Albert Nobbs

February 3, 2012
Reviewed by Marc Glassman

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Albert Nobbs
Rodrigo Garcia, director
Glenn Close & John Banville, script based on a short story by George Moore
Starring: Glenn Close (Albert Nobbs), Mia Wasikowska (Helen Dawes), Janet McTeer (Hubert Page), Aaron Johnson (Joe), Pauline Collins (Mrs. Baker), Brenda Fricker (Polly), Jonathan Rhys Meyers (Viscount Yarrell), Brendan Gleeson (Dr. Holloran), Maria Doyle Kennedy (Mary), Bronagh Gallagher (Cathleen)

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The buzz
The hype on the film is quite good particularly since Glenn Close was nominated for a Best Leading Actress Oscar as Albert Nobbs and Janet McTeer accompanied her as a Best Supporting Actress nominee. The film is also, and appropriately, nominated for Best Makeup. The duo of Close and McTeer were also nominated for Golden Globes and though they didn’t win, their performances helped to focus popular attention on the film.

A passion project for veteran thespian Close, who played the title role on stage in 1982, Albert Nobbs has certainly generated interest, especially due to its cross-dressing plot premise. Both Close and McTeer play women acting as men so they can avoid the sexism rampant in 19th century Ireland (and everywhere else in the world). Adding literary luster to the proceedings is the presence of Man Booker Prize winner John Banville as the main scriptwriter, adapting a story by acclaimed Irish novelist George Moore.

The genres and themes
Historical romance; cross-dressing and role-playing; literary adaptation

The plot and premise
Albert Nobbs, a discreet and ultra conservative waiter in a Dublin hotel during the latter part of the 19th century, is forced to share his bed with house painter Hubert Page. That night, Page discovers Nobbs’ secret: “he” is a woman. Overcome with fear that Page will reveal the truth, Nobbs pesters the painter the next day until a second secret is exposed. Page, too, is a woman, passing as a man for much the same reasons as Nobbs—to get a job and not be harassed by men.

Nobbs’ world is the hotel and its inhabitants: gentry like Viscount Yarrell, a haughty, handsome regular visitor; the hotel’s willful but endearing proprietor Mrs. Baker; the house doctor, Holloran and the servants—the flirtatious Helen Doyle, the lovely and somewhat older Mary and the new maintenance man, the good-looking but rebellious Joe.

Joe and Helen are soon having a passionate affair, which starts off well, but soon deteriorates into friction over the couple’s lack of funds and opportunities in Ireland. Meanwhile, Nobbs visits Page at home, where the painter has a wife, Cathleen. At Page’s urging, Nobbs reveals her dream of opening a tobacconist’s shop with his savings. Page suggests that Nobbs approach Helen to be his wife and shopkeeper.

Typhus hits Dublin killing many people including Page’s Cathleen and some of the hotel’s staff. The hotel is near ruin as all the regular guests depart. Although Helen agrees to “walk with” Nobbs, nothing comes of their relationship, as the waiter is too cautious to make a physical approach on the beautiful young maid.

Eventually, Helen becomes pregnant and Joe, after hesitating, decides to abandon her and Ireland for America. In the ensuing fight, which involves Nobbs, Helen, Joe and most of the staff, their fates are decided.

The performances
Outstanding. Close is a marvel of restraint as Nobbs and she’s more than matched by McTeer, whose brazen presence is more “masculine”—a perfect counterpart to the repressed titular character.
Wasikowska is excellent as Helen; after this lively performance and her marvelous work in Jane Eyre, it’s fair to say that she’s one of the finest emerging actors in cinema.

The direction
Rodrigo Garcia, the son of esteemed novelist Gabriel Garcia Marquez, knows how to direct a literary adaptation. With a script by John Banville and Close, this film is strong on performances and atmosphere. This isn’t the cinema of George Lucas or Michael Bay; the direction quietly serves the script with impeccable taste.

The skinny
Albert Nobbs is a prestige production, boasting fine acting and impressive literary credentials. That will ensure a niche audience; so will the theme of cross-dressing.

Will it go bigger than that? Only if Close wins the Oscar—and I’m afraid that her prospects aren’t good, thanks to great work in higher profile films by Meryl Streep (The Iron Lady) and Michelle Williams (My Week with Marilyn).

This is a film that can be enjoyed in the theatre or—just as likely—on DVD or TV. Judge accordingly.