"There are no hard distinctions
between what is real and what is unreal, nor between what is true and what
is false. A thing is not necessarily either true or false; it can be both
true and false." - Harold Pinter
Ely Landau's American
Film Theater production of Harold Pinter's The Homecoming, directed
by Peter Hall, has just been released on DVD as part of a retrospective
of the AFT's two years of outstanding film versions of selected plays.
An engrossing rendition of Pinter's disturbing play, The Homecoming
is brilliant in its malevolent and macabre humour and the performances
are first rate. On the surface it is a depiction of a slightly mad family
in which two brothers lust over a third brother's wife. Underneath it is
a surreal caricature of domestic life that focuses on the dark impulses
that lie beneath the thin veneer of civility. In Pinter's view, what passes
for authentic behaviour is merely a cover for the irrational and the play
demonstrates how memory can be used as a tool of control. As in all of
Pinter's work, the dialogue is razor sharp and often over the top, consisting
of verbal thrusts and parries, ridicules, strategies, mutual warfare, and
maneuvering for position.
Set in an older but spacious
house in North London, the men prowl around each other like animals ready
for the kill. Their mother Jessie is dead. The remaining family consists
of two brothers, their father and uncle. Max (Paul Rogers), the menacing,
slightly demented but still roaring old patriarch is a retired butcher
with an acid tongue. His brother, Sam, a chauffeur is an unmarried man
in his sixties and something of a dandy. The brothers are both working
class louts. Lenny, delightfully performed by a dapper Ian Holm, is a sleazy
pimp and borderline criminal, while Joey (Terence Rigby) is a demolitions
expert and would-be boxer who spends most of his spare time training at
the local gym.
The equilibrium is disturbed
when the oldest brother Teddy (Michael Jayston), a Professor of Philosophy,
arrives with Ruth, his wife of nine years Ruth (Pinter's wife at the time,
Vivien Merchant) in London to visit the family she has never met. The focus
of the hostility is now focused on the young couple and the father unleashes
one tirade after another, calling Ruth a slut and a whore. From the beginning
there is tension in the relationship between Teddy and Ruth and they both
seem uncomfortable. The dialogue between family members is filled with
comic touches and the characters use threats, intimidation, and power games
to gain advantage over each other. Even Ruth, a woman who has been exploited
successfully plays off one brother against the other and both against her
husband. Rationality becomes less and less apparent as the play progresses
with the two younger brothers making passes at Ruth in front of her bewildered
and strangely passive husband. Teddy only watches as Ruth joins with his
brothers, perhaps because he realizes that on the deepest level he has
been separate from her for years.
The Homecoming
is a work that does not yield to immediate deciphering and has given critics
much to chew on for thirty-nine years. Pinter's plays are not about psychological
realism and the actions of his characters are not always coherent or rational.
He moves easily from realism to surrealism, and it is often difficult to
distinguish between the reality and the dream. One critic said, "Like Buñuel,
Pinter demonstrated that only a slight shift in perspective is needed to
make human behaviour appear insane, and showed how easily the veneer of
'civilization' can be swept aside in favour of something more revealing".
The Homecoming can be looked at it in many ways and there is enough
ambiguity to allow the audience to interpret it from their own frame of
reference. As Pinter biographer Michael Billington notes, "You can never
say with Pinter that one interpretation is wholly right or another wholly
wrong. What you can say, with reasonable certainty, is that the play continues
to get under our collective skins". It definitely got under mine but I
loved every minute of it.
Howard
Schumann