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The Fatales - Homme & Femme. The Servant is directed by Joseph Losey and adapted to screenplay by Harold Pinter from the novelette of the same name written by Robin Maugham. It stars Dirk Bogarde, Sarah Mles, Wendy Craig and James Fox. Music is by John Dankworth and cinematography by Douglas Slocombe. When well-to-do Londoner Tony (Fox) hires Hugo Barrett (Bogarde) as his manservant, he gets more than he bargained for. Especially when Hugo's sister Vera (Miles) also arrives on the scene... The Servant remains as enigmatic today as it was back on its release in the early part of the 1960s. It's a film that defies classification, that rare old cinematic treat that continues to cause debate about not only its worth as art, but also its very meaning(s). A head bothering delight that revels in toying with your perceptions as much as Hugo Barrett enjoys toying with his supposed master. Lets play master and servant - indeed. Set predominantly in the confines of Tony's swanky Chelsea abode, there's a disturbing claustrophobia that pervades the narrative, and this before we even begin to ponder the power of man, his ability to dominate and manipulate, or the reverse side that sees another's lack of ability to not succumb to the downward spiral instigated by a supposed lesser man. Sprinkled over power issues are sexual desires, obtained, unfulfilled or simmering away unspoken. As the literate screenplay comes out in sharp dialogue snatches, breaking free of Pinter's other wise cement ensconced writing, there's evidence that this is a psychological study as opposed to the class system allegory that many thought it was way back then. This really isn't about role reversal, the finale tells us that. Visually it's a box of atmospheric tricks as well. Losey and Slocombe use deep angular black and white photography to enforce the chilly dynamics at work in the story, the longer the film goes on, as it gets to the nitty gritty, the more jarring the camera work becomes - delightfully so - the house no longer an affluent person's residence, but a skew-whiff place of debauchery and mind transference. And mirrors - reflections, important and used to great effect. Some scenes are striking and rich. Hugo at the top of the stairs standing in the bedroom doorway, in silhouette, an overhead shot of Hugo and Tony playing a childlike ball game on the stairs, a sex scene on a leather chair that we don't see but understand totally. And many more as Losey finds the material that allows him to show his skills. Cast performances are across the board terrific, particularly Bogarde who gives a visual acting master class, and Fox who beautifully shifts a gear from toff twit into dependant dead beat. While Dankworth's musical accompaniments add flavour to the unfolding machinations. 9/10
In suburban London, on New Years Eve in 1999, an Afghan housewife lives cut off from society by her controlling husband. In secret, with the aid of a present gifted by her mother, she sets out to reconnect with the world.
Based on the real life story of Kevin Lewis, the film follows his childhood of abuse, his descent into a life of crime and the way he put his life together again afterwards.
When the Earl of Gurney dies in a cross-dressing accident, his schizophrenic son, Jack, inherits the Gurney estate. Jack is not the average nobleman; he sings and dances across the estate and thinks he is Jesus reincarnated. Believing that Jack is mentally unfit to own the estate, the Gurney family plots to steal Jack's inheritance. As their outrageous schemes fail, the family strives to cure Jack of his bizarre behavior, with disastrous results.
In late-1970s suburban London, Chris and Marion have settled into a comfortable yet all-too-predictable middle-class existence. Chris receives an unexpected visit from his free-spirited friend Toni, a reunion that reminds him of a more carefree time in 1960s Paris. Now, with lingering doubts about his marriage bubbling up, Chris must make the choice between revisiting his youthful abandon with Toni or facing the here and now with Marion.
A couple hires a live-in nanny to watch the offspring while they work. At first, everything goes perfectly, but when an unsafe incident means the parents no longer want the nanny around, they find out this nanny is savvy at not being evicted from her live-in situation. So savvy, in fact, that she can make these parents' lives a true nightmare.
A stash of old cassette tapes may hold the secrets to an alcoholic's delusions after the death of his wife.
Erstwhile childhood friends, Judah Ben-Hur and Messala meet again as adults, this time with Roman officer Messala as conqueror and Judah as a wealthy, though conquered, Israelite. A slip of a brick during a Roman parade causes Judah to be sent off as a galley slave, his property confiscated and his mother and sister imprisoned. Years later, as a result of his determination to stay alive and his willingness to aid his Roman master, Judah returns to his homeland an exalted and wealthy Roman athlete. Unable to find his mother and sister, and believing them dead, he can think of nothing else than revenge against Messala.
After Faye and her psychotic boyfriend, Vince, successfully rob a mob courier, Faye decides to abscond with the loot. She heads to Reno, where she hires feckless private investigator Jack Andrews to help fake her death. He pulls the scheme off and sets up Faye with a new identity, only to have her skip out on him without paying. Jack follows her to Vegas and learns he's not the only one after her. Vince has discovered that she's still alive.
In a remote region of Wales, five travelers beset by a relentless storm find shelter in an old mansion.