Going into Albert Nobbs at the Toronto International Film Festival, I think my anticipation for Glenn Close's performance was high. There was a lot of early Oscar buzz going for the film, and it was the key reason I ventured into the packed final screening of the film. And now, almost two weeks later, I still feel a lot of regret for giving into the hype.
Albert Nobbs (Close) leads a simple life as a butler at a fancy hotel in turn of the century Dublin. But he is hiding a secret: he is actually a she, staying low-key while she raises enough money to start a tobacco shop. With the appearance of Hubert Page (Janet McTeer), a painter who hides a similar secret, Nobbs realizes she needs to come out of her shell a bit more and start planning her future.
I desperately wanted to adore Albert Nobbs, but after the initial play-like introduction to all of the main players (in one scene no less), I found myself horrifically bored from start to finish. Remember the stuffy British period pieces you loathe the very existence of, and were hoping were completely extinct? I am sorry to report they are alive and well. The film moves at a snail's pace, going through Nobb's attempt at prepping to move on and stop hiding. It goes through a few incredibly odd subplots, one namely involving a pretty house maid named Helen (Mia Wasikowska), but feels badly cobbled together. It is based on a critically acclaimed play that Close had previously starred in and feels like it is stuck within the confines of that pace and structure. I realize they wanted to stay true to the original source material, but I am confident in saying that we have seen enough films based on musicals and plays to know that it is not hard to think outside the box and make something a bit different and more inclined to the medium.
For all the early Oscar talk, it disappoints me to say that Close's performance is good but nothing truly extraordinary. She is incredibly convincing as the titular character, looking nearly unrecognizable for a good portion of the film. She plays Nobbs as a timid introvert, who has an underlying fear that plagues her every move. She does want her true identity to be revealed, and must constantly downplay everything. It may seem like an incredibly layered role, but outside of some atypical glances, there is really nothing special about Close. Her character wants to hide in plain sight, and not do anything to draw attention to herself. But this affects Close's performance immensely, because it never gives her the opportunity to make something of this character. Mere glances and passing references to something truly brilliant are apparent, but I found myself really struggling to care about the character. Much like the film, paying attention to Nobbs bordered on excruciatingly boring.
McTeer as Page however, the other woman playing a man in this grand play, is the exact opposite. I had heard very little about her before the film, but found myself unable to look away when she entered the frame. She has a sassy wit about her, and truly enlivens the characters and every second-rate line that comes out of her mouth. She is the catalyst for change in Nobb's life, but she too is doing her best not to draw attention to herself. Yet somehow, she does not slog through the performance like Close does. She truly makes something of the character, and carves out something interesting and fun to watch develop. It is not surprising at all surprising to find that she provides the most emotional scenes in the movie, b both downright hilarious and incredibly sad. I just wish there was more focus on her character, as she only appears in a handful of scenes. Fortunately they are the best scenes in the entire film, but they come way too far and few between.
Wasikowska and Aaron Johnson are the only other two actors who do not spend their screen time eliciting minor laughs from the crowd (although Pauline Collins is an underplayed delight as Mrs. Baker, the head of the hotel where most of the action takes place). While they have both given significantly better performances in other films, they both deliver some fairly solid work here. They have to chisel through some absolutely obnoxious and dull character motivations and actions, but they still shine through in most cases. I appreciated their work here more than I actually enjoyed it, but I think it could have been improved if they were not stuck working within the confines of the script.
Story and acting issues aside, the art direction is simply marvelous. The look of Dublin is so rich and vivid that you can practically smell the putrid stench coming off of these streets. A lot of care was put into making these sets and costumes look as detailed as physically possible, and it shows in how great they look. I sat in awe in more than one occasion, ignoring the inane dialogue and just taking in the scenery.
While I think the laughs that made The King's Speech such a crowd-pleasing delight last year may have had a bit of an influence on at least a portion of Albert Nobbs, I really wish they took more of a directional cue from the Best Picture winner. As it is, Nobbs is the kind of stuffy, pretentious period piece that most filmgoers love to hate. It is incredibly boring, with a lot of useless side performances and only a few good performances that still manage to be dull. The only real saving grace here is a wildly enjoyable supporting turn from McTeer, who will surely not see that enthusiasm go to waste when the awards time arrives. Maybe I should not have expected so much.
