The Birthday Party

Our Meghama'am has assigned us a task: ( Click here )

"Write a blog on pre-viewing, while-viewing, and post-viewing questions and observations for the movie screening of 'The Birthday Party' mentioned in this blog."

• Unraveling Pinter’s Menace: A Cinematic and Theatrical Exploration of The Birthday Party

Introduction

Harold Pinter’s The Birthday Party (1957) is a masterclass in theatrical tension, ambiguity, and psychological depth. Adapted into a film in 1968 by William Friedkin, it presents a chilling translation of Pinter’s “Comedy of Menace” onto the screen. The transition from stage to film provides an opportunity to analyze how cinematic techniques enhance—or alter—the play’s unsettling atmosphere.

In this blog, we will explore the pre-viewing, while-viewing, and post-viewing observations that deepen our understanding of The Birthday Party. How does Pinter’s characteristic use of silence and pauses translate to film? How does the mise-en-scène contribute to the feeling of entrapment? Let’s delve into these questions and more.

Pre-Viewing Observations: Setting the Stage

1. Harold Pinter – the man and his works (Pinter, The Birthday Party)

• Harold Pinter (1930-2008): A British playwright, screenwriter, director, and actor. He is considered one of the most influential modern British dramatists. Known for his distinctive style, characterized by pauses, silences, ambiguous dialogue, and a sense of menace. His works often explore themes of power, control, memory, and identity. He was also a political activist, particularly vocal in his criticism of US and UK foreign policy.

Awarded the Nobel Prize in Literature in 2005.

• Key Works:
  • "The Birthday Party" (1957)   
  • "The Caretaker" (1960)   
  • "The Homecoming" (1965)   
  • "Betrayal" (1978)   
  • "One for the Road" (1984)   
• "The Birthday Party" is one of his early and most famous plays, and it established many of his signature themes and techniques.  

2. Comedy of Menace: Whose plays are known so? Who termed it? What are its peculiar characteristics? How is it different from Absurd Theatre?

• Plays Known as "Comedy of Menace":
  • The term is primarily associated with the early works of Harold Pinter.   
• Who Termed It?:
  • The term was coined by drama critic Irving Wardle in 1958.   
• Peculiar Characteristics:
  • Combines elements of comedy and threat, creating a sense of unease and ambiguity.   
  • Characters engage in seemingly ordinary conversations, but there is always an underlying sense of menace and potential violence.   
  • Uses pauses, silences, and ambiguous dialogue to create tension and suspense.   
  • Explores themes of power, control, and the fragility of human relationships.
  • The plays often contain a feeling of claustrophobia, and characters that are trapped.
• Difference from Absurd Theatre:
  • While both "Comedy of Menace" and "Absurd Theatre" share some similarities (e.g., ambiguous dialogue, a sense of unease), there are key differences:

Absurd Theatre: Emphasizes the meaninglessness and irrationality of existence. Often features illogical plots and characters who are unable to communicate effectively.   

Comedy of Menace: While also exploring themes of uncertainty, it tends to be more grounded in realistic situations and relationships. The menace is often rooted in power dynamics and psychological manipulation.

Absurdist theatre, can often contain a lack of any logical plot progression. Comedy of Menace plays, tend to have a plot, even if it is hard to follow.   

The comedy found in absurdist theatre is often very broad, where as the comedy of menace, is often very dark, and subtle.

3. Explain ‘Pinteresque’ – Pinter pause and use of ‘Silence’ in the play: a particular atmosphere and environment in drama.

• ‘Pinteresque’:
  • Refers to the distinctive style and atmosphere found in Pinter's works.
  • Characterized by:
    • Ambiguous dialogue.
    • Pauses and silences.
    • A sense of menace and unease.
    • Power struggles and psychological manipulation.
    • A feeling of a lack of clear information.
• Pinter Pause:
  • A deliberate pause in dialogue, often indicated in the script by "..." or a longer space.   
  • Used to create tension, reveal unspoken thoughts, and highlight power dynamics.   
  • Can also be used to indicate a character's uncertainty or inability to articulate their feelings.
• Use of ‘Silence’:
  • More than just the absence of sound; it is an active force in Pinter's plays.   
  • Used to create a sense of unease, highlight power imbalances, and reveal hidden emotions.   
  • Can be more powerful than dialogue, as it forces the audience to confront the unspoken and the unknown.
  • The Silence can be used to show the characters fear, or their inability to communicate.   
• Atmosphere and Environment:
  • Pinter's use of pauses and silences contributes to a claustrophobic and unsettling atmosphere.
  • The audience is left feeling uncertain and anxious, as they try to decipher the characters' motivations and the underlying meaning of the play.   

