Performer
A performer whose catalogue work here is strong, with the fuller case still to be made.
The essay
Our editors on the work, the patterns and the reason this body of work holds together.
Albert Moses appears in 5 films in the Nutevio catalogue, and none of them would work the same way without Albert. Pink Floyd: The Wall is the clearest case: a film rated 7.6 by our editors, where the performance carries weight the script only implies.
The recognisable elements are transformation, versatility, screen presence. Watch two of these films back to back and the method separates from the material — the same instrument, tuned differently for action, adventure, thriller. It is a style built on what is withheld as much as what is played.
Working with John Glen, Alan Parker, John Landis and others, Albert Moses helped set a standard other performers now audition against. Awards bodies have been slower than the work, which is usually the sign of a career built on choices rather than campaigns.
Pink Floyd: The Wall (1982) as Janitor · An American Werewolf in London (1981) as Hospital Porter · The Man Who Would Be King (1975) as Ghulam
Career snapshot
A Nutevio catalogue profile for Albert Moses.
Films in Nutevio
5
1975–1983
Career length
8 yrs
Measured across our catalogue
Academy Awards
—
Unknown
Oscar nominations
—
Unknown
Highest Nutevio score
7.6
Pink Floyd: The Wall
Average Nutevio score
7.1
Across catalogue work
Highest IMDb rating
7.9
Pink Floyd: The Wall
Most frequent director
John Glen
1 film together
Longest collaboration
1×
With John Glen
Most common genre
Adventure
3 titles
Average runtime
1h 55m
Across catalogue work
Golden Globe wins
—
Unknown
Nutevio metric
Ten weighted categories, applied identically to everyone we cover.
Nutevio Performer Score
6.9
out of 10
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio metric
Cultural impact and legacy, measured separately from craft — how far the work travelled once it left the cinema.
Nutevio Influence Score
6.5
out of 10
A quieter influence — felt inside the films rather than across the industry.
How far the work travelled past the people who saw it first.
What survives once the release-week conversation has burned off.
Institutional acknowledgement, weighted but never decisive.
Years of chosen, relevant work rather than years merely employed.
Statuettes, read as evidence rather than verdict.
Roles named without needing the film named alongside them.
Directors who wrote parts because this performer existed.
The reading other performers now have to answer.
Actor DNA
A fingerprint derived from the roles themselves — register, range and the kind of film they carry.
The shape of a career
Every performance plotted in time. Hover a point to read the title behind it.
Peak years
Where the scores, the awards and the sheer volume of work agree with each other.
Best decade
1980s
7.2 average MV
The 1980s are where the work and the material meet. Octopussy, Pink Floyd: The Wall, An American Werewolf in London — the run our editors reach for first when the argument is about range rather than fame.
Highest average Nutevio score
1980s
7.2
Across 3 catalogue films in this decade, our scores never drop below the level a career is judged on.
Highest average IMDb rating
1980s
7.2
The public agrees most strongly about this stretch — useful context, and occasionally a decade behind our own reading.
Most awarded era
1970s
0 Academy Awards
Statuettes for the films themselves, which is the honest way to read an ensemble career. The Spy Who Loved Me, The Man Who Would Be King.
Most productive era
1980s
3 films
The busiest stretch of the catalogue — volume that reads as appetite rather than availability.
Range, mapped
Genres down the side, decades across the top. Warmer cells mean stronger titles.
| Genre | 1970s | 1980s |
|---|---|---|
| Drama | 7.21 film | 7.61 film |
| Action | 6.81 film | 6.51 film |
| Thriller | 6.81 film | 6.51 film |
| Comedy | — | 7.41 film |
| Horror | — | 7.41 film |
Chronology
Firsts and peaks
The turning points, in the order they happened.
First film in Nutevio
Where our catalogue meets this career, as Ghulam.
Highest rated performance · Career peak
7.6 on the Nutevio scale, the top of the catalogue for this performer. Weighing billing against the film's own quality, this is the point where everything aligned at once.
Most recent film
1983Octopussy
The current state of the argument, as Sadruddin.
Our order
Every performance in the catalogue, ordered by Nutevio Score.
Every title
Filter by genre or decade, and compare any two titles side by side.
5 of 5 films
as Hospital Porter
Directed by John Landis
as Barman
Directed by Lewis Gilbert
From the library
Every movie and TV credit stored for this name in the Nutevio catalogue — filter by media, role or sort by rating.
Loading credits…
The defining work
#1
Janitor
Pink Floyd: The Wall (1982)
Performance score7.4
The performance the rest of the career is read through. Janitor gives Albert Moses a structure to work against, and the film hands over its centre of gravity without hesitation.