6/10.
Albert Nobbs (Close) leads a simple life as a butler at a fancy hotel in turn of the century Dublin. But he is hiding a secret: he is actually a she, staying low-key while she raises enough money to start a tobacco shop. With the appearance of Hubert Page (Janet McTeer), a painter who hides a similar secret, Nobbs realizes she needs to come out of her shell a bit more and start planning her future.
I desperately wanted to adore Albert Nobbs, but after the initial play-like introduction to all of the main players (in one scene no less), I found myself horrifically bored from start to finish. Remember the stuffy British period pieces you loathe the very existence of, and were hoping were completely extinct? I am sorry to report they are alive and well. The film moves at a snail's pace, going through Nobb's attempt at prepping to move on and stop hiding. It goes through a few incredibly odd subplots, one namely involving a pretty house maid named Helen (Mia Wasikowska), but feels badly cobbled together. It is based on a critically acclaimed play that Close had previously starred in and feels like it is stuck within the confines of that pace and structure. I realize they wanted to stay true to the original source material, but I am confident in saying that we have seen enough films based on musicals and plays to know that it is not hard to think outside the box and make something a bit different and more inclined to the medium.
For all the early Oscar talk, it disappoints me to say that Close's performance is good but nothing truly extraordinary. She is incredibly convincing as the titular character, looking nearly unrecognizable for a good portion of the film. She plays Nobbs as a timid introvert, who has an underlying fear that plagues her every move. She does want her true identity to be revealed, and must constantly downplay everything. It may seem like an incredibly layered role, but outside of some atypical glances, there is really nothing special about Close. Her character wants to hide in plain sight, and not do anything to draw attention to herself. But this affects Close's performance immensely, because it never gives her the opportunity to make something of this character. Mere glances and passing references to something truly brilliant are apparent, but I found myself really struggling to care about the character. Much like the film, paying attention to Nobbs bordered on excruciatingly boring.
McTeer as Page however, the other woman playing a man in this grand play, is the exact opposite. I had heard very little about her before the film, but found myself unable to look away when she entered the frame. She has a sassy wit about her, and truly enlivens the characters and every second-rate line that comes out of her mouth. She is the catalyst for change in Nobb's life, but she too is doing her best not to draw attention to herself. Yet somehow, she does not slog through the performance like Close does. She truly makes something of the character, and carves out something interesting and fun to watch develop. It is not surprising at all surprising to find that she provides the most emotional scenes in the movie, b both downright hilarious and incredibly sad. I just wish there was more focus on her character, as she only appears in a handful of scenes. Fortunately they are the best scenes in the entire film, but they come way too far and few between.
Wasikowska and Aaron Johnson are the only other two actors who do not spend their screen time eliciting minor laughs from the crowd (although Pauline Collins is an underplayed delight as Mrs. Baker, the head of the hotel where most of the action takes place). While they have both given significantly better performances in other films, they both deliver some fairly solid work here. They have to chisel through some absolutely obnoxious and dull character motivations and actions, but they still shine through in most cases. I appreciated their work here more than I actually enjoyed it, but I think it could have been improved if they were not stuck working within the confines of the script.
Story and acting issues aside, the art direction is simply marvelous. The look of Dublin is so rich and vivid that you can practically smell the putrid stench coming off of these streets. A lot of care was put into making these sets and costumes look as detailed as physically possible, and it shows in how great they look. I sat in awe in more than one occasion, ignoring the inane dialogue and just taking in the scenery.
While I think the laughs that made The King's Speech such a crowd-pleasing delight last year may have had a bit of an influence on at least a portion of Albert Nobbs, I really wish they took more of a directional cue from the Best Picture winner. As it is, Nobbs is the kind of stuffy, pretentious period piece that most filmgoers love to hate. It is incredibly boring, with a lot of useless side performances and only a few good performances that still manage to be dull. The only real saving grace here is a wildly enjoyable supporting turn from McTeer, who will surely not see that enthusiasm go to waste when the awards time arrives. Maybe I should not have expected so much.
6/10.