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Harold Pinter's Screenplays and the Object of Desire

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Harold Pinter's Screenplays and the Object of Desire FROM REEL TO REAL : HAROLD PINTER'S SCREENPLAYS AND THE OBJECT OF DESIRE LINDA DENISE RENTON A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Humanities, Bath Spa University College November 1999 2 ABSTRACT Taking as a starting point Pinter's statement that 'The more acute the experience, the less articulate its expression', this thesis offers a theorisation of that essential point beyond representation, through Lacan's objet petit a, the focal point of the subject's desire. It is this small object, unarticulated in language, unrepresented in the visual field, that is most acute for the subject, and more real than external reality. It is a structure applicable to poetry, psychoanalysis and film, and it is through Pinter's screenplays that this approach is made. Using previously unpublished material from the Pinter Archive, the progress of each screenplay is charted to find Pinter working towards just such a structure of desire for the central character within the narrative, and for the spectator. Chapter one outlines the basic premise of Lacanian theory and its relevance to the most recent writing on film. A direct link is established between Pinter and the Surrealists through Pinter's unpublished poem 'August Becomes', placing vision at the centre of being, and connecting Pinter, through the Surrealists, to Lacan. The construction of an object of desire is outlined in general terms within the screenplays, and the chapter concludes by identifying three different aspects of the object. The first two aspects are those of lack, which evokes desire: the object which is eternally lost, and can only be retrieved in fantasy or dream, and the object which, aligned to a real object in the external world, will change once that real object is achieved. The third aspect emerges when instead of a lack we encounter a fullness, which destroys the relationship with desire, and causes anxiety. Chapter two is a resume of all the screenplays to date in the light of this reading, while chapters, three four and five, offer a close reading of three screenplays: The Remains of the Day, The Handmaid's Tale and Victory, each of which offers a different aspect of the object as outlined above. In chapter six this approach is offered as a reading of Pinter's stage plays. Finally, a postscript outlines Pinter's latest screenplay, The Dreaming Child, which reinforces the subject of this thesis, that it is the object of desire which is more real, more acute than external reality. Throughout the screenplays Pinter can be seen to shape narrative and structure to create just such an acute, invisible objectfor his spectator, placing her in a vacillating relationship with desire. 3 CONTENTS Page Abstract ..... ....... ....... ............ ......... .............. ...... ......... .... ....... ....... ..... .......... 2 Contents ..... ............. .............. ...... ......... ..... ........................ .................... 3 Acknowledgements . .............. .. ........... ..... ............. ..... ... .. ............ .......... ....5 Note on Extracts from Manuscripts and Printed Works ...... ....... ..... ........ .. ...6 CHAPTER ONE : INTRODUCTION .................. ..... .......... ...... ..... ........ ........ 7 Critical Approaches ... ................... .................... ....... ... ....... .... .................... 8 Film Theory and the Gaze ......... .................... ..... ........... ............ ....... ..... .... 15 Vision at the Centre of Being ...................... .... ........... ..... ... ....... ................ 17 The Object Emerges ....................... ........ .. .... ....... ..... ................. ... .... ....... 18 The Narratives of Desire ...... .. ............................ ............. .......... ........ .... 29 The Structures of Desire ............................. ........ ............................... 30 The Drive - The Movement Along the Signifying Chain... .......... ............ 32 The 'Loop of Enjoyment' .... ........................ ............. .... .......................... 35 CHAPTER TWO : THE OBJECT AS GAZE IN THE SCREENPLAYS ..... .40 The Screenplays up to 1971 (pre- Proust) The Servant.. ... .... ........... .... .. .................. ............... ..... ........ ... ....... 41 The Pumpkin Eater ......... ...... ..... ...... ............. ............. ....... ... ...... .......... 48 The Quiller Memorandum ........ ..... ..... ......... .... .......... .. .... ...... ... ......... 50 Accident ......... ... ...... ......... ........ .......... ................ ..... ....... ....... ... ......... 51 The Go-Between ..... .. ...... .......... ...... ............ .......... ... ......... .... ..... .... 54 Langrishe, Go Down ............. ..... .............. ......... ......... ............... ........... 56 Summary of Screenplays pre-Proust.............................................. ........... 58 The Proust Screenplay .......... ....... ..... ........... ........ ............ ....... ...... .... 59 The Screenplays post-Proust............ .........................................................64 Th e Last Tycoon ................. ........... ... ........ ............ ............... ........... ..... 64 The French Lieutenant's Woman .. ............................. ......... ... ......... ...... 68 Victory.. ................ ....... ..... ........................................... ................... ..... 70 Turtle Diary... .... ........... ...... ..... ........ ..... .. ........... .......... ........... ... .. ... 71 The Handmaid's Tale .... ...... ... ....... ........ .................... ......... ........... .......74 Reunion ...................... ........... ................ ..................... .. ....... ............. .... 74 The Heat of the Day ..... ....... ..... ............................ ............ .......... ......... 78 Th e Comfort of Strangers ...... ...... ... ........ ............. ..... .... ..... ..... .... ..... .. 80 Th e Trial ......... ..... ...... ...... .............. ........... .................................. .......... 87 The Remains of the Day ........... ... ........ ... ..... .......... ........ .............. 90 Lolita .......... ................... ... ..... ........... ...... ............. ................................. 90 Conclusion.. ..... .... .... ................. ...... .............. ............ .... ........... ...... ..... 93 4 CHAPTER THREE : THE REMAINS OF THE DA Y ................................... 98 Differences Between Pinter's Screenplay and the Novel . ........................... 99 Differences Between Pinter's Screenplay and the Film ............................ 1 00 Pinter's Shaping of the Object Within the Narrative ................................. 102 Pinter's Shaping of the Object Within the Overall Structure of the Screenplay The Lack ...................................................... ................................... 1 06 The Drive ........................................................................ ............... 1 08 The 'Loop of Enjoyment' .................................................. ................ 110 CHAPTER FOUR : THE HANDMAID'S TA LE .......................................... 114 Differences Between Pinter's Screenplay and the Novel . ............... .......... 115 Differences Between Pinter's Screenplay and the Film ............ ................ 116 Pinter's Shaping of the Object Within the Narrative . ..... ........................... 117 Pinter's Shaping of the ObjectWithin the Overall Structure of the Screenplay ........................................................ ....................... 134 The Lack .................................................... ..................................... 135 The Drive ........ ..................................... ................................. ...... .... 136 The 'Loop of Enjoyment' .................................................................. 141 CHAPTER FIVE : VICTORY......... ............... ............................................ 145 The Object Turns Uncanny ...................................................................... 146 The Uncanny in the Narrative of Novel and Screenplay ........................... 149 The Emergence of the Uncanny in the Structure of the Screenplay Instead of a Lack - a Fullness .......................................................... 157 The Drive Disturbed ............... ........... .......................................... ..... 160 Instead of Enjoyment - Anxiety ........................................................ 165 CHAPTER SIX: THE OBJECT AS GAZE IN THE STAGE PLAYS .......... 168 Critics on Film Form in the Plays ................................... ...... .................... 168 Vision and Being ................................................ ..... ................. ................ 170 The Gaze in the Early Plays : 1957 - 1962 ............................................... 173 The Move into Film 1962 - 1966 The Caretaker Screenplay ................................................................. 181 Tea Party....................................... ......... ........................................... 183 Th e Basement ..... ......................... .......................... .......... .................. 183 The Plays of 1966 - 1982 ......................................................................... 184 Other Places .............. ........................................................
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