Pumpkin Eater

An out­stand­ing script by Harold Pin­ter, clev­er­ly and spar­e­ly direct­ed with aston­ish­ing cin­e­matograpy for any era (from Ossie Mor­ris). Two scenes stand out. The main flash­back starts with a close-up of Anne Ban­croft’s face framed by the brim of a felt hat; exte­ri­or light­ing. The back­ground, not in focus, fades to white and then fades in again to place her in a dif­fer­ent scene while the light­ing on her face remains unchanged. With com­put­er graph­ics? Easy. But on film… A sec­ond scene: Ban­croft kneel­ing before a gas fire—we see her full face, weep­ing, by the flick­er­ing flame’s light. Deep in the rich­ly-fur­nished room behind her Finch, lit from a win­dow to one side of the room, is stand­ing, argu­ing with her. Both char­ac­ters in per­fect focus.

Also, isn’t it com­fort­ing to know that Har­rods’ Food Hall has hard­ly changed in 45 years?

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