The Fatales - Homme & Femme. Joseph Losey directed *The Servant*, which Harold Pinter adapted for the screen from Robin Maugham’s novelette. The film features Dirk Bogarde, Sarah Miles, Wendy Craig, and James Fox, with a score by John Dankworth and cinematography by Douglas Slocombe. When affluent Londoner Tony (Fox) hires Hugo Barrett (Bogarde) as his manservant, he finds himself in over his head. Things become even more complicated when Hugo’s sister Vera (Miles) appears. *The Servant* remains puzzling today, just as it was upon its release in the early 1960s. It's a rare and welcome piece of older cinema that sparks ongoing discussion not only about its artistic merit but also its meaning or meanings. It’s an engaging experience that enjoys playing with your perceptions as much as Hugo Barrett seems to enjoy manipulating his employer. The dynamic of master and servant is certainly explored. The film takes place largely within the confines of Tony's stylish Chelsea home, creating a disturbing sense of confinement even before considering themes of dominance, manipulation, and the reverse – someone’s inability to resist being pulled into a downward spiral by someone they consider inferior. Underlying these power dynamics are desires—sexual or otherwise—that are either realized, frustrated, or left unexpressed. The screenplay is sharp, with dialogue that stands out from Pinter's usual style; it suggests a psychological study rather than the class system allegory some initially believed it to be. This isn’t really about role reversal, as the ending reveals. Visually, the film is full of atmospheric techniques. Losey and Slocombe use stark black and white photography with sharp angles to emphasize the tense relationships in the story. As the film progresses and gets more intense, the camera work becomes increasingly jarring—in a good way—transforming the house from an affluent residence into a place of debauchery and psychological shifting. Mirrors and reflections are also used effectively. Certain scenes stand out as particularly memorable. Hugo at the top of the stairs in the bedroom doorway, a shot looking down on Hugo and Tony playing a game like children on the staircase, a sex scene on a leather chair that is implied rather than shown—there are many more moments where Losey showcases his skill. The acting performances are excellent across the board, especially Bogarde’s visually striking performance, and Fox's portrayal of someone changing from privileged fool to dependent failure. Dankworth’s music also enhances the unfolding events. It earns a rating of 9/10.

Source on TMDB