Pinter harold biography for kids

British playwright (–)

"Pinter" redirects here. For other people named Pinter, see Pinter (surname).

Harold Pinter (; 10 October &#;– 24 December ) was a British playwright, screenwriter, director and actor. A Nobel Prize winner, Pinter was one of the most influential modern British dramatists with a writing career that spanned more than 50 years. His best-known plays include The Birthday Party (), The Homecoming () and Betrayal (), each of which he adapted for the screen. His screenplay adaptations of others' works include The Servant (), The Go-Between (), The French Lieutenant's Woman (), The Trial () and Sleuth (). He also directed or acted in radio, stage, television and film productions of his own and others' works.

Pinter was born and raised in Hackney, east London, and educated at Hackney Downs School. He was a sprinter and a keen cricket player, acting in school plays and writing poetry. He attended the Royal Academy of Dramatic Art but did not complete the course. He was fined for refusing national service as a conscientious objector. Subsequently, he continued training at the Central School of Speech and Drama and worked in repertory theatre in Ireland and England. In he married actress Vivien Merchant and had a son, Daniel, born in He left Merchant in and married author Lady Antonia Fraser in

Pinter's career as a playwright began with a production of The Room in His second play, The Birthday Party, closed after eight performances but was enthusiastically reviewed by critic Harold Hobson. His early works were described by critics as "comedy of menace". Later plays such as No Man's Land () and Betrayal () became known as "memory plays". He appeared as an actor in productions of his own work on radio and film, and directed nearly 50 productions for stage, theatre and screen. Pinter received over 50 awards, prizes and other honours, including the Nobel Prize in Literature in and the French Légion d'honneur in

Despite frail health after being diagnosed with oesophageal cancer in December , Pinter continued to act on stage and screen, last performing the title role of Samuel Beckett's one-act monologue Krapp's Last Tape, for the 50th anniversary season of the Royal Court Theatre, in October He died from liver cancer on 24 December

Biography

Early life and education

Pinter was born on 10 October , in Hackney, east London, the only child of British Jewish parents of Eastern European descent: his father, Hyman "Jack" Pinter (–) was a ladies' tailor; his mother, Frances (née Moskowitz; –), a housewife.^[2][3] Pinter believed an aunt's erroneous view that the family was Sephardic and had fled the Spanish Inquisition; thus, for his early poems, Pinter used the pseudonym Pinta and at other times used variations such as da Pinto.^[4] Later research by Lady Antonia Fraser, Pinter's second wife, revealed the legend to be apocryphal; three of Pinter's grandparents came from Poland and the fourth from Odesa, so the family was Ashkenazic.^[4][5][6]

Pinter's family home in London is described by his official biographer Michael Billington as "a solid, red-brick, three-storey villa just off the noisy, bustling, traffic-ridden thoroughfare of the Lower Clapton Road".^[7] In and , after the Blitz, Pinter was evacuated from their house in London to Cornwall and Reading.^[7] Billington states that the "life-and-death intensity of daily experience" before and during the Blitz left Pinter with profound memories "of loneliness, bewilderment, separation and loss: themes that are in all his works."^[8]

Pinter discovered his social potential as a student at Hackney Downs School, a London grammar school, between and "Partly through the school and partly through the social life of Hackney Boys' Club&#; he formed an almost sacerdotal belief in the power of male friendship. The friends he made in those days – most particularly Henry Woolf, Michael (Mick) Goldstein and Morris (Moishe) Wernick – have always been a vital part of the emotional texture of his life."^[6][9] A major influence on Pinter was his inspirational English teacher Joseph Brearley, who directed him in school plays and with whom he took long walks, talking about literature.^[10] According to Billington, under Brearley's instruction, "Pinter shone at English, wrote for the school magazine and discovered a gift for acting."^[11][12] In and , he played Romeo and Macbeth in productions directed by Brearley.^[13]

At the age of 12, Pinter began writing poetry, and in spring , his poetry was first published in the Hackney Downs School Magazine.^[14] In his poetry was first published outside the school magazine, in Poetry London, some of it under the pseudonym "Harold Pinta".^[15][16]

Pinter was an atheist.^[17]

