Film Overview"Basements" is a 1987 American drama movie directed by the well-regarded British director, Robert Altman. The movie assembles 2 one-act plays from prominent English playwright, Harold Pinter: "The Room" and "The Dumb Waiter", both centric and confined to basement settings. These 2 short plays are merged by Altman into one movie, but each preserves its own different plot, characters, and themes.
Premise and Plot of "The Room"The first section, "The Room", includes an unstable lady called Rose Hudd, brilliantly played by Linda Hunt. She deals with her spouse, Bert Hudd (Donald Pleasence), in a self-contained room in a big, worn out estate's basement. The drama unfolds as Rose reveals her fear and paranoia about the world outside her basement, which is made more extreme by the arrival of an enigmatic couple, looking for a space to lease.
Rose is haunted by the fear of being displaced and ignored. After her partner leaves for work, Rose engages with various individuals, consisting of a possible renter who may have a murky past and a complex relationship with Rose. Fear, risk, and obscurity govern the tense narrative resulting in a disquieting conclusion.
Plot of "The Dumb Waiter"The 2nd act, "The Dumb Waiter", focuses on the lives of 2 hit-men, Ben (John Travolta) and Gus (Tom Conti), as they wait in a run down basement of a Sheffield dining establishment to receive directions for their next task. The stress develops as Gus starts asking questions about their occupation and grows significantly puzzled and irritated by a malfunctioning dumbwaiter that provides mysterious, seemingly ridiculous orders.
Beneath the throb of dark humor and the seemingly mundane chats about football, tea, and food, there lurks a creeping fear and sharp critique towards approximate authority. The drama warms up with the malfunctioning dumb waiter, representing a force beyond their control, culminating in an unnerving climax.
Directorial Style and ThemesAltman's directorial delight shines in "Basements", as he brilliantly records Pinter's theatrical universe on-screen. Altman is especially skilled at translating Pinter's signature "comedy of hazard" into cinematic tropes, marked by suspenseful pauses, unclear language, fragmented communication, and sinister undercurrents. The film magnificently brings out Pinter's exploration of existentialism, the worry of the unidentified, communication breakdown, and the imminence of risk in seemingly safe spaces like basements.
Altman utilizes the grimy, claustrophobic basement setting and layers it with audial and visual hints to magnify the pain and unpredictability exhibiting from Pinter's discussion. Similar to in Pinter's plays, the 'silences' speak volumes in Altman's "Basements".
PerformancesThe film shines light on some excellent performances from a diverse cast. Linda Hunt gives a deeply upsetting portrayal of a females immobilized by her paranoia. Donald Pleasence and John Travolta deliver gripping performances, with Pleasence's subtle portrayal of the separated spouse and Travolta's cooling portrayal of the cold-blooded gunman. Tom Conti fantastically captures the agitation and underlying fear of his character.
Conclusion"Basements" is an unique sketch of Harold Pinter's provocative plays. It bravely covers styles of existential fear, privacy, and vulnerability, and showcases the mastery of both Pinter's textual richness and Altman's knowledgeable instructions. The film stands as a testament to the long-lasting appeal of Pinter's dramatic world and interesting themes. Although it might not cater to everybody's taste, "Basements" is an absolute reward for the fans of Pinter and Altman or those who value thought-provoking movie theater.
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