ABSTRACT
This final chapter focuses on Pinter’s screenplay for a film adaptation of The Tragedy of King Lear. It was completed in 2000 and was his most sustained and direct artistic engagement with Shakespeare’s work since his time as an actor. He made changes to the text and setting, as well as adding filmic elements to Shakespeare’s text. From the opening montage which establishes the world of the film, through to his representation of war towards the end of the screenplay, Pinter’s adaptation is analysed in detail. Principally through his added stage directions, we get a clear view of how Pinter would have adapted the play for the screen, and can see what aspects of the original text he wanted to emphasise. Pinter’s later political plays and activism can be seen in his presentation of power throughout the screenplay. There are also moments that link back to Pinter’s early career as an actor, when he appeared in productions by two Shakespearian actor-managers (Anew McMaster and Donald Wolfit). Pinter’s adaptation is also considered in relation to other film adaptations in the play, most notably Peter Brook’s adaptation of his RSC production.