Sport and friendship

Pinter enjoyed running and broke the Hackney Downs School sprinting record.^[18][19] He was a cricket enthusiast, taking his bat with him when evacuated during the Blitz.^[20] In , he told Mel Gussow: "one of my main obsessions in life is the game of cricket—I play and watch and read about it all the time."^[21] He was chairman of the Gaieties Cricket Club, a supporter of Yorkshire Cricket Club,^[22] and devoted a section of his official website to the sport.^[23] One wall of his study was dominated by a portrait of himself as a young man playing cricket, which was described by Sarah Lyall, writing in The New York Times: "The painted Mr. Pinter, poised to swing his bat, has a wicked glint in his eye; testosterone all but flies off the canvas."^[24][25] Pinter approved of the "urban and exacting idea of cricket as a bold theatre of aggression."^[26] After his death, several of his school contemporaries recalled his achievements in sports, especially cricket and running.^[27] The BBC Radio 4 memorial tribute included an essay on Pinter and cricket.^[28]

Other interests that Pinter mentioned to interviewers are family, love and sex, drinking, writing, and reading.^[29] According to Billington, "If the notion of male loyalty, competitive rivalry and fear of betrayal forms a constant thread in Pinter's work from The Dwarfs onwards, its origins can be found in his teenage Hackney years. Pinter adores women, enjoys flirting with them, and worships their resilience and strength. But, in his early work especially, they are often seen as disruptive influences on some pure and Platonic ideal of male friendship: one of the most crucial of all Pinter's lost Edens."^[6][30]

Early theatrical training and stage experience

Beginning in late , Pinter attended the Royal Academy of Dramatic Art for two terms, but hating the school, missed most of his classes, feigned a nervous breakdown, and dropped out in ^[31] In he was called up for National Service. He was initially refused registration as a conscientious objector, leading to his twice being prosecuted, and fined, for refusing to accept a medical examination, before his CO registration was ultimately agreed.^[32] He had a small part in the Christmas pantomimeDick Whittington and His Cat at the Chesterfield Hippodrome in to ^[33] From January to July , he attended the Central School of Speech and Drama.^[34]

From to , he toured Ireland with the Anew McMaster repertory company, playing over a dozen roles.^[35] In , he began acting in regional English repertory productions; from to , he worked for the Donald Wolfit Company, at the King's Theatre, Hammersmith, performing eight roles.^[36][37] From until , Pinter acted under the stage name David Baron.^[38][39] In all, Pinter played over 20 roles under that name.^[39][40] To supplement his income from acting, Pinter worked as a waiter, a postman, a bouncer, and a snow-clearer, meanwhile, according to Mark Batty, "harbouring ambitions as a poet and writer."^[41] In October Pinter recalled: "I was in English rep as an actor for about 12 years. My favourite roles were undoubtedly the sinister ones. They're something to get your teeth into."^[42] During that period, he also performed occasional roles in his own and others' works for radio, TV, and film, as he continued to do throughout his career.^[39][43]

Marriages and family life

From until , Pinter was married to Vivien Merchant, an actress whom he met on tour,^[44] perhaps best known for her performance in the film Alfie. Their son Daniel was born in ^[45] Through the early s, Merchant appeared in many of Pinter's works, including The Homecoming on stage () and screen (), but the marriage was turbulent.^[46] For seven years, from to , Pinter was engaged in a clandestine affair with BBC-TV presenter and journalist Joan Bakewell, which inspired his play Betrayal,^[47] and also throughout that period and beyond he had an affair with an American socialite, whom he nicknamed "Cleopatra". This relationship was another secret he kept from both his wife and Bakewell.^[48] Initially, Betrayal was thought to be a response to his later affair with historian Antonia Fraser, the wife of Hugh Fraser, and Pinter's "marital crack-up".^[49]

Pinter and Merchant had both met Antonia Fraser in , when all three worked together on a National Gallery programme about Mary, Queen of Scots; several years later, on 8–9 January , Pinter and Fraser became romantically involved.^[50] That meeting initiated their five-year extramarital love affair.^[51][52] After hiding the relationship from Merchant for two and a half months, on 21 March , Pinter finally told her "I've met somebody".^[53] After that, "Life in Hanover Terrace gradually became impossible", and Pinter moved out of their house on 28 April , five days after the première of No Man's Land.^[54][55]