4. ‘The Birthday Party’ – an allegory of ‘artist in exile’ and other interpretations

• ‘Artist in Exile’ Allegory:
  • Stanley, the protagonist, can be seen as an artist figure who has retreated from the world.
  • Goldberg and McCann represent forces that seek to silence and control him, forcing him to conform to societal norms.   
  • The "birthday party" can be interpreted as a ritual of conformity, where Stanley is stripped of his individuality.
• Other Interpretations:
  • Political Allegory: The play can be seen as a commentary on totalitarianism and the suppression of individual freedom.
  • Existentialist Interpretation: The play explores themes of alienation, anxiety, and the search for meaning in a chaotic world.
  • Psychological Drama: The play delves into the complexities of human relationships, power dynamics, and the fragility of identity.   
  • Religious Allegory: Goldberg and McCann can be seen as representing powerful, possibly divine forces that arrive to judge Stanley.

5. ‘The Birthday Party’ as a Political Play with reference to Harold Pinter’s Noble Speech: ‘Art, Truth & Politics[1]’. (Pinter, Art, Truth & Politics: Excerpts from the 2005 Nobel Lecture)

• Political Play:
  • While not overtly political in the traditional sense, "The Birthday Party" can be interpreted as a political play due to its exploration of power, control, and the suppression of individuality.   
  • Goldberg and McCann represent forces that impose their will on Stanley, stripping him of his identity and forcing him to conform.   
Nobel Speech: In his Nobel Lecture, Pinter spoke passionately about the relationship between art, truth, and politics. He criticized the use of power and manipulation by governments and institutions, and emphasized the importance of speaking truth to power. "The Birthday Party" can be seen as an early example of Pinter's exploration of these themes, as it depicts the insidious ways in which power can be used to control and manipulate individuals.

Pinter, in his speech, talks about the use of language to obfuscate truth. This is very relevant to the play, due to the way that the language of Goldberg and McCann is used to confuse Stanley.

The idea of systems of power, that are hard to define, and that control individuals, is a key theme in both the play, and the speech.

While-Viewing Observations: Theatrical vs. Cinematic Adaptation

1. Harriet Deer and Irving Deer’s article[2] on Pinter's "The Birthday Party": The Film and the Play. (Deer and Deer)

• Unfortunately, without the specific content of the Deer and Deer article, I can only provide general points that such an article would likely address:
  • It would likely analyze the choices made in the film adaptation, comparing them to the original play's text.
  • It would explore how visual elements (cinematography, set design, acting) contribute to or alter the play's intended effect.
  • It would discuss the effectiveness of translating Pinter's unique use of language and silence to the screen.
  • It would probably address the changes, or lack of changes, to the pacing of the play, and how that is presented in the film.
  • It would analyse how the film either enhanced, or detracted from, the plays themes.

2. A comparison of the film and play versions of ‘The Birthday Party’ affords us a rare opportunity to gain insight into how a reconception of a play into film may affect the dramatic experience it communicates. Mark the way Pinter treats the texture of the play.

• Pinter's treatment of the play's texture is meticulous. He focuses on:
  • Dialogue: The film preserves Pinter's distinctive dialogue, with its pauses, silences, and shifts in tone.
  • Atmosphere: The film effectively translates the play's claustrophobic and menacing atmosphere through visual and auditory cues.
  • Pacing: The film maintains the play's slow, deliberate pacing, which builds tension and unease.  
  • Visual cues: The film gives the viewer the ability to see the small details that add to the plays texture, the state of the room, the clothing of the characters, ect.

3. Observe how Pinter gives us the texture-the sounds and sights of a world without structure, which is the heart and soul of the play also.

