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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 and 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 »
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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