In mid-August , after Pinter and Fraser had spent two years living in borrowed and rented quarters, they moved into her former family home in Holland Park,^[56] where Pinter began writing Betrayal.^[49] He reworked it later, while on holiday at the Grand Hotel in Eastbourne, in early January ^[57] After the Frasers' divorce had become final in and the Pinters' in , Pinter married Fraser on 27 November ^[58] Because of a two-week delay in Merchant's signing the divorce papers, however, the reception had to precede the actual ceremony, originally scheduled to occur on his 50th birthday.^[59] Vivien Merchant died of acute alcoholism in the first week of October , at the age of ^[60][61] Billington writes that Pinter "did everything possible to support" her and regretted that he ultimately became estranged from their son, Daniel, after their separation, Pinter's remarriage, and Merchant's death.^[62]

A reclusive gifted musician and writer, Daniel changed his surname from Pinter to Brand, the maiden name of his maternal grandmother,^[63] before Pinter and Fraser became romantically involved; while according to Fraser, his father could not understand it, she says that she could: "Pinter is such a distinctive name that he must have got tired of being asked, 'Any relation?'"^[64] Michael Billington wrote that Pinter saw Daniel's name change as "a largely pragmatic move on Daniel's part designed to keep the press&#; at bay."^[65] Fraser told Billington that Daniel "was very nice to me at a time when it would have been only too easy for him to have turned on me&#; simply because he had been the sole focus of his father's love and now manifestly wasn't."^[65] Still unreconciled at the time of his father's death, Daniel Brand did not attend Pinter's funeral.^[66]

Billington observes that "The break-up with Vivien and the new life with Antonia was to have a profound effect on Pinter's personality and his work," though he adds that Fraser herself did not claim to have influence over Pinter or his writing.^[63] In her own contemporaneous diary entry dated 15 January , Fraser described herself more as Pinter's literary midwife.^[67] Indeed, she told Billington that "other people [such as Peggy Ashcroft, among others] had a shaping influence on [Pinter's] politics" and attributed changes in his writing and political views to a change from "an unhappy, complicated personal life&#; to a happy, uncomplicated personal life", so that "a side of Harold which had always been there was somehow released. I think you can see that in his work after No Man's Land [], which was a very bleak play."^[63]

Pinter was content in his second marriage and enjoyed family life with his six adult stepchildren and 17 step-grandchildren.^[68] Even after battling cancer for several years, he considered himself "a very lucky man in every respect".^[69]Sarah Lyall notes in her interview with Pinter in The New York Times that his "latest work, a slim pamphlet called 'Six Poems for A.', comprises poems written over 32 years, with "A" of course being Lady Antonia. The first of the poems was written in Paris, where she and Mr. Pinter traveled soon after they met. More than three decades later the two are rarely apart, and Mr. Pinter turns soft, even cozy, when he talks about his wife."^[24] In that interview Pinter "acknowledged that his plays—full of infidelity, cruelty, inhumanity, the lot—seem at odds with his domestic contentment. 'How can you write a happy play?' he said. 'Drama is about conflict and degrees of perturbation, disarray. I've never been able to write a happy play, but I've been able to enjoy a happy life.'"^[24] After his death, Fraser told The Guardian: "He was a great man, and it was a privilege to live with him for over 33 years. He will never be forgotten."^[70][71]

Civic activities and political activism

Main article: Harold Pinter and politics

In –49, when he was 18, Pinter opposed the politics of the Cold War, leading to his decision to become a conscientious objector and to refuse to comply with National Service in the British military. However, he told interviewers that, if he had been old enough at the time, he would have fought against the Nazis in World War II.^[72] He seemed to express ambivalence, both indifference and hostility, towards political structures and politicians in his Fall Paris Review interview conducted by Lawrence M. Bensky.^[73] Yet, he had been an early member of the Campaign for Nuclear Disarmament and also had supported the British Anti-Apartheid Movement (–), participating in British artists' refusal to permit professional productions of their work in South Africa in and in subsequent related campaigns.^[74][75][76] In "A Play and Its Politics", a interview with Nicholas Hern, Pinter described his earlier plays retrospectively from the perspective of the politics of power and the dynamics of oppression.^[77]

