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According to Pinter's official biographer, Michael Billington, in Harold Pinter, echoing Pinter's own retrospective view of it, The Birthday Party is "a deeply political play about the individual's imperative need for resistance," [citation needed] yet, according to Billington, though he "doubts whether this was conscious on Pinter's part," it ...
The Birthday Party is a 1968 British drama neo noir directed by William Friedkin and starring Robert Shaw. It is based on the 1957 play The Birthday Party by Harold Pinter. The screenplay for the film was written by Pinter as well. The film, and the play, are considered examples of "comedy of menace", a genre associated with Pinter.
Written in 1957 and produced in 1958, Pinter's second play, The Birthday Party, one of his best-known works, was initially both a commercial and critical disaster, despite an enthusiastic review in The Sunday Times by its influential drama critic Harold Hobson, [104] which appeared only after the production had closed and could not be reprieved.
Harold Pinter's reading of a selection of his prose fiction and poems, 92nd Street Y New York City, 12 November 1964 – Hyperlinked in "92Y Podcast: Remembering Harold Pinter, British Playwright", 25 December 2008 (MP3; 65:41); includes: "Tea Party / New Year in the Midlands / A Glass at Midnight / You in the Night / The Drama in April / The ...
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The Room is Harold Pinter's first play, written and first produced in 1957. Considered by critics the earliest example of Pinter's "comedy of menace", this play has strong similarities to Pinter's second play, The Birthday Party, including features considered hallmarks of Pinter's early work and of the so-called Pinteresque: dialogue that is comically familiar and yet disturbingly unfamiliar ...
Harold M. Lambert - Getty Images. Department Store: 1957. A little girl holding a balloon looks at a Christmas display filled with toys and puppets in 1957. National Film Board of Canada - Getty ...
"That Harold Pinter occupies a position as a modern classic is illustrated by his name entering the language as an adjective used to describe a particular atmosphere and environment in drama: 'Pinteresque' "–placing him in the company of authors considered unique or influential enough to elicit eponymous adjectives. [2]