• The film achieves this through:
  • Disjointed Dialogue: Conversations that start and stop abruptly, revealing the characters' inability to connect.
  • Unsettling Sounds: The knocking, the drum, and other noises that disrupt the normalcy of the setting.
  • Cluttered Setting: The boarding house is filled with objects that seem out of place, contributing to a sense of disorder.
  • Sudden shifts in mood: The characters can go from seemingly normal conversation, to extreme anger, or fear, in a very short amount of time.

4. How many times the ‘knocking at the door’ happens in the play? Is it creating menacing effect while viewing the movie?

• The "knocking at the door" is a recurring motif that increases in frequency and intensity throughout the play.
• In the film, it is very effective in creating a menacing effect. It serves as:
  • A symbol of intrusion and threat.
  • A way to build tension and suspense.
  • A reminder of the outside forces that are closing in on Stanley.
  • The sound of the knocking, is often very sharp, and loud, which increases the feeling of unease.

5. How are ‘silences’ and ‘pauses’ used in the movie to give effect of lurking danger – how it helps in building the texture of comedy of menace.

• Silences and pauses are crucial in creating the "comedy of menace" texture. In the film, they:
  • Amplify Tension: They create a sense of anticipation and unease, as the audience waits for the next word or action.
  • Reveal Unspoken Thoughts: They allow the characters' hidden emotions and motivations to surface.
  • Highlight Power Dynamics: They can be used to show who is in control of the conversation.
  • Create Ambiguity: They leave the audience questioning the characters' intentions and the meaning of their words.
  • The silences can be used to make the viewer feel like they are missing something, that something is being hidden.

6. Comment upon the use of things like mirror, toy drum, newspapers, breakfast, chairs, window-hatch etc in the movie. What sort of symbolic reading can you give to these objects?

• These objects are used to create symbolic meaning:
  • Mirror: Represents identity and self-perception, which is distorted and fragmented in the play.
  • Toy Drum: Symbolizes Stanley's arrested development and the disruption of normalcy. It also represents a childish noise that is used to annoy.
  • Newspapers: Represent the outside world and the intrusion of reality into the characters' isolated existence.
  • Breakfast: Represents routine and normalcy, which are constantly disrupted in the play.   
  • Chairs: Represent power and control, as characters shift positions and assert dominance.
  • Window-Hatch: Represents the possibility of escape, but also the feeling of being trapped. It also represents the ability to see, but not be seen.

7. How effective are scenes like ‘Interrogation scene’ (Act 1), ‘Birthday Party scene’ (Act 2) and ‘Faltering Goldberg & Petey’s timid resistance scene’ (Act 3) captured in the movie?

• Interrogation Scene (Act 1):
  • The film effectively captures the tension and psychological manipulation of this scene.
  • The close-ups and shifting camera angles enhance the sense of unease.
  • The actors facial expressions, and body language, are used to great effect.
• Birthday Party Scene (Act 2):
  • The film portrays the chaotic and menacing atmosphere of the party with great intensity.
  • The use of sound and visual effects amplifies the sense of disorientation and dread.
  • The change in lighting, and the increase in noise, adds to the feeling of chaos.
• Faltering Goldberg & Petey’s timid resistance scene (Act 3):
  • The film effectively portrays Goldberg's breakdown and Petey's futile attempts to intervene.
  • The actors' performances convey the characters' vulnerability and powerlessness.
  • The way that Petey, is unable to do anything to stop what is happening, is very well presented.
  • Goldbergs decline, is made very clear, though the acting, and the way the character is presented.

Post-Viewing Reflections: Interpreting the Experience

1. Why are two scenes of Lulu omitted from the movie?

• Pacing and Focus:
  • Film adaptations often prioritize a streamlined narrative. Scenes that might be considered tangential to the central conflict involving Stanley could be cut to maintain pacing.
  • Filmmakers may choose to focus on the core power dynamics between Stanley, Goldberg, and McCann, which are the driving forces of the play.
• Visual Medium:
  • Some of Lulu's interactions, particularly those that are heavily dialogue-driven, might be deemed less visually compelling for the screen.
  • Adaptations often seek to translate the play's atmosphere through visual and auditory means, which might lead to the omission of scenes that rely primarily on language.
• Emphasis on Themes:
  • Depending on the director's interpretation, certain aspects of Lulu's character or her interactions might be considered less essential to the film's overall thematic message.

2) Is the movie successful in giving us the effect of menace? Where you able to feel it while reading the text?

