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The Servant (1963)

 -  Drama  -  16 March 1964 (USA)
7.9
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Ratings: 7.9/10 from 4,782 users   Metascore: 93/100
Reviews: 51 user | 34 critic | 8 from Metacritic.com

The aristocratic Tony moves to London and hires the servant Hugo Barrett for all services at home. Barrett seems to be a loyal and competent employee, but Tony's girlfriend Susan does not ... See full summary »

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Title: The Servant (1963)

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Won 3 BAFTA Film Awards. Another 7 wins & 6 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
Barrett
...
Vera
Wendy Craig ...
Susan
...
Tony
Catherine Lacey ...
Lady Mounset
Richard Vernon ...
Lord Mounset
Ann Firbank ...
Society Woman
Doris Knox ...
Older Woman
Patrick Magee ...
Bishop
Jill Melford ...
Younger Woman
Alun Owen ...
Curate
Harold Pinter ...
Society Man
Derek Tansley ...
Head Waiter
Brian Phelan ...
Man in Pub
Hazel Terry ...
Woman in Bedroom
Edit

Storyline

The aristocratic Tony moves to London and hires the servant Hugo Barrett for all services at home. Barrett seems to be a loyal and competent employee, but Tony's girlfriend Susan does not like him and asks Tony to send him away. When Barrett brings his sister Vera to work and live in the house, Tony has a brief hidden affair with her. After traveling with Susan for spending a couple of days in a friend's house outside London, the couple unexpectedly returns and finds Barrett and Vera, who are actually lovers, in Tony's room. They are fired and Susan breaks with Tony. Later, Tony meets Barrett alone in a pub and hires him back, and Barrett imposes his real dark intentions in the house, turning the table and switching position with his master. Written by Claudio Carvalho, Rio de Janeiro, Brazil

Plot Summary | Add Synopsis

Taglines:

A Terrifyingly Beautiful Motion Picture!

Genres:

Drama

Certificate:

Unrated | See all certifications »
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Details

Country:

Language:

Release Date:

16 March 1964 (USA)  »

Also Known As:

The Servant  »

Box Office

Opening Weekend:

$3,426 (USA) (23 August 2013)

Gross:

$35,748 (USA) (6 September 2013)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.66 : 1
See  »
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Did You Know?

Trivia

The first of Harold Pinter's three film collaborations with Joseph Losey. The other two were Accident (1967) and The Go-Between (1970). See more »

Goofs

When Barrett is bringing Susan and Tony their meal, the cameraman's reflection can be briefly seen in the shiny silver lid on the tray. See more »

Quotes

[first lines]
Hugo Barrett: Excuse me, sir. My name is Barrett, sir.
Tony: Oh God, of course. I'm so sorry. I fell asleep. We've got an appointment.
Hugo Barrett: Yes, sir.
Tony: What time?
Hugo Barrett: 3'o clock, sir.
Tony: And what time is now?
Hugo Barrett: 3'o clock, sir.
Tony: Uh, it was too many beers at lunch, that's what it is. Do you drink beer?
Hugo Barrett: No. No, I don't sir.
[...]
See more »

Connections

Referenced in Z Channel: A Magnificent Obsession (2004) See more »

Soundtracks

All Gone
Music by John Dankworth
Lyrics by Harold Pinter
Performed by Cleo Laine
See more »

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User Reviews

 
Power Plays
9 January 2004 | by (Cleveland, Ohio) – See all my reviews

About midpoint Tony's girlfriend Susan asks servant Hugo, "What do you want from this house?" It's a direct and pointed question that's ambiguously answered ("I'm just the servant, mum.")

That ambiguity carries the dramatic tension along its murky but intriguing path, as a strange play of power and manipulation unfolds. Yet after a series of quirkly developments transpire and the tables of manservant and master are reversed, what's the real gain?

What was there in the house in the first place that was worth all the fuss and bother to acquire? Satisfaction of taking over the master role?

Whatever the goal, it all seems a tawdry victory. After the shoe's on the other foot and a few points are scored in this cheesy power game, where's the spoil?

What does drive this drama is Pinter's genius for inventing small talk that gives the illusion of grandeur Losey's direction is right on the mark, and the production design, score, photography--and the acting--are all top drawer.

As in his subversive play, "The Homecoming," Pinter manages to hold the attention with his unique pregnant pauses and hypnotic ambiance, which are actually illusionary. It could be a play about something very important or about nothing.

One thing is for certain: once "The Servant" is seen, one never quite forgets it.

This remains Dirk Bogarde's defining cinematic role.




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