lays out the main drama.
Norman is the long-suffering yet consummately devout attendant to “Sir,...
The Dresser, Starz’s stately entrance into the original filmmaking game, is an archetypal reminder of what makes those sorts of movies, when done right, so inherently cinematic. Two-handers are a classic of real, performance-driven entertainment, and with the starry one-two punch of Sirs Ian McKellen and Anthony Hopkins leading this latest take on the Ronald Harwood play, The Dresser goes for the theatric jugular early on, with an extended conversation between steadfast backstage assistant Norman (McKellen) and his boss’s quietly miserable wife (Emily Watson) that effortlessly lays out the main drama.
Norman is the long-suffering yet consummately devout attendant to “Sir,...
- 5/31/2016
- by Isaac Feldberg
- We Got This Covered
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