*. If it’s true that all happy families are alike and each unhappy family is unhappy in its own way, we should also add that the unhappy families in Pinter are among the unhappiest unhappy families in English literature.
*. Unhappy, but they get by. Even if, to an outsider’s eyes, they appear to be deeply dysfunctional and the family members don’t seem to like each other very much. The brothers in The Caretaker. Stanley and his faux parents living at the boarding house in The Birthday Party. And of course the all-male clan in The Homecoming, which is the ultimate “meet the family” nightmare. Yet somehow all of these households make it work.
*. I think this is one reason some people get Pinter and others don’t. There’s something in his plays that every member of a fucked-up family immediately and deeply responds to and that those who come from happy families don’t. But this is all by the way, and a personal reflection.
*. This film, which was part of the American Film Theatre project, is about as faithful a representation of the play as you can get, being directed by Peter Hall, who also directed both the London and New York premieres, and starring most of the original cast. Many of the performances are definitive. Ian Holm is the standout as Lenny, with black depths concealed beneath his placid expression, but I also really like Paul Rogers as Max. His squinty-eyed ferocity dominates everyone else, pounding them into a blankess that can be mistaken for submission.
*. Is it more than a filmed play? Not much. It even sticks quite close to the single set, which is not just minimalist in terms of decor but is colourless as well. Instead of the usual squalor and clutter there’s a bareness and wideness that suggests a stage. Hall does a bit with different angles and directing our attention to little things like the glass of water, or how the men eat their lunch in different ways, or the sweat beading on Lenny’s brow as Ruth lists her conditions of employment (or is it adoption?), but aside from the creepy way Lenny is made to keep appearing it’s not a movie experience. I doubt that was even the intention.
*. I’d never heard the word “urinal” pronounced “ur-EYE-nal.” I guess it’s British. I couldn’t recall ever hearing it said like that before, but then it’s not a word you hear very often. Around the same time I was preparing these notes, however, I was listening on the commentary for Johnny English Reborn where director Oliver Parker pronounces it the same way (there is a scene in that film that’s set in a restroom). So, live and learn.
*. Maybe my hearing is even worse than I imagine but I have a hard time making anything out without subtitles these days, and British accents don’t help. I would have been lost watching the original run of The Office without them, and I completely missed Sam’s big line at the end here. What he’s saying, in case you’re wondering as well, is that MacGregor “had” Jessie in the back of his cab.
*. I mentioned in my notes on The Caretaker how I started out not liking it as much as I remembered liking it years ago but that it grew on me. That’s the opposite of how I experienced this film, which I enjoyed up until the end. That is, however, mainly because I don’t like the way the play ends. This is the difficulty of saying anything about movies that are such literal adaptations of their sources. There’s a lot more I could say about The Homecoming the play but I don’t think there’s much to add to my notes on the movie here.