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Frank makes himself at home and begins an affair with the therapist's troubled wife. The Sleeping Tiger (1954) starred Bogarde as Frank, a criminal who is invited by a trendy psychotherapist to come and live in the family house, believing that a stable environment will help him. Insidious and insinuating, Barrett is more like a subtler Uriah Heep, and in their claustrophobia and hysteria, Tony and Barrett have something of Dr Jekyll and Mr Hyde, or perhaps Lord Henry Wootton and Dorian Gray, or even Edward II and Gaveston in Christopher Marlowe's play.Īs far as movies go, Joseph Losey's previous film with Dirk Bogarde had a similar cuckoo-in-the-nest theme. JM Barrie's play The Admirable Crichton showed a butler taking power because he is the only one with practical knowhow when his aristocratic employers are shipwrecked with him on a desert island: but the status quo is ultimately restored. But Jeeves was entirely benign and discreet. They understood how Jeeves had the upper hand. Everyone adored PG Wodehouse's Jeeves and Wooster. What did audiences make of this extraordinary, disturbing and compelling story? They may well have been alive to its literary echoes. The word did not yet mean "homosexual" but is in the process of transition. Tony is asked by his friend if he is at heart a roving bachelor or a "gay wolf". After Barrett's redecoration, Tony's "chairs had been covered in a gay yellow chintz". But students of linguistic history might be interested in the use of the word "gay" in the book. His passions are to become centred on Vera, who is absurdly and rather naively depicted as a nymphomaniac. Merton asks Tony outright if he and Barrett have sex, and Tony laughingly denies it, though without being offended or shocked.
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He has a character, Richard Merton, who does not appear in the film: a concerned friend of Tony who is the narrator (Maugham even implies that it is their relationship that is the bond of true love). Maugham's book is far more candid about the homosexual act. In the film, it is as much about power as pleasure, but this manipulation is replete with sexuality. It is Barrett who effects the seduction at one remove, in the hope that he can use this as leverage over the master. But it is Barrett who is pulling the strings.
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Barrett brings in a young woman he describes as his "niece" in the film it is his sister, and the misplaced suspicion of incest between Barrett and Vera becomes the "unnatural" act. In the book, of course, Maugham heterosexualises the trap. The trap was plainly set for blackmail – financial or moral, or both. Would you like me to send him up to you to say goodnight, sahr?" Maugham pretended he hadn't heard and simply went away without replying. The servant appeared from nowhere and said in his odd drawl: "I see you are admiring my young nephew, sahr. (Interestingly, this drink recurs in the movie, but not the novel.) The fridge was just next to the manservant's room in the basement, the door of which was open Maugham glanced in and saw a naked teenage boy on the bed. He took her back to his flat and she asked for a drink: a cold lager from the fridge, as opposed to warm ale. One evening, Maugham went on a date with Mary Soames, the daughter of Winston Churchill. Maugham had rented a house, which came with its own servant, a man who unnerved him by gliding about almost invisibly. The Servant has its spark in an extraordinary event in Maugham's own life, to be treasured by connoisseurs of British sex and class. To locate the gay gene in The Servant, you have to go back to its source, the 1948 novella written by Robin Maugham, the nephew of W Somerset Maugham. Harold Pinter's superbly controlled, elliptical, menacing dialogue is able to hint, to imply, to seduce, to repulse, in precisely the manner that gay men were forced to adopt in 1963, when homosexuality was still a criminal offence, and when representing homosexuality on screen was forbidden. Homosexuality is everywhere and nowhere in The Servant.