I’m delighted that Glenn Close and Janet McTeer have earned Oscar nominations for their work in this striking and memorable film, but it would be a shame if all people talked about were their performances, great as they are. Albert Nobbs is a first-rate film in every respect.

ALBERT NOBBS takes us back in time to the late 19th century, and a shabby-genteel residential hotel in Dublin. The atmosphere is ripe, as the establishment is populated by colorful characters, including the self-important proprietress (Pauline Collins), a well-mannered if alcoholic doctor-in-residence (Brendan Gleeson) and various servants, including the very proper butler Mr. Nobbs. Albert is conscientious but quiet, and keeps to himself: that’s because he is, in fact, a woman. Over the course of the film we discover how and why an impoverished girl decided that her best chance of survival was to masquerade as a man.

Matthew Mungle’s makeup design for Glenn Close is extraordinarily subtle. The actress’ performance is perfectly in tune with her character, tightly controlled and completely credible.

The supporting cast is perfectly chosen. Mia Wasikowska is just right as the young, flirtatious housemaid who’s hoping to be swept off her feet by a dashing, wealthy hotel guest. Instead she falls in with a rough young fellow (Aaron Johnson) who joins the staff and exploits her, as well as Nobbs. But it’s the great stage actress Janet McTeer who turns the movie on its ear in a daring and difficult characterization that I choose not to describe, in the hope that you haven’t had all of its surprises revealed to you elsewhere.

Albert Nobbs was made on a tight budget, but it doesn’t show

Movie Crazy
Copyright Leonard Maltin

The extraordinary and haunting presence of Glenn Close is what remains with us in this poignant drama, set in 19th century Ireland about a woman whose livelihood depends on her presenting herself as a man. The sad and lonely world of Albert Nobbs is filled with secrets - secrets from the past, secrets concealed everyday and secret dreams for the future. There's a bitter-sweet resonance about the story that perfectly pitches its characters and humdrum reality as we become involved it the “Upstairs Downstairs” scenario at Dublin's luxurious Morrison's hotel.

At first we get a glimpse of life at the swish hotel, with its elegant dinners, fancy dress parties and up-market clientele, demanding the best and tipping accordingly. Those hard-earned tips, counted each night by Nobbs, are hidden under the floorboards and represent the means to his dream of buying a shop. It's good to see Pauline Collins (Shirley Valentine) back on screen in a role worthy of her talents.

Director Rodrigo García (Mother and Child) beautifully describes the reality of the staff at the Morrison and I especially like those scenes in the kitchen where they get together on a daily basis with no pretences. Mia Wasikowska is excellent as the gullible Helen, attracted by the handsome features of the apprentice boiler guy, Joe (Aaron Johnson), and who does not hesitate to use Nobbs for her own gains. The relationship between Nobbs and Helen may be the film's great flaw - I could not understand why Nobbs fails to see the flaws of this selfish and self serving girl.

Things do not play out as you might expect. There are surprises and twists in store and the poignancy of the tale is not revealed until the very end.


Urban Cinefile
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