We had some sad news on Christmas Day. Renowned playwright, screenwriter, poet, and Nobel Laureate (for literature) Harold Pinter lost his battle with cancer. Simply put, his demise represents a great loss to the art of the written word. Indeed, “Pinteresque” has become part of the lexicon in the world of movie and theater criticism. For deeper background on his overall achievements in the arts (and his political activism), I will defer to the insightful and well-researched tribute posted by one of our long-time Hullabaloo supporters, film critic and author David Ehrenstein, over on his website.
If I had to pick my favorite Pinter screenplay, it would be his masterpiece of sublimated loathing, the 1963 British drama, The Servant, which I consider to be the best of his several collaborations with director Joseph Losey. There are no axe murderers lurking in the closet, but this decadent class-struggle allegory matches Polanski’s Repulsion as a classic of psychological horror. Dirk Bogarde delivers a note perfect performance as a “manservant” hired by snobby playboy James Fox (in his screen debut) to help him settle into his new upscale London digs. It soon becomes apparent that this butler has a little more on the agenda than just polishing silverware and dusting the mantle. Actors talk about giving the character “an inner life”-just keep an eye on Bogarde’s facial expressions and watch a craftsman at work. A young and alluring Sarah Miles is memorable as Bogarde’s “sister” who is hired as the maid. The expressive chiaroscuro cinematography sets an increasingly claustrophobic mood as the story progresses; watch for the clever use of convex mirrors to “trap” the images of the principal characters. BTW, if you happen to be a fan of the 1960’s British folk scene, you’ll want to keep your eyes peeled for a brief, unbilled, rare glimpse of guitarist Davey Graham (who composed the classic instrumental piece “Anji”), playing and singing in a scene where James Fox strolls into a coffeehouse.
