As Criadas

The Maids is a two-woman show that looks like a live performance. It was part of a series of films adapting stage shows to the big screen, so the intent is implant audiences in the front row of the theater. It's not flashy and it doesn't do anything to make itself any less "stage-y". If that type of movie doesn't appeal to you, then you'll probably tear your hair out after five minutes.

Many theater fans adore Glenda Jackson's style, but it is very distinctive, so if again, if you don't like it in the beginning, you won't like the rest of it. She and her costar, Susannah York, played their parts on stage, which explains their masterful timing and very rehearsed delivery. The story is pretty dark and convoluted: two maids hate their employer, so when she's out on the town, they take turns dressing up in her clothes and harassing the other. They also act out little revenge schemes which they can never fulfil in real life.

Personally, I found it much to play-ish and peculiar to be enjoyable. If you actually end up liking this one, you can try any number of live productions Glenda Jackson filmed or another dark, strange drama with Susannah York: The Killing of Sister George.

The Maids is one of the great stage classics of the XX century, and this 1974 version does it full justice. American Film Theatre was an attempt to bring stage to screen; I had previously seen only one of their efforts, Rhinoceros, which was ruined by an attempt to shift the setting from France to America.

The Maids doesn't make that mistake; the setting is ostentatiously, gorgeously French. Glenda Jackson and Susannah York have British accents, but this still maintains the European feel of the piece...and their acting is superb. Their ability to project histrionics at just the right moment brings to life what would otherwise be a stagebound snooze. The exquisite composition of colours and textures in the apartment also makes for compelling viewing.

The story concerns two psychotic and resentful maids who hatch a variety of fantastic plots for killing Madame, their employer. Also, the have a ceremony which involves one of them dressing up as Madame and tormenting the other; it is obvious that there is a vast pool of venom underneath the surface pretence of kindness and consideration shown by Madame.

The dialogue is ritualized and stylized, almost like Shakespearean blank verse - one would expect no less from Jean Genet, who was like Shakespeare in many ways. You have to be willing to like prose-poetry, but it's worth giving it a chance.

I'm convinced that the play was a major influence on Fassbinder's "Petra von Kant"; that movie is reckoned to be a classic, but this one is even better, so more people should check it out.

There's a memorably creepy scene in 'The Servant' where Dirk Bogarde and Sarah Miles disrespectfully cavort in James Fox's bathroom; here in the hands of her brother Christopher this becomes an entire film.

Only a gay author could envisage such shenanigans as see Glenda Jackson and Susannah York engaged in hysterical mind games in maid's uniforms in this American Film Theatre production of Jean Genet's play.

Now that Dame Glenda Jackson belongs to the ages, 'The Maids' serves as a reminder of why she was once known as "the sex kitten of the National"; while Vivien Merchant is an absolute hoot as Madame.

I first saw 'The Maids' on PBS in the early 1980s, and loved it. The American Film Series was briefly available in Betamax format, but has long been unavailable. Now the series has been released on VHS and DVD, and I am delighted.

At the time I was unfamiliar with the play; this film served as an introduction to Genet's work, and further to the so-called 'Theatre of the Absurd.' Glenda Jackson and Susannah York give absolutely incredible performances as Solange and Claire, the title characters, who take turns dressing as their mistress (played by Vivien Merchant), and abusing each other in a parody of the master/slave relationship. It is difficult to recapitulate the plot in the space provided. Being faithful to the source text, the film is very wordy, and with a lesser cast and director would probably be unwatchable, but if you like full-throttle acting by three of the twentieth century's best actresses, and don't need an edit every four seconds, this is worth your time.

Jean Genet is a genius storyteller who pulls us in from the beginning, the way the characters play off of one another is brilliant, wonderful acting to boot. Don't miss it!