The Wasteland Reviewer

The Wasteland Review Request: The Servant (1963)

What has been one of the longest-lasting themes to permeate through the history of cinema? The great divide between classes has been a conflict in human society for generations. There are countless stories on film that explore the conflict that exists between the “haves” and the “have nots”. There have always been people in a place where they must put their dignity on the line to serve those with more power and money. The “eat the rich” narrative has become one of the most powerful thematic foundations in film. One under-appreciated British drama that explores this idea in such a powerful way is The Servant.

How does screenwriter Harold Pinter bring Robin Maugham’s novel to life? The Servant is aptly named as it focuses on the story of Dirk Bogarde’s Barrett who is forced to make ends meet by becoming the man-servant of James Fox’s Tony. Their dynamic certainly begins as refined and professional. But Barrett slowly begins to push buttons along the way that slowly shift the power dynamics in this relationship. The true catalyst for seismic change is the arrival of Barrett’s “sister” Vera (Sarah Miles). Barrett and Vera begin to push boundaries and overstep them completely. What starts as a standard, tight-lipped British drama spirals into a wild thriller full of gaslighting, fraud, and emotional turmoil. The Servant offers plenty of unnerving conflict throughout the film while always staying true to the class-based conflict between Barrett and Tony. Pinter expertly threads this needle and brings their dynamic into quite the effective and memorable reversal of fortunes.

How does director Joseph Losey accentuate the experience brought about Maugham’s story? The film is certainly one that captures the contemporary setting of the time (in 60s England). The production design is sharp, and the film is enlivened with a score by John Dankworth. You never once question the validity and authenticity of this story, which is quite effective. The camera work that is incorporated by cinematographer Douglas Slocombe is not the most cinematic but there is intimacy that is essential to the effectiveness of The Servant. The film becomes a hot pot of tension and the uncomfortably claustrophobic camera dynamics allow Losey to deliver upon this tension. Many films of this type tend to be accompanied by stellar filmmaking, but Losey and Slocombe keep it simple yet effective. The tone is essential to make this work as Losey casually morphs this refined drama to something completely off the rails. This is not an easy feat and Losey finds that balance and control of the film’s atmosphere to deliver something impressive. Pacing-wise, the film clocks in for around two hours but it earns its time and control as the film is quite unnerving and keeps you on the edge of your seat.

With a film so enclosed, do the actors help bring this narrative to life effectively? Bogarde is certainly at the forefront of the film with his reserved disposition (at least at the start of the film). The way that Bogarde allows certain reactions and physicality to slip on through shows just how in command of this character he truly is. When the cracks break open and Barrett begins to show his true colors, Bogarde accomplishes some engaging and entertaining feats. His ability to shift from reserve servant to dark manipulator is quite impressive. Fox, on the other hand, starts off as this confident and aloof high society type who is slowly overtaken by a more powerful other. The submissive nature of Tony grows throughout the second half of the film and his performances make that whole dynamic quite engaging and authentic. There are two ladies who bring specific and important presences to the film. Miles has a bold and alluring nature to her which makes it so much more interesting when she begins to explore her male options within this house. She is the most fun element of the film and hard to look away from for sure (for both Barrett and Tony as well). Then you have Wendy Craig’s Susan, the significant other of Tony. Her presence is the most representative of high society ego and judgment. Craig’s performance is biting and cruel until she surprises the audience when Susan’s fate takes a similar turn compared to Tony’s.

Is The Servant the type of film that delivers on both its story as well as its themes? The class warfare on screen in this film is quite poignant as the film explores these themes through the dynamic of two English men. Disrespect and taking it for granted takes a darker turn as this film spirals into a moral tale about all things, class and division. The intimacy and tension that Losey crafts is quite impactful and leaves this experience engrossing and engaging. Many films have done these themes over the history of film, but The Servant deserves a place right near the top.

Special thanks to Carl Kelsch for nominating The Servant (1963)!