IMDb > The Servant (1963)
The Servant
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The Servant (1963) More at IMDbPro »

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The Servant -- US Theatrical Trailer from Anchor Bay Entertainment

Overview

User Rating:
8.0/10   6,572 votes »
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Popularity: ?
Down 9% in popularity this week. See why on IMDbPro.
Director:
Writers:
Harold Pinter (screenplay)
Robin Maugham (novel)
Contact:
View company contact information for The Servant on IMDbPro.
Release Date:
16 March 1964 (USA) See more »
Genre:
Tagline:
A Terrifyingly Beautiful Motion Picture! See more »
Plot:
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... See more » | Add synopsis »
Awards:
Won 3 BAFTA Film Awards. Another 7 wins & 6 nominations See more »
User Reviews:
Perverted Jeeves See more (57 total) »

Cast

  (in credits order) (verified as complete)

Dirk Bogarde ... Barrett

Sarah Miles ... Vera

Wendy Craig ... Susan

James Fox ... Tony
Catherine Lacey ... Lady Mounset

Richard Vernon ... Lord Mounset

Ann Firbank ... Society Woman

Doris Nolan ... Older Woman (as Doris Knox)

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
Philippa Hare ... Girl in Bedroom
Dorothy Bromiley ... Girl in Phone Box
Alison Seebohm ... Girl in Pub
Chris Williams ... Cashier in Coffee Bar
Gerry Duggan ... Waiter
rest of cast listed alphabetically:
John Dankworth ... Jazz Band Leader (uncredited)
Harriet Devine ... Girl (uncredited)
Davy Graham ... Guitarist (uncredited)
Aileen Lewis ... Restaurant Diner (uncredited)
Colette Martin ... Girl (uncredited)
Joanna Wake ... Girl (uncredited)
Bruce Wells ... Sidewalk Painter (uncredited)

Directed by
Joseph Losey 
 
Writing credits
Harold Pinter (screenplay)

Robin Maugham (novel "The Servant")

Produced by
Joseph Losey .... producer
Norman Priggen .... producer
 
Original Music by
John Dankworth 
 
Cinematography by
Douglas Slocombe (director of photography)
 
Film Editing by
Reginald Mills 
 
Production Design by
Richard Macdonald 
 
Set Decoration by
Ted Clements 
 
Costume Design by
Beatrice Dawson 
 
Makeup Department
Joyce James .... hairdresser
Bob Lawrance .... makeup artist
 
Production Management
Teresa Bolland .... production manager
 
Second Unit Director or Assistant Director
Roy Stevens .... assistant director
 
Sound Department
Buster Ambler .... sound recordist
John Cox .... sound supervisor
Gerry Hambling .... sound editor
 
Camera and Electrical Department
Frank Howard .... camera grip
Chic Waterson .... camera operator
Brian Harris .... clapper loader (uncredited)
 
Music Department
John Dankworth .... conductor
David Lindup .... orchestrator (uncredited)
 
Other crew
Pamela Davies .... continuity
Geoff Freeman .... unit publicist (uncredited)
Paul Mayersberg .... production assistant (uncredited)
 
Crew believed to be complete


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Additional Details

Also Known As:
Runtime:
116 min
Country:
Language:
Aspect Ratio:
1.66 : 1 See more »
Sound Mix:
Mono (Westrex Recording System)
Certification:
Finland:K-16 | Iceland:12 | Netherlands:12 | Portugal:M/12 (Qualidade) | Portugal:17 (censored) | Sweden:15 | UK:12A (theatrical re-release) (2013) | UK:12A (theatrical re-release) (re-rating) (2013) | UK:15 (video rating) (1989) | UK:X (cinema release) (1963) | USA:Unrated

Did You Know?

Trivia:
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 »
Goofs:
Crew or equipment visible: 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 »
Movie Connections:
Referenced in The Dirties (2013)See more »
Soundtrack:
All GoneSee more »

FAQ

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20 out of 24 people found the following review useful.
Perverted Jeeves, 22 August 2002
Author: meitschi from Vienna, Austria

"The Servant" was a film I had to think a lot about. Though I would not consider it as being flawless, it is a very interesting and indeed memorable piece of British cinema.

The characters itself could have been taken from P. G. Wodehouse's hilarious series of comic novels about the perfect butler Jeeves and his 'master' 'Bertie' Wooster, a young, superficial, and careless dandy who could not make one step without Jeeves constantly caring for him.

In "The Servant", a similar relationship is twisted in a much darker way: Hugo Barrett is not at all the faithful servant devoted to his master - though he appears to be at the beginning -, but a scheming, quite evil person who knows very well what he wants. (Though the real motives of his deeds do not become completely clear in the story - but this makes him probably even scarier.)

Dirk Bogarde was just wonderful. Most impressive. His body language, shifting from servile to casual, menacing or frivolous is meticulously developed and executed. The supporting actors were also good, notably James Fox. Sarah Miles tried everything to bring life to her rather cartoonish character, though she never could make me understand how Tony could be so sexually attracted to a woman like her in the first place.

I loved the homoerotic undertones of the Barrett-Tony relationship, especially in the second half of the film, after Barrett's return. They two men often act like a (gay) couple, especially in their disputes. There is also a great piece of dialogue between the two, written in tongue-in-cheek manner by Pinter, when they talk about feeling being "pals" and mention that they have felt like that "in the army before". The loveliest scene was the one where Barrett tells Tony that his "old flame" (Susan) has arrived and then says in a flirtatious manner "one yesterday - and one tonight" while holding Tony's face in his hand. We don't know yet at this point that he has invited some prostitutes, so this remark seems quite ambigous for a moment...

The symbolism is great, the many mirrors in the film forming a substitute for Barrett's gaze, never leaving Tony and Susan. There is also some phallic symbolism (most openly in the long shot of the garden just after the scene when Vera arrives at Tony's house). And Douglas Slocombe's black-and-white photography is just about incredible.

What I liked less about the film was that it was a weird mixture of what is basically a 19th century morality tale, but set in the 1960s and shot in the manner of the 1930s (the latter being no problem at all, but rather increasing the value of the film). The scenes with the women, especially the "erotic" scenes, were also rather awkward and very Sixties in style, so many of them seemed quite out of date, viewed today. The morality of the story was also quite flat in my opinion, and I must admit that I didn't care too much for Tony, this lazy and not very intelligent rich young dandy. In fact, I rather enjoyed Barrett catching the fly in his web...

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