Film Review: The Maids

"The Maids" *** (out of ****)

Christopher Miles' adaption of Jean Genet's "Les Bonnes" is not a bad film but the movie does nothing special with the cinematic tools at its disposal. "The Maids" feels like theatre on film. This was performed on stage and I have a feeling I'd rather see this story told on the stage instead of on celluloid.

"The Maids" (1975) was part of the American Film Theatre's collection, which had a good run for a couple of years, mostly during 1973 -1975, adapting stage works on the screen. Some of their better known productions include Lindsay Anderson's "In Celebration", Harold Pinter's "Butley" and John Frankenheimer's "The Iceman Cometh".

Miles, a director I'm not familiar with, seems as if he didn't want to take any chances with this story. He simply wanted to take what was on stage and put it on film. Outside of a few over the head camera shots we don't see the film medium being used. Still, I don't want to sound too harsh, "The Maids" is worth seeing for the two lead performances and simply because the story is interesting enough to sit down and watch.

Glenda Jackson and Susannah York star as sisters working as maids. Solange (Jackson) is the oldest and has a mother hen quality to her when it comes to Claire (York). When we first meet the two we are not aware they are sisters. The film begins in the middle of action. As "Madame", their boss, is getting ready for a night out. Solange is helping her dress. The two women exchange barbs with one another. Mean spirited remarks are thrown back and forth as "Madame" and Solange are caught in a game of trying to deeply humiliate the other. As this proceeds for about 15 minutes or so we realize "Madame" is not really "Madame" at all, but is Claire role playing. Solange and Claire play this game every night, switching roles, as the end result is the maid kills Madame.

During this opening scene the viewer learns that Madame's (Vivien Merchant) lover, simply known as Monsieur (Mark Burns) has been arrested when incriminating letters are sent to the police involving Madame and Monsieur's relationship. Monsieur is being taken to jail. The letters we find out were written and sent by the maids. What exactly do they hope to accomplish? If they hate Madame so much, what stops them from leaving her? Fear of unemployment? The film, and I would guess the play as well, doesn't get bogged down in these details. Sometimes it is not important but you can't stop yourself from thinking and asking questions while watching a movie.

Though all of the performances feel staged, the characters speak loudly as if attempting to have their voices projected to the last roll of a theatre and at times seem stiff. They stand on their mark and don't move. Still I have to give credit to Jackson and York. They are able to make us care about these characters. This simply speaks to their talent as actresses. Even if the material is not up to the usual high quality they work with they can still bring an audience in. And both women are talented. Jackson is a two time Oscar winner. Her first Oscar came for Ken Russell's "Women in Love" (1970) and her second for the light comedy "A Touch of Class" (1973) with George Segal. Though it is not fair to compare both movies I do prefer "A Touch of Class" if only because it is light-hearted and makes for an easier viewing experience.

York on the other hand was also nominated for an Oscar in the supporting category for "They Shoot Horses, Don't They?" (1969). And gives one of her best performances in Robert Altman's under appreciated classic "Images" (1972).

The film is basically a two women show. And the two ladies play off each other nicely. One does wonder what exactly is this relationship like. Many layers seem hidden between them. Solange is the more dominate of the two and at times a sexual vibe is suggested between them though not much is made of this.

All the acting credit is usually aimed at York and Jackson but I'd like to say a word about Vivien Merchant as Madame. When she enters the film a whole new dimension is added. At this point in the film the maids have decided to kill her by putting pills in her tea. Besides aspects of dark humor, which causes a shift in tone, it is all Merchant's show. It is almost a soliloquy. The sister's dialogue is reduced greatly as Madame goes on and on about how sad she is Monsieur is in jail. But slowly Madame learns that object are out of place. The sisters never fully put the apartment back in order after their role playing. Is Madame aware of what was going on? She asks the sisters repeated who could have sent those letters? Some viewers may recognize Ms. Merchant from roles in Hitchcock's "Frenzy" and "Alfie". In her one scene she steals the show.

There have been other films about maids who murder or attempt to murder their employees. Two which I can think of were French. "Murderous Maids" based on a true story and Claude Chabrol's "La Ceremonie". "The Maids" at times seems to engage in the same class warfare that Chabrol's film did and has that same kind of bleak ending. It is hard to say what exactly happens at the end of "The Maids". It is however very dramatic and theatrical.

As I said I am not familiar with Christopher Miles' work. Of the films he directed not many are available on VHS or DVD. The only other one I know of is "Priest of Love" about how D.H. Lawrence came to write "Lady Chatterly's Lover". He also adapted a novel by Lawrence, "The Virgin and the Gypsy".

The cinematography was done by Douglas Slocombe who shot the original "The Italian Job" with Michael Caine and one of my favorites "Lion in Winter" as well as the original "Indiana Jones" trilogy.

"The Maids" may be a tough find for some viewers. It is not very well known today and your local Blockbuster probably won't carry it. But if you like film adaptations of stage plays or are a fan of Ms. York or Ms. Jackson "The Maids" will interest you. It is entertaining and fun to watch these two talented ladies dominate the screen.