• Text vs. Film:
• Pinter's play creates menace through its use of ambiguous dialogue, pauses, and the gradual escalation of psychological tension. Readers often feel a sense of unease and dread.
• • A successful film adaptation can amplify this menace through visual elements like:
    • Lighting and shadow.
    • Close-ups and camera angles.
    • Sound design.
    • The actors' physical performances.
  • Whether a film version is successful is subjective. But a good film version will enhance the feelings that the text version creates.

3) Do you feel the effect of lurking danger while viewing the movie? Where you able to feel the same while reading the text?

• Lurking Danger:
  • Both the play and a well-executed film adaptation should convey a sense of lurking danger.
  • The arrival of Goldberg and McCann disrupts the normalcy of the boarding house, creating a sense of impending doom.
  • The film has the added ability to visually show this danger.

4) What do you read in 'newspaper' in the movie? Petey is reading newspaper to Meg, it torn into pieces by McCain, pieces are hidden by Petey in last scene.

• Symbolism:
  • The newspaper represents a connection to the outside world and a sense of normalcy.
  • McCann's act of tearing it symbolizes the disruption of that normalcy and the intrusion of chaos.
  • Petey's attempt to hide the pieces suggests a futile effort to restore order.
  • It is also a symbol of the isolation of the characters.

5) Camera is positioned over the head of McCain when he is playing Blind Man's Buff and is positioned at the top with a view of room like a cage (trap) when Stanley is playing it. What interpretations can you give to these positioning of camera?

• Camera Angles:
  • McCann's Overhead Shot:
    • This "bird's-eye view" conveys a sense of control and dominance. It positions McCann as a manipulator, overseeing the action.
  • Stanley's Overhead Shot:
    • This angle emphasizes Stanley's vulnerability and entrapment. It creates a feeling that he is being observed and controlled, like an animal in a cage.
    • It enhances the feeling of him being trapped.

6) "Pinter restored theater to its basic elements: an enclosed space and unpredictable dialogue, where people are at the mercy of one another and pretense crumbles." (Pinter, Art, Truth & Politics: Excerpts from the 2005 Nobel Lecture). Does this happen in the movie?

• Yes, this is very much present in the film adaptation of "The Birthday Party." The movie, like the play, effectively utilizes:
  • Enclosed Space: The setting of Meg and Petey's boarding house creates a claustrophobic atmosphere, trapping the characters and amplifying the sense of menace. 
• Unpredictable Dialogue: Pinter's signature dialogue, with its pauses, silences, and shifts in tone, is faithfully rendered in the film. This creates a sense of unease and highlights the characters' vulnerability.
• People at the Mercy of One Another: The power dynamics between Stanley, Goldberg, and McCann are vividly portrayed, showing how easily individuals can be manipulated and controlled. 
• Pretense Crumbles: As the play progresses, the characters' carefully constructed facades begin to break down, revealing their underlying fears and insecurities. This is visually and aurally presented in the film.

 7) How does viewing the movie help in better understanding the play ‘The Birthday Party’ with its typical characteristics (like painteresque, pause, silence, menace, lurking danger)?

• Visual Reinforcement:
  • The film provides a visual representation of the play's atmosphere, enhancing the sense of menace and lurking danger. The director's choices in lighting, camera angles, and set design contribute to this.
  • The "painteresque" quality, referring to Pinter's use of visual imagery, is made more concrete on film. The director can emphasize certain details and create visually striking compositions that reflect the play's themes.
• Auditory Enhancement:
  • The film allows for a nuanced portrayal of Pinter's use of pauses and silences. The actors' delivery and the subtle shifts in sound design can amplify the tension and ambiguity of these moments.
  • The menace is also enhanced by sound, the knocking sounds, or the changes in the tone of voices.
• Character Embodiment:
  • Seeing the characters brought to life by actors can deepen our understanding of their motivations and relationships. The actors' physical presence and expressions add another layer of interpretation to the play's dialogue.

 8) With which of the following observations you agree:

• Both observations have merit.

