At Oxford, Austrian student Anna von Graz (Jacqueline Sassard) is dating fellow student William (Michael York), whom she plans to marry, but she ends up sleeping with two unhappily married Oxford professors instead.
During World War I, Army Private Arthur James Hamp is accused of desertion during battle. The officer assigned to defend him at his court-martial, Captain Hargreaves, finds out there is more to the case than meets the eye.
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 »
Fantasy comedy about Brazilian writer Oswald de Andrade, one of the most important icons of Modernism in Brazil. In the film, Oswald is played by two actors: Ítala Nandi, as his feminine ... See full summary »
Joaquim Pedro de Andrade
Juliana Carneiro da Cunha,
The aristocratic Tony (James Fox) moves to London and hires the servant Hugo Barrett (Sir Dirk Bogarde) for all services at home. Barrett seems to be a loyal and competent employee, but Tony's girlfriend Susan (Wendy Craig) does not like him, and asks Tony to send him away. When Barrett brings his sister Vera (Sarah Miles) to work and live in the house, Tony has a brief hidden affair with her. After travelling 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
Producer and Director Joseph Losey's tenth movie shot in the U.K. after he was blacklisted in Hollywood. See more »
When Tony and Barrett play in the stair, Tony hits a vase with the ball and it falls down and breaks on the floor. The next shot shows the bottom of the wrecked vase on the shelf where it had been in the first place (the rest of the vase is on the stairs). 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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