Word: pinter
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Directed by PETER HALL Screenplay by HAROLD PINTER...
...Roeg's best work so far -the most deliberate and contained. Much of the movie's power comes from images that carry a kind of glancing, indefinable threat and remain in some dark corner of the imagination. They are immediate but not quite real, like Pinter's language or a Bergman scene...
...credited as "screenwriter" for his own A Delicate Balance. "I'm the screen non-writer." Nevertheless, directors and actors all insist that they have produced not static "filmed plays" but new cinematic interpretations. "A three-dimensional object seen from different vantage points" is the way Peter Hall describes Pinter's The Homecoming in its A.F.T. incarnation. "We've not so much opened up the play as closed in on details...
Hartley's work was better served by Jo seph Losey and Harold Pinter a couple of years back in The Go-Between. Once again, as in The Go-Between, class consciousness induces a terse, desperate kind of sexuality, then thwarts it. But there the similarity ends. Robert Shaw portrays a stolid, ambitious owner of a small hired-car firm. Sarah Miles the balmy aristocrat whom he chauffeurs and who drives hi, in turn, to excess es of frustration. Miles' meager talents, her shrill, spindly posturings, have lost through incessant repetition the small novelty they might once have...
When Shaw raves at her near the film's end, he seems to be trying to draw her into a moment of identifiable human emotion - acting as much out of his own desperation as the character's. Wolf Mankowitz's screenplay abounds with hock-shop Pinter. "Driving is really an art," m'lady comments, and the chauffeur replies, "More of a skill, perhaps...