Themes

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Last Updated August 27, 2024.

Truth, Lies, and Fantasy
In The Caretaker, none of the characters can be trusted to tell the truth. Each one is, to some degree, deceptive, distorting reality to manipulate others and deceive themselves. The character who stands out as the most deceitful is likely Davies. From the outset, it is evident that he is dishonest, initially trying to earn Aston's respect by fabricating a past that seems implausible. “I've had dinner with the best,” he claims. He further undermines his credibility by admitting to using a false name, leaving the audience uncertain if his real name is even Davies. His discussions about the future are also laced with lies and fantasies, serving two purposes—to manipulate Aston and Mick and to boost his own self-esteem. He talks about seeking revenge on the man who allegedly attacked him: "One night I'll get him. When I find myself in that direction."

Davies also tells Aston and Mick that he plans to go to Sidcup to retrieve his papers. Throughout the play, he mentions his supposed plans to go to Sidcup, contingent on acquiring shoes or better weather, plans that the audience soon realizes will never come to fruition. By insisting that he is not just a tramp, that he has had a grand past and will support himself in the future, Davies manipulates Aston into continuing to let him stay in the room.

Mick and Aston are not as blatant in their deceit as Davies, but the truthfulness of their statements is also dubious. When Mick, after throwing the Buddha against the stove, says, "I got plenty of other things I can worry about... I've got my own business to build up,” it is unclear whether he is being truthful or trying to convince himself and Davies of his own significance. When he talks about his extravagant plans to transform the house into something out of a home and garden magazine, he is either toying with Davies or deluding himself with visions of a future that will never come to pass.

Aston's honesty is also suspect. Pinter himself has mentioned that a common mistake among audiences watching The Caretaker is to assume that Aston is truthful about his experiences in the mental hospital. But even if Aston is honest about that experience, he deludes himself with his talk of building a shed. Like Davies's trip to Sidcup and Mick's decorating plans, Aston's shed is a fantasy that will never be realized.

All of the characters in the play not only deceive each other but also delude themselves. Instead of revealing the truth, communication in the play obscures reality. In the world of The Caretaker, truth itself becomes an illusion.

Family
In an ideal world, family provides strength and support to its members. However, in The Caretaker, the family members are disconnected and sometimes even hostile. Mick and Aston, the brothers in the story, rarely mention their parents; the audience is left uncertain whether their mother and father are still alive. The scant information they do provide hints at strained relationships. For instance, Mick refers to his ‘‘uncle's brother,’’ who may just be another uncle, but is more likely their father.

If this is true, Mick is so estranged from his father that he can't even use the term "father" to refer to him. ‘‘I called him Sid,’’ he tells Davies, and Mick seems unsure of their relationship: ‘‘I've often thought that maybe ... my uncle was his brother and he was my uncle.'' Although Mick's speech is meant to be humorous, it underscores the lack of a real relationship between...

(This entire section contains 1149 words.)

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him and the man who might be his father.

Aston's brief mention of his mother is equally telling. While he was in the mental hospital, he believed he was protected from electroshock therapy because he was a minor and it required his mother's consent. Despite writing to her to withhold permission, she signed the papers, allowing the doctors to proceed with the treatment. Aston's sole memory of his mother is one of trust betrayed.

The relationship between Aston and Mick is also marked by distance, though there are hints of familial care. Mick has taken some responsibility for Aston, letting him live in his house and telling Davies that they take turns cleaning. When Davies calls Aston "nutty," Mick either takes offense or pretends to. Yet, the brothers are largely disconnected, seldom speaking or even staying in the same room together. After Mick expresses anger at Davies's comment, he destroys Aston's Buddha, revealing underlying hostility.

The complexity of Mick's actions becomes evident when Aston enters immediately after, and for the first time, the brothers face each other, "smiling faintly." The meaning of this smile is ambiguous. It might signal reconciliation or a connection, possibly a united front against Davies. Alternatively, it could suggest that a surface-level kindness masks deeper hostility and estrangement. It might even highlight the ambiguous nature of their relationship. Regardless, what is clear in The Caretaker is that the family is far from an ideal refuge. Instead, it is a mix of varied relationships—sometimes distant, sometimes hostile, and always complex.

Power
The theme of power is central in The Caretaker, with much of the narrative driven by the characters' attempts to dominate one another. This dynamic is apparent from the start, when Davies, saved by Aston from a potential fight, tries to elevate Aston's opinion of him. He does this by boasting about a more impressive past, claiming superiority over his former colleagues, and criticizing almost everything others do for him. Davies portrays himself as deserving more than life has given him, suggesting he has no reason to feel inferior to Aston.

Although Aston treats Davies kindly, his true intentions are ambiguous. For example, by leaving Davies alone in the room at the end of the first act, knowing Mick could show up at any moment, Aston leaves the old man exposed to Mick's wrath—possibly asserting a form of familial dominance. When Mick finds Davies alone, he first physically assaults him, establishing physical dominance, and then intimidates him with the threat of police involvement, highlighting Davies's lack of control over his fate. Mick further solidifies his power by incessantly questioning Davies, leaving him bewildered and scared.

The rest of the play features ongoing power struggles. Mick withholds Davies's bag, scares him with a vacuum cleaner, and angrily accuses him of lying about being an interior decorator. In an effort to gain leverage, Davies tries to ally with Mick against Aston. He also attempts to dominate Aston by repeatedly reminding him of his time in a mental hospital and suggesting that Aston could easily end up back there. However, Davies's attempts ultimately backfire. Mick stands by his brother, reinforcing their familial bond, and Aston tells Davies he must leave. In the concluding scene, Davies is left powerless and alone, with nowhere to go despite all his efforts.

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