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Joseph Losey’s 1963 satire on the British class system has lost none of its bite.
James Fox is the aristo newly moved into his Chelsea townhouse; Dirk Bogarde (shedding his matinée-idol image) is the insidious manservant with an agenda of his own.
Harold Pinter, in the first of three collaborations with Losey, provides oblique dialogue, matched by artfully angled framings from DoP Douglas Slocombe.
Confining the action almost entirely within the townhouse, Losey creates an atmosphere of deepening claustrophobic menace shot through with episodes of savage black humour.