• It is true that translating Pinter's work to film is challenging due to its reliance on subtle nuances and subtext. Some argue that the inherent theatricality of the play can be lost in the transition.
• However, William Friedkin's film is widely praised for its faithful and effective adaptation. It captures the play's atmosphere and themes with sensitivity and skill. Therefore, "It's impossible to imagine a better film of Pinter's play than this sensitive, disturbing version directed by William Friedkin"[3]. (Ebert) is an accurate statement.
• Therefore, I agree with the second statement, but acknowledge the validity of the first.

9)  If you were director or screenplay writer, what sort of difference would you make in the making of the movie?

• If I were the director or screenplay writer:

• I would focus on maintaining the claustrophobic atmosphere by emphasizing the limitations of the space. I would use close-ups and tight shots to heighten the sense of confinement.
• I would pay meticulous attention to the rhythm and pacing of the dialogue, ensuring that the pauses and silences are used effectively to create tension.
• I would work closely with the actors to develop nuanced performances that capture the characters' complex emotional states.
• I would work to enhance the sound design, to emphasize the sounds of the house, and the outside world, to increase the feeling of isolation.
• I would make sure that the visual presentation of the film, kept the feeling of a play, instead of trying to make it too cinematic.

 10 ) Who would be your choice of actors to play the role of characters?

• This is subjective, but here's a potential casting based on capturing the essence of the characters:
• Stanley: A character that can portray both vulnerability and aggression. Someone like Joaquin Phoenix, or Paul Dano.
• Goldberg: An actor with a commanding presence and a talent for playing manipulative characters. Someone like Ralph Fiennes, or Ciaran Hinds.
• McCann: An actor that can play a character that has a very strong sense of menace, and suppressed violence. Someone like Barry Keoghan, or Ben Mendelsohn.   
• Meg: An actress that can play an innocent, and yet somewhat clueless character. Someone like Imelda Staunton, or Lesley Manville.
• Petey: An actor that can play a quiet, and observant character. Someone like Jim Broadbent, or David Bradley.

11) Do you see any similarities among Kafka's Joseph K. (in 'The Trial'), Orwell's Winston Smith (in 'Nineteen Eighty-Four') and Pinter's Victor (in 'One for the Road')? 

 

Vulnerability to Unseen Power: All three characters are subjected to forces they cannot fully comprehend. Joseph K. is arrested and prosecuted by an unknown authority. Winston Smith is trapped within the omnipresent surveillance of the Party. Victor is at the mercy of a brutal and arbitrary interrogator. They all exist in a world where power is exercised in opaque and terrifying ways.

Loss of Individual Autonomy: Each character experiences a profound erosion of their personal freedom. Joseph K. struggles against a legal system that denies him agency. Winston Smith's thoughts and emotions are policed, and his reality is manipulated. Victor is psychologically and physically tortured to break his will. They all suffer under systems that seek to crush the individual.

Experiences of Psychological Terror: Beyond physical oppression, these characters endure intense psychological torment. The ambiguity of Joseph K.'s situation, the constant fear in Winston's life, and the calculated cruelty inflicted upon Victor create atmospheres of pervasive dread. All three works delve into the ways that power can manipulate and destroy the human psyche.

Isolation and Alienation: They are all in some form, isolated. Joseph K. is isolated by the court system. Winston Smith is isolated by the party, and his own attempts to rebel. Victor is isolated by his torturers. They are all alienated from a normal society.

Conclusion : 

The Birthday Party remains a haunting and enigmatic piece of theater, and Friedkin’s film adaptation brings new dimensions to Pinter’s unsettling vision. While some critics argue that the essence of the play is difficult to translate onto film, others praise the movie’s ability to visually amplify its themes of menace and psychological entrapment.

Watching the film after reading the play offers a deeper appreciation of Pinter’s craft—his mastery of dialogue, his manipulation of silence, and his exploration of existential dread.

References : 

Britannica, The Editors of Encyclopaedia. "Harold Pinter." Encyclopædia Britannica, 2024, https://www.britannica.com/biography/Harold-Pinter.

Nobel Prize. "Harold Pinter – Nobel Lecture." NobelPrize.org, Nobel Prize Outreach AB, 2005, https://www.nobelprize.org/prizes/literature/2005/pinter/lecture.

Wikipedia Contributors. "The Birthday Party (play)." Wikipedia, The Free Encyclopedia, Wikimedia Foundation, last modified [date of last edit], https://en.m.wikipedia.org/wiki/The_Birthday_Party_(play).