View movie#2
Hospital Porter
An American Werewolf in London (1981)
Performance score7.2
An American Werewolf in London asks for something the previous films did not, and gets it. Hospital Porter is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#3
Ghulam
The Man Who Would Be King (1975)
Performance score7.1
The Man Who Would Be King asks for something the previous films did not, and gets it. Ghulam is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#4
Barman
The Spy Who Loved Me (1977)
Performance score6.7
The Spy Who Loved Me asks for something the previous films did not, and gets it. Barman is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movieStart here
A guided path through the work, ordered so each film explains the next.
Best entry point
as Janitor
Start here. Pink Floyd: The Wall is the clearest statement of what Albert Moses does — accessible, 95 minutes, and rated 7.6 by our editors. No context required.
Our editors order this path by accessibility first and chronology second. You meet Albert at the most legible performance, then move forward in time so each film reads as a response to the one before it rather than a repetition of it.
The Man Who Would Be King (1975)
Keeps the drama register of Pink Floyd: The Wall but asks for a colder reading of it.
The Spy Who Loved Me (1977)
Keeps the adventure register of The Man Who Would Be King but asks for a colder reading of it.
An American Werewolf in London (1981)
A deliberate change of key after The Spy Who Loved Me — same instrument, unfamiliar tuning, and the reason range gets mentioned.
Octopussy (1983)
A deliberate change of key after An American Werewolf in London — same instrument, unfamiliar tuning, and the reason range gets mentioned.
Company kept
The directors and performers this career keeps returning to.
John Huston
Director
1 film together
Notably The Man Who Would Be King
Lewis Gilbert
Director
1 film together
Notably The Spy Who Loved Me
John Landis
Director
1 film together
Notably An American Werewolf in London
Alan Parker
Director
1 film together
Notably Pink Floyd: The Wall
John Glen
Director
1 film together
Notably Octopussy
Behind the camera
Who casts this performer, how often, and what the pairing produces.
Alan Parker
Director
1 film together · 7.6 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Pink Floyd: The WallJohn Landis
Director
1 film together · 7.4 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
An American Werewolf in LondonJohn Huston
Director
1 film together · 7.2 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
The Man Who Would Be KingLewis Gilbert
Director
1 film together · 6.8 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
The Spy Who Loved MeJohn Glen
Director
1 film together · 6.5 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
OctopussySix degrees
Follow the thread outward — director, film, co-star, and the film after that.
Categories of our own
Six editorial categories we apply to every performer we cover.
Most rewatchable
The Man Who Would Be King
as Ghulam
The one that survives a fourth viewing. Nothing in the performance depends on surprise, which is why it keeps paying out.
Most emotional performance
Pink Floyd: The Wall
as Janitor
Grief played at conversational volume. The film never asks the audience to cry; the performance simply makes it difficult not to.
Most influential performance
Pink Floyd: The Wall
as Janitor
You can hear this reading in other actors' auditions a decade later — the surest measure of influence there is.
Best ensemble performance
Pink Floyd: The Wall
as Janitor
Work that makes everyone else in the frame better without ever pulling the camera towards itself.
Career defining performance
Pink Floyd: The Wall
as Janitor
If the career had to be argued in a single scene, our editors would pick one from this film and rest the case.
In their films' words
“You can build a whole film around a performer who knows when not to speak. Albert Moses has known it for a long time.”
Head to head
Put two careers on the same scale and see where the argument actually sits.
Ours alone
Recognitions handed out by this desk, on criteria no awards body uses.
Adventure Legend
Awarded
3 catalogue titles in adventure, each one a reference point for the films that followed.
Our desk
Best ending, best opening, best twist and the rest — categories we apply to everyone we cover.
Best ending
An American Werewolf in London
as Hospital Porter
The last five minutes reorganise everything before them, and hold up when you already know what's coming.
Best opening
The Spy Who Loved Me
as Barman
A first sequence that states the rules of the film without explaining a single one of them.
Most emotional
Pink Floyd: The Wall
as Janitor
The film where the technique steps aside and lets the feeling arrive undefended.
Best twist
An American Werewolf in London
as Hospital Porter
A reversal earned by information the film gave you and trusted you to misread.
Best visual achievement
The Spy Who Loved Me
as Barman
Images that would survive with the sound switched off.
Best action sequence
Octopussy
as Sadruddin
Geography, stakes and consequence held in the same frame — spectacle you can follow.
Best dialogue
Pink Floyd: The Wall
as Janitor
Lines written to be spoken, staged so the pauses do half the work.
Most underrated film
Octopussy
as Sadruddin
The public vote sits below ours on this one, and the direction is the reason for the gap.
If you like this performer
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David Krumholtz
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Edward Norton
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Have your say
Community
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Reference
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