In his last 25 years, Pinter increasingly focused his essays, interviews and public appearances directly on political issues. He was an officer in International PEN, travelling with American playwright Arthur Miller to Turkey in on a mission co-sponsored with a Helsinki Watch committee to investigate and protest against the torture of imprisoned writers. There he met victims of political oppression and their families. Pinter's experiences in Turkey and his knowledge of the Turkish suppression of the Kurdish language inspired his play Mountain Language.^[78] He was also an active member of the Cuba Solidarity Campaign, an organisation that "campaigns in the UK against the US blockade of Cuba".^[79] In , Pinter joined the International Committee to Defend Slobodan Milošević (ICDSM), which appealed for a fair trial and for the freedom of Slobodan Milošević, signing a related "Artists' Appeal for Milošević" in ^[80]

Pinter strongly opposed the Gulf War, the NATO bombing campaign in FR Yugoslavia during the Kosovo War, the United States' War in Afghanistan, and the Invasion of Iraq. Among his provocative political statements, Pinter called Prime Minister Tony Blair a "deluded idiot" and compared the administration of President George W. Bush to Nazi Germany.^[80][81] He stated that the United States "was charging towards world domination while the American public and Britain's 'mass-murdering' prime minister sat back and watched."^[81] He was very active in the antiwar movement in the United Kingdom, speaking at rallies held by the Stop the War Coalition^[82] and frequently criticising American aggression, as when he asked rhetorically, in his acceptance speech for the Wilfred Owen Award for Poetry on 18 March "What would Wilfred Owen make of the invasion of Iraq? A bandit act, an act of blatant state terrorism, demonstrating absolute contempt for the conception of international law."^[83][84][85]

Pinter earned a reputation for being pugnacious, enigmatic, taciturn, terse, prickly, explosive and forbidding.^[86] Pinter's blunt political statements, and the award of the Nobel Prize in Literature, elicited strong criticism and even, at times, provoked ridicule and personal attacks.^[87] The historian Geoffrey Alderman, author of the official history of Hackney Downs School, expressed his own "Jewish View" of Harold Pinter: "Whatever his merit as a writer, actor and director, on an ethical plane Harold Pinter seems to me to have been intensely flawed, and his moral compass deeply fractured."^[88]David Edgar, writing in The Guardian, defended Pinter against what he termed Pinter's "being berated by the belligerati" like Johann Hari, who felt that he did not "deserve" to win the Nobel Prize.^[89][90] Later Pinter continued to campaign against the Iraq War and on behalf of other political causes that he supported.

Pinter signed the mission statement of Jews for Justice for Palestinians in and its full-page advertisement, "What Is Israel Doing? A Call by Jews in Britain", published in The Times on 6 July ,^[88] and he was a patron of the Palestine Festival of Literature. In April , Pinter signed the statement "We're not celebrating Israel's anniversary". The statement noted: "We cannot celebrate the birthday of a state founded on terrorism, massacres and the dispossession of another people from their land.", "We will celebrate when Arab and Jew live as equals in a peaceful Middle East"^[91]

Career

Further information: Works of Harold Pinter and Characteristics of Harold Pinter's work

As actor

Pinter's acting career spanned over 50 years and, although he often played villains, included a wide range of roles on stage and in radio, film, and television.^[36][92] In addition to roles in radio and television adaptations of his own plays and dramatic sketches, early in his screenwriting career he made several cameo appearances in films based on his own screenplays; for example, as a society man in The Servant () and as Mr. Bell in Accident (), both directed by Joseph Losey; and as a bookshop customer in his later film Turtle Diary (), starring Michael Gambon, Glenda Jackson, and Ben Kingsley.^[36]

