THE CARETAKER / CERT: PG / DIRECTOR: CLIVE DONNER / STARRING: DONALD PLEASENCE, ALAN BATES, ROBERT SHAW / RELEASE DATE: OUT NOW
Harold Pinter’s play was a critical success upon its first staging in 1960 and would have a huge impact on theatre in subsequent years. Pinter’s complex and precise use of language and unspoken subtext in this tale of three men and a seemingly almost trivial power struggle taking place in a dilapidated house is open to interpretation and as is the way with unique art can mean vastly different things to each person experiencing it. It’s not an obviously cinematic piece and yet, as the extras supporting this new BFI release make clear, it became a passion project for those involved.
On a brutally cold winter’s night, Aston (Robert Shaw) intervenes to save argumentative vagrant Davies (Donald Pleasence) from a beating and afterwards invites him to stay at his home, a rundown house Aston says he’s going to renovate. When Aston’s brother Mick arrives back at the house that power struggle begins as the devious Davies decides to pit brother against brother to secure his place there, or so he thinks. Through the use of finely honed dialogue and outstanding performances from three actors who inhabit the characters so fully their silences speak volumes, along with sensitive and uncluttered direction from Clive Donner, what unravels is a beautifully human slice of life that is at once brutally clearheaded about our ability to be cruel to each other and deceive and yet emotionally resonant and touching in its handling of our frailties. It’s an outstanding film, ahead of its time in respect of how it handles mental health, and remains profoundly relevant.
A film focussed on the writing and delivery; The Caretaker is necessarily unfussy in visuals. Nevertheless, this new restoration showcases crisp photography from Nicolas Roeg and allows for each nuance of facial reaction to be picked out with ease, the all-important dialogue sharply defined throughout. It comes with a 2002 commentary track featuring Bates, Donner and producer Michael Birkett that is relaxed and full of information on a film all three remained justifiably proud of. Also from 2002 is an introduction from critic Michael Billington, who contributes with a video essay about the play’s transfer to film. Donner appears again in a 1973 discussion about adapting the play for cinemas that runs to just over 45 minutes. Each of these extras cover the production of the film, how it was an early example of crowd-funding of a sort (here actor friends who wanted the film made) and the challenges involved in making what was a labour of love for everyone taking part. There’s also an animated short, alternative US titles and a booklet included with writing on the film. An essential and vital film, highly recommended.
