The handsome period film “Albert Nobbs” opens with Albert (Glenn Close), a butler, seen from behind. He attends to his duties at Dublin’s Morrison hotel, where he is valued for his discretion. He practically makes himself invisible in the hallway when guests are acting wildly in front of him. Hiding is what Albert does best. “He” is disguising his gender — Albert is, in fact, female — to find steady work.
Albert’s secret identity is discovered by a painter named Hubert Page (Janet McTeer), who stays overnight at the hotel. After learning of Albert’s female identity, Page agrees not to divulge his secret because “he” is employing the same gender deception.
Meanwhile, Joe (Aaron Johnson), a strapping young man, dubiously lands a job at the hotel. He romances Helen (Mia Wasikowska), a comely young maid. Joe urges Helen to accept Albert’s invitation to “walk out” with him to secure some of Albert’s money. Albert, however, hopes his relationship with Helen will lead to her working in the shop Albert hopes to open.
Oddly, and somewhat disappointingly, the film makes Albert’s interest in Helen less believable than her friendship with Hubert, who becomes Albert’s confidante and role model. “Albert Nobbs” makes the gender-equality issues interesting, but too much time is spent on Albert’s wooing Helen. Her relationship with Hubert is much more exciting. An amusing scene, featuring both Albert and Hubert wearing dresses and running on a beach, shows the strong(er) bond between women-posing-as-men.
The film also curiously addresses how these women — who transform their identities, often as a result of male abuse — work very hard to maintain their “male” identity and privilege. Their experiences are contrasted with two gay-male hotel guests who briefly, discreetly, share a secret intimacy. Although these episodes magnify the film’s points about queer sexuality and the perils of repression, they are erratically presented.
The strong performances compensate for the film’s narrative flaws. Watching the tightly wound Close not express herself is where her performance is best. As Hubert, McTeer is fantastic, stealing every scene with her vigorous performance. It is actually more interesting to watch Hubert try to figure out Albert than watching Albert work out what makes Hubert tick.
“Albert Nobbs” ends with an unexpectedly touching and suitable coda — one that conveys the messages on gender and power the film has expressed all along. However, by the time Hubert instructs Albert to “be who you are,” it feels like overkill.