a broken gas stove. A bucket hangs from the ceiling to catch water from a leaking roof. The room is so packed with junk that it resembles a storage area more than a living space. Metaphorically, the room not only houses useless objects but also represents people like Aston, who can no longer function in the outside world, and briefly Davies, who becomes another discarded item Aston has brought into the room.

With its clutter, leaky roof, and a window covered by a sack instead of curtains, the room starkly contrasts the idealized spaces featured in home and garden magazines, which are parodied in Mick's speech in Act III. In this speech, Mick details his fanciful plans for the room: "This room you could have as the kitchen ... I'd have teal-blue, copper and parchment linoleum squares ... venetian blinds on the window, cork floor, cork tiles." This exaggerated vision is both humorous and highlights the gap between the room's reality and the fantasies of Mick, Aston, and Davies. Despite the dreams discussed in the play, the room remains a stark reminder of the harsh reality.

Comedy

Historically, a comedy was a play with a "happy ending," where the protagonist's issues are resolved, the virtuous are rewarded, and the wicked are punished. Modern drama, however, has evolved to include tragicomedy, a blend of tragedy and comedy, featuring humorous elements with darker undertones. The Caretaker exemplifies this genre.

In The Caretaker, Pinter employs numerous comedic techniques. The character Davies is reminiscent of the vaudeville tramp/clown, a persona also used by Charlie Chaplin. Like a vaudeville sketch, Davies engages in a lot of physical, slapstick humor. For example, when Davies removes his trousers to go to bed, Mick takes them and teases him by flicking them in his face, echoing vaudeville scenes where a man loses his dignity when his pants fall down. Mick also takes Davies's backpack, tossing it around the room as Davies tries to retrieve it. Later, when Davies flees Mick's vacuum cleaner, his panic further aligns him with the classic tramp/clown character.

Besides the physical humor in the play, there's also a significant amount of verbal comedy. In Davies's dialogue, the gap between reality and his words often results in a comedic effect. For instance, he tells Aston, "I've had dinner with the best," and "I've eaten my dinner off the best of plates." This highly questionable claim from the tramp is amusing, as is Davies's story about his time at a monastery near Luton. In this tale, Davies says to a monk, "I heard you got a stock of shoes here," only for the monk to reply, "Piss off.... If you don't piss off... I'll kick you all the way to the gate." The humor arises from the unexpected nature of the monk's response and the contrast between his crude language, "Piss off," and his typically reserved and pious role.
Mick's questioning of Davies, with his rapid-fire inquiries and assertion that Davies posed as a professional interior decorator, is also comedic. This humor stems from the contrast between the tramp Davies and the professional image Mick describes.

While The Caretaker contains many comedic elements, it also has a darker side. The conclusion, in which Davies is left as a frightened old man with nowhere to go, evokes pity for his predicament. In the final scene, Davies is too pitiable to be funny; he almost becomes a tragic figure. The tragedy of his situation is made even more profound by the preceding comedy.

Symbolism

In literature, a symbol represents something beyond itself. Arguably, the most significant symbol in The Caretaker is the Buddha sitting atop the gas stove. This Buddha is an item Aston has picked up and brought into the already cluttered room. In this way, the Buddha mirrors Davies, who can also be seen as something useless that Aston has taken in. Therefore, the Buddha could symbolize Davies.

However, it's important to note that symbols do not always have a direct one-to-one correlation with what they represent. A complex symbol can have multiple possible meanings, which together create a greater whole. Mick's destruction of the Buddha in the third act, for instance, could be interpreted in several ways. Whether the Buddha symbolizes Davies, represents Aston's inner peace, or is just another item Aston has collected, Mick might destroy it because it represents his brother, whom he might detest. The Buddha, as another piece of junk in a house owned by Mick, could also symbolize Mick's life. In this case, Mick might destroy the Buddha out of frustration with his overall life. The Buddha could embody all these interpretations or something entirely different. Sometimes, the power of a symbol lies in its ambiguity.

1960: Numerous government initiatives aimed at aiding the poor have been established, but doubts about their effectiveness start to emerge.

Today: While government programs continue to assist millions, skepticism grows regarding the government's ability to provide genuine solutions to poverty. There is an increasing focus on private sector involvement and a renewed emphasis on volunteer efforts.

