The Birthday Party

I must say I will take a little umbrage at the meagre critical reception this film has got; it seems to have largely been just written off as "well acted, *but* not suited/adapted to film". I would have to say it's a good thing to try and broaden the audience for what is undeniably a fine play in my opinion, by making a film. The film sticks very closely to the dramatic text, and it's a critical truism to say that the immediacy of theatre performance is lost. It may well be that Pinter is particularly good on stage (certainly judging by a recent run of "The Collection" that I saw in September), but he's also been very effective cinematically, in the adaptations of "The Servant" and "Accident". This is certainly a more constrained film than "Accident", and a little more so than the claustrophobic "The Servant"; one could say the director and others involved with the film are playing it safe, but that's no problem really, as the formula was excellent to begin with. Certain exterior shots do add a lot I feel, as does the subtle, suggestive opening in the car. For a film as "theatrical" as this is claimed to be, it has good camera sense, and handles the dialogue neatly. The scene where it shifts to monochrome in the dark light I did like. I feel that the scotched, grim, mundane colour stock of the film is certainly in tune with the play and the though.

Most important perhaps, in a performance of Pinter on film, are the performances, and I must declare them to be excellent and overlooked. Robert Shaw, an actor I always enjoy ("A Man for all Seasons" and "From Russia With Love" making up a decidedly contrasting threesome of Shaw films I've seen...), is proficient as Webber, the absurd "mystery man" laying low in a seaside boarding house. Most impressive to my mind though, are Dandy Nichols, Patrick Magee and Sydney Tafler. Nichols certainly plays the darkly hilarious role of the unknowing, deluded Meg to a veritable tee. Magee and Tafler define the roles of Goldberg and McCann, the sinister, well-versed double-act, to such an extent that I'll definitely think of them in the roles from now on, when I think of the play. Magee is a foreboding, but often unwittingly droll presence in the film, timing his acting brilliantly. His Irish tones contrast finely with Goldberg's sophisticated Jewish-London accent. Tafler is an absolute marvel in this role, walking away with the film in many ways, embellishing another elusive, odd Pinter character, the most erudite in the play. He fills the screen amply and times the dialogue perfectly; a stunning performance, by a somehow obscure actor. The chap who played Petey Boles is also good, in a small but certainly necessary part.

Of course, one unfamiliar with Pinter may be bemused by the oddball plot, struggle to come up with instant meanings and then describe it as weird and incoherent, as if those were bad things... Of course, it isn't truly incoherent; there are meanings and interpretations to be made if one pays close attention to the dialogue. And it is the dialogue, that, as ever with Pinter, dazzles. Suffice to say, I am not truly in a position to analyze and describe why his dialogue is so brilliant in a mere film review such as this is, but trust me, his dialogue is remarkable; making the banal seem rich and sinister, and the rich seem banal and ritualistic (in Goldberg's case). A worthy effort really, this film, I'd say, as it captures so much of the Pinter brilliance.

Rating:- ****/*****

This is the first Harold Pinter play i watched. It's weird, claustrophobic and interesting, i mean, first 40 minutes are somewhat slow-paced but then, it speeds up and raise the stakes. Biggest quality here is acting, every actor did a tremendous job. It's not easy to categorize it, it is something like a black comedy +psychological drama thriller+ Absurdism. I could have rated it higher but it's too ambiguous and i don't love movies which are being intentionally so vague. It's so easy to create a mystery, every writer can do it but it takes a lot of skill to give also the right-mindblowing- answers to the questions you just raised. Pinter doesn't give any answers, so my rating won't be that thigh. Yet, it was a fun ride, almost Kafkaesque in a way, and those comedic moments were almost brilliant. In any case, this is a good movie.

Harold Pinter's work is infuriating at best, but this film version comes close to making some sense of 'The Birthday Party'. Dandy Nichols runs a boarding house in which oddball lodger Stanley lives (very well played by Robert Shaw) and when two unusual menacing visitors arrive (Patrick Magee and Sidney Tafler) events start to get progressively weirder. The play is dark, claustrophobic, and extremely clever, and the film plays on this - I particularly liked the sequence with the torchlight which had heaps of atmosphere. Not seen much, this version is now commercially available again and hopefully will be eventually viewed in the same light as other Pinter movies such as 'Accident'. It deserves better than it has had so far.

As one of this world's more zealous Robert Shaw fans, I feel obliged to put this gem in every once in a while and follow Shaw's every move. I must say, this film amazes me; it confounds me every time. There's only one emotion that overwhelms my passion for Mr. Shaw's gift in front of the camera--irritation--and it's aimed right straight at the storyline. You will find yourself wondering what's going on and why, as the actors' performances blind you with their shabby, touching directness. Don't let the story creep and seep too far into your brain. The story will cloud your ability to appreciate what this film is full of--brilliant, golden performances. They all shine, especially Shaw as poor Stanley. I enjoy watching films that take me to England in the 60s. The surroundings are dreary and depressing and totally marvelous. This film is well worth seeing; but, once again, I warn you--ignore the story; adore the actors! Oh, and an extra bonus (for what it is worth)-- After watching this film, you'll never look at a newspaper the same way again, I guarantee you. Enjoy!

A wonderful play (which I've directed in the 80's) that cuts a scene from the play with Lulu..but is still PINTER! What can you say about this '58 play (film '68) except to say it's INTENSE. Robert Shaw as Stanley (post-James Bond and pre-Jaws and pre-The Sting)..most Americans (no offence)..don't even know who this guy is. Anyway, it's a brilliant parody of English (and everybody in the 50's) take on the one artist. Sidney Taffler as Goldberg is comical, frightening, bossy, and just plain "too much there". Patrick MaGee as McCann (A CLOCKWORK ORANGE, BARRY LYNDON, Kubrick.etc.) is lone newspaper-ripping non-horror (or so you think) DUDE, who hung out with the The Beatles.

Decent version of a great early play of a genius..which bombed..duh? Stick with Meg and Petey and you can't go wrong or right. 20 years ahead of it's time as a play and 10 years...right.