Baseshment
I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.
Jonah Abbott
There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.
Taha Avalos
The best films of this genre always show a path and provide a takeaway for being a better person.
writers_reign
A reasonably faithful adaptation of the stage play by the dramatist himself, Harold Pinter. As I write this the play has been revived yet again in London with Timothy Spall leading the cast. This proves that the play has legs even in the one-room claustrophobic setting which Pinter opened out marginally for the screen. There are still only three actors as Pinter wisely resisted showing those only mentioned on stage - the cafe proprietor who fired Davis, plus possible patrons of the cafe; the monk who brushed Davis off, etc. All three actors, Alan Bates, Robert Shaw, and Donald Pleasance are at the top of their game and play off each other brilliantly, none more so than Robert Shaw, best known for semi-violent roles to come, such as The Sting and Jaws, here playing a passive quasi zombie in the wake of a lobotomy. More Art House than Multiplex but none the worse for that.
MARIO GAUCI
This three-hander piece has no plot to speak of and, given author Harold Pinter's (typically) obscure intentions, attention must be paid constantly (not an easy task, having to contend with both the heavy British accents on display and the rather low volume of the audio itself); after having gone through the various supplements on the exemplary BFI DVD, the meaning of it all is still very much open to interpretation! The performances, however, are extremely impressive and the fact that all three actors had already appeared in the various stage versions certainly helped: Donald Pleasance and Alan Bates have showy roles that are often broadly comic, but a brooding Robert Shaw is unusually subdued for the most part - though the character's speech about his traumatic spell in hospital, where he suffered at the hands of a sadistic doctor, is as riveting as the actor's celebrated (and similarly quietly-spoken) one about the transportation of the Atom Bomb in JAWS (1975). Though making only minute concessions to cinematic conventions, Donner's handling (abetted by the stark cinematography of Nicolas Roeg and some weird ambient sounds by Ron Grainer in place of a score) ensures that the whole doesn't come across as merely a piece of filmed theatre; it still feels at odds even with the contemporaneous "Kitchen Sink" films of the British New Wave, with which style THE CARETAKER has forever been identified! Pinter's dialogue - alternately scathing and compassionate - is remarkably adult for its time, and the project only came through with the intervention of some celebrated admirers of the play: Richard Burton, Leslie Caron, Noel Coward, Peter Hall, Peter Sellers and Elizabeth Taylor, among others! I've watched the following Pinter-scripted films: THE SERVANT (1963), THE PUMPKIN EATER (1964), THE QUILLER MEMORANDUM (1966), ACCIDENT (1967), THE BIRTHDAY PARTY (1968), THE GO-BETWEEN (1970), THE LAST TYCOON (1976) and THE FRENCH LIEUTENANT'S WOMAN (1981); however, only THE BIRTHDAY PARTY was adapted from his own work (also featuring Shaw and largely revolving around three eccentric characters) and it's similarly intractable - if still required - viewing.
nicoli282000
Like the other commenter I too am wondering why this isn't available on DVD. Luckily I video-taped a PBS broadcast years ago but Pinter deserves to be immortalized in a DVD collection with all the supplementary material available. (Perhaps now that he's won the Nobel) This movie was my introduction to Pinter and while I have to acknowledge the acting it was the script that hypnotized me when I happened upon it channel surfing one evening. So brilliantly absurd that you may join it as I first did from any point in the play and be instantly compelled by Pinter's bizarre reality. Bates, Shaw and Pleasance are perfectly cast but Donald Pleasance reveals a brilliance pitifully missing in his many supporting Hollywood roles. One wonders if the actors felt the magic their collaboration conveys and if so they must have been ecstatic.
rufasff
This hard to find movie is now availible on an import DVD (with that "opened up" car scene) and it's worth seeking out. It's almost as good as the excellent"Homecoming" film, and while Bates and Shaw shine, it is Donald Pleasancewho steals the show. How this great actor ended up in grade Z films at the end of his career must be a sort of tragic drama in itself. It's wild to remember this "kitchen sink" classic came out of England the year the Beatles took the world by storm. Those were the days.....
