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 »
Stephen is a married Oxford professor experiencing the pangs of a mid-life crisis as he begins to bristle at the stifling emotional repression of the society in which he lives. Things begin... See full summary »
Paris, 1942. Robert Klein cannot find any fault with the state of affairs in German-occupied France. He has a well-furnished flat, a mistress, and business is booming. Jews facing ... See full summary »
Screen adapatation of Mozart's greatest opera. Don Giovanni, the infamous womanizer, makes one conquest after another until the ghost of Donna Anna's father, the Commendatore, (whom ... See full summary »
An ex-con who's taken part in the robbery of a racetrack is caught and sent back to prison, but he won't tell his fellow gang members where he's stashed the loot. The gang kidnaps his ... See full summary »
A psychotherapist attempts to rehabilitate a convict in his home after he breaks in. The criminal cooperates rather than being handed over to the police. The therapist's wife becomes ... See full summary »
In Northern England in the early 1960s, Frank Machin is mean, tough and ambitious enough to become an immediate star in the rugby league team run by local employer Weaver. Machin lodges ... See full summary »
Two escaped convicts (Robert Shaw and Malcolm McDowell) are on the run in an unnamed Latin American country. But everywhere they go, they are followed and hounded by a menacing black ... See full summary »
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
Originally planned as a film by a different director, Michael Anderson. It was he who commissioned Harold Pinter to write the script, in 1961. When Anderson dropped out of the project, Joseph Losey took over and insisted that Pinter's script be extensively rewritten. This led to what Losey claimed was their only quarrel in over twenty years of close friendship (but Pinter did do the rewrites). See more »
When Tony and Susan arrive at Tony's house in the Mercedes, with an extended visit in mind, they both go into the house and Tony leaves the car's lights on. See more »
A super, confusing but entirely visceral experience, The Servant is a rich collaboration between Pinter (the writer) and Losey. Good performances from Fox and the doyenne of the slightly barmy 60's flick, Sarah Miles are mandatory in order to keep up with the entirely convincing theatrics of Dirk Bogarde's morally abstract butler, Barrett. Losey keeps everything claustrophobic: there's also an edginess through the stiltedness of set pieces - in restaurants and bars, and even in the Mounset's country pile. The only scene which seems comfortable is the snow(fight) sequence in which Susan and Tony affirm their love - and the moral height from which Tony must fall.
Bizarrely, the film is erotic for the first half but then simply frightening for the second, the drama wound around a single moral trajectory - downwards - throughout. We are engulfed from the start with open-ended sexual permissiveness and suggestion, which runs alongside the class divide whose tension drives the drama to the same degree. In the final scenes I couldn't remove Berg's opera on Wedekind's play Lulu from my mind, given the sax-fronted jazz of John Dankworth colliding awkwardly with a simultaneous orchestral score. It's just a brilliant, original film - analysis resistant, but entirely absorbing nonetheless 8/10
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