Pinter's notable film and television roles included the lawyer Saul Abrahams opposite Peter O'Toole in Rogue Male, BBC TV's adaptation of Geoffrey Household's novel, and a drunk Irish journalist in Langrishe, Go Down (starring Judi Dench and Jeremy Irons) distributed on BBC Two in ^[92] and released in movie theatres in ^[93] Pinter's later film roles included the criminal Sam Ross in Mojo (), written and directed by Jez Butterworth, based on Butterworth's play of the same name; Sir Thomas Bertram (his most substantial feature-film role) in Mansfield Park (), a character that Pinter described as "a very civilised man&#; a man of great sensibility but in fact, he's upholding and sustaining a totally brutal system [the slave trade] from which he derives his money"; and Uncle Benny, opposite Pierce Brosnan and Geoffrey Rush, in The Tailor of Panama ().^[36] In television films, he played Mr. Bearing, the father of ovarian cancer patient Vivian Bearing, played by Emma Thompson in Mike Nichols's HBO film of the Pulitzer Prize-winning play Wit (); and the Director opposite John Gielgud (Gielgud's last role) and Rebecca Pidgeon in Catastrophe, by Samuel Beckett, directed by David Mamet as part of Beckett on Film ().^[36][92]

As director

Pinter began to direct more frequently during the s, becoming an associate director of the National Theatre (NT) in ^[94] He directed almost 50 productions of his own and others' plays for stage, film, and television, including 10 productions of works by Simon Gray: the stage and/or film premières of Butley (stage, ; film, ), Otherwise Engaged (), The Rear Column (stage, ; TV, ), Close of Play (NT, ), Quartermaine's Terms (), Life Support (), The Late Middle Classes (), and The Old Masters ().^[44] Several of those productions starred Alan Bates (–), who originated the stage and screen roles of not only Butley but also Mick in Pinter's first major commercial success, The Caretaker (stage, ; film, ); and in Pinter's double-bill produced at the Lyric Hammersmith in , he played Nicolas in One for the Road and the cab driver in Victoria Station.^[95] Among over 35 plays that Pinter directed were Next of Kin (), by John Hopkins; Blithe Spirit (), by Noël Coward; The Innocents (), by William Archibald; Circe and Bravo (), by Donald Freed; Taking Sides (), by Ronald Harwood; and Twelve Angry Men (), by Reginald Rose.^[94][96]

As playwright

Pinter was the author of 29 plays and 15 dramatic sketches and the co-author of two works for stage and radio.^[97] He was considered to have been one of the most influential modern British dramatists,^[98][99] Along with the Tony Award for Best Play for The Homecoming and several other American awards and award nominations, he and his plays received many awards in the UK and elsewhere throughout the world.^[] His style has entered the English language as an adjective, "Pinteresque", although Pinter himself disliked the term and found it meaningless.^[]

"Comedies of menace" (–)

Pinter's first play, The Room, written and first performed in , was a student production at the University of Bristol, directed by his good friend, actor Henry Woolf, who also originated the role of Mr. Kidd (which he reprised in and ).^[97] After Pinter mentioned that he had an idea for a play, Woolf asked him to write it so that he could direct it to fulfill a requirement for his postgraduate work. Pinter wrote it in three days.^[] The production was described by Billington as "a staggeringly confident debut which attracted the attention of a young producer, Michael Codron, who decided to present Pinter's next play, The Birthday Party, at the Lyric Hammersmith, in "^[]

Written in and produced in , Pinter's second play, The Birthday Party, one of his best-known works, was initially both a commercial and critical disaster, despite an enthusiastic review in The Sunday Times by its influential drama critic Harold Hobson,^[] which appeared only after the production had closed and could not be reprieved.^[][] Critical accounts often quote Hobson:

I am well aware that Mr Pinter[']s play received extremely bad notices last Tuesday morning. At the moment I write these [words] it is uncertain even whether the play will still be in the bill by the time they appear, though it is probable it will soon be seen elsewhere. Deliberately, I am willing to risk whatever reputation I have as a judge of plays by saying that The Birthday Party is not a Fourth, not even a Second, but a First [as in Class Honours]; and that Pinter, on the evidence of his work, possesses the most original, disturbing and arresting talent in theatrical London&#; Mr Pinter and The Birthday Party, despite their experiences last week, will be heard of again. Make a note of their names.

Pinter himself and later critics generally credited Hobson as bolstering him and perhaps even rescuing his career.^[]

In a review published in , borrowing from the subtitle of The Lunatic View: A Comedy of Menace, a play by David Campton, critic Irving Wardle called Pinter's early plays "comedy of menace"—a label that people have applied repeatedly to his work.^[] Such plays begin with an