Ralph Breaks the Internet
Mission: Impossible - Fallout
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All Critics (27)
| Top Critics (6)
| Fresh (24)
| Rotten (3)
Glaciers might be melting, the polar caps might be crumbling, but not even the passage of half a century has taken the frozen edge off this brilliantly icy film.
A perfect storm of perversity, pre-Persona identity transference, prole pole-positioning and mutually assured psychological destruction, Joseph Losey's masterpiece immediately transformed the director from has-been Hollywood exile to European auteur.
The Servant is for the most part strong dramatic fare, though the atmosphere and tension is not fully sustained to the end.
The performances are note-perfect and Pinter's script is smart, subversive and sly, lifting the lid on our age-old feudal hierarchy and having a good dig about inside.
It is a flesh-creeping demonstration of human destructiveness that Mr. Pinter and Mr. Losey are presenting in this film, and it is made all the more horrifying by the genteel surroundings in which it occurs.
The film is very studied and smooth, even though it deals in sexual hysteria; it could use some of the roughness and drive of Losey's early work.
One can appreciate what Pinter intends and applaud a great deal of Losey's execution.
Losey's ripping comedy of breakdown, a master class in ominous mise-en-scène
The film's sidelong narrative glances suggest a privileged world brimming with innuendo-laden excess and barely concealed sexual jealousies.
From the first frame it's clear we're about to see a masterpiece.
Essentially a two-hander, with Fox admirable as a latter-day Sebastian Flyte and Bogarde (finally nailing his matinée reputation) chilling as the mercenary valet.
Claustrophobic film-making carries a charge it's not easy to forget. Only Pinter could match it.
well i can only say this blew me away. losey is a very interesting director, showing flashes of brilliance even in his worst films, and it finally all comes together for him here, with a marvelous harold pinter script and once in a lifetime performance by dirk bogarde. superb
This is a superb, sinister movie of the very highest class. Unlike the character Tony (James Fox) who is upper class without being high class, if you get my drift. You cannot really sympathise with Tony, who toys with some high falutin' development projects but basically is a wastrel just waiting to be ponced off. Tony is a later-day Bertie Wooster. The sinister element comes from the servant (Dirk Bogarde), who is no Jeeves. Barrett, like Jeeves , is a gentleman's gentleman or valet (not a butler as suggested in some other comments on this film). Tony needs a valet because he is incapable of doing anything much without help. Barrett and his accomplice Vera (Sarah Miles) take Tony to the cleaners, sweeping aside the fiancee Susan (Wendy Craig) in their wake.
Harold Pinter has written the screenplay in similar vein to the superb movie The Accident, also a Losey piece, which I also commend. The cinematography in both movies is simply excellent. The subject matter of The Servant suits Pinter, although much of the screenplay is not really in Pinter's voice. However, there is one scene, set in a restaurant, which includes a tiny cameo by Pinter himself and which contains a short Pinteresque exchange between two women. There is also one tense exchange between Susan and Barrett "do you wear deodorant" etc. which is very reminiscent of a scene in The Caretaker "you stink from arsehole to Thursday" etc. Indeed the story of The Servant resembles The Caretaker in many respects, except that in The Servant the interloper, Barrett, is on top and stays there, whereas in The Caretaker the interloper, Davies, lacks the skill and circumstances to dislodge the incumbent.
There is a homoerotic undercurrent to the film and this works so well because it is an undercurrent (in 1963 there could have been no more than an undercurrent even if they had wanted more). The overt debauchery with Vera and the orgy party towards the end of the film is the only bit of the film that has aged without grace. But I quibble.
This is a truly great film and it deserves to be more widely known.
"The Servant" (most noted for it's collaboration between play write Harold Pinter and Director Joseph Losey and for Dirk Bogarde's BAFTA winning performance) is a bit to elusive to truly engage, but it's intoxicating photography, subtly creepy performances and enough homoerotic psychosexual mind games to fill three films, nearly make up for it. It's ending however seems almost too straightforward for it's twisty beginning and middle, but it at least gives you something to think about when it's over. "The Servant" is a dense film, and one that will engage anyone looking for a good mind game.
Let's play master and servant! A subtly twisted trademark Pinter screenplay. Collaboration with Joseph Losey for direction. Bogarde in a polished, sinister, homoerotic role. Film making doesn't get much better than this.
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