1960: The domestic economy is bouncing back from its post-war slump, and the "consumer culture" is on the rise. Television becomes widespread, exposing people to more advertising than ever before.

Today: The focus on consumerism remains strong as corporate influence expands and advertising becomes even more omnipresent and convincing.

1960: New medications begin to transform the treatment of mental illness, yet psychologists and psychiatrists often attribute severe conditions like schizophrenia and manic-depression to psychological causes.

Today: Scientific research has uncovered a biological basis for major psychiatric disorders, but the mentally ill and their families still face discrimination due to the persistent social stigma surrounding mental illness.

1960: Immigrants and minority group members encounter significant challenges, widespread prejudice, and minimal legal protection.

Today: Minority groups are now legally protected, and racism is largely deemed socially unacceptable. However, the emergence of militant right-wing groups and hate organizations poses new threats to immigrants and people of color.

The entirety of the play unfolds within a single, cramped room in a dilapidated flat on the west side of London, evoking the stark realities of urban decay in areas such as Shepherd’s Bush, Camden Town, and Finsbury Park. The setting is contemporaneous with the play’s time of writing, adding a layer of immediacy and authenticity to the narrative. The room's disrepair is not just a backdrop but a character in its own right, influencing and shaping the events that unfold. A bucket sits ominously in the room, its sole purpose to catch rainwater that routinely drips through the leaking roof. Basic amenities are absent; there is no provision for washing or cooking, and the chill of the unheated room is palpable. A grimy window, partially obscured by a sack, allows a draft and the relentless London rain to seep through.

Aston’s bed is the only one visible, while Davies’ sleeping area is obscured by an eclectic and surreal assortment of everyday items that clutter the space. This chaotic ensemble includes a kitchen sink—a nod to the "kitchen-sink" realism of British theater at the time—a stepladder, a coal bucket, a lawn mower, a shopping trolley, boxes, and drawers from a sideboard. Only when these items are cleared can Davies hope to rest. Near the bed stands a disconnected gas stove, yet its mere presence fuels Davies’ anxiety over potential fire hazards.

The disorder extends throughout the room, where a cupboard hides various belongings, including a clothes horse that serves as a makeshift hanger for Davies’ trousers at night. Piles of newspapers and boxes contribute to the clutter, while Aston, throughout the play, attempts to repair an electric toaster, adding to the sense of stagnation and futility. Beyond the confines of the room, other spaces within the brothers' domain are suggested, purportedly in even worse condition. The window offers a view of an overgrown garden, which Aston dreams of transforming by clearing it and constructing a shed, although it seems unlikely his ambitions will ever materialize.

The Caretaker was turned into a film in 1964. This British production features Alan Bates as Mick, Donald Pleasance as Davies, and Robert Shaw as Aston. Michael Birkett produced the film, which was also released under the title The Guest.

In 1966, a made-for-television adaptation was created and broadcast on the BBC. Directed by Clive Donner, this version starred Ian MacShane as Mick, John Rees as Aston, and Roy Dotrice as Davies.

SOURCES

Page, Malcolm, compiler. File on Pinter, Methuen Drama, 1993, pp. 23-25.

Sakellaridou, Elizabeth. Pinter's Female Portraits: A Study of Female Characters in the Plays of Harold Pinter, Macmillan, 1988, pp. 127-29.

FURTHER READING

Billington, Michael. The Life and Work of Harold Pinter, Faber, 1996.
This is the first authorized biography of Pinter. Billington draws on insights from interviews with Pinter and his acquaintances to shed light on the playwright's life and career.

Briggs, Asa. A Social History of England: From the Ice Age to the Channel Tunnel, Weidenfeld and Nicolson, 1994.
This book offers a detailed exploration of British social history, with significant focus on Postwar Britain.

Diamond, Elin. Pinter's Comic Play, Associated UP, 1985.
Diamond examines the role of comedy in Pinter's major works, including a dedicated chapter on The Caretaker.

Dukore, Bernard F. Harold Pinter, Grove Press, 1982.
This is a concise introduction to Pinter's key plays.
Scott, Michael, editor. Harold Pinter: The Birthday Party, The Caretaker, The Homecoming, Macmillan, 1986.
This compilation features a collection of reviews and essays on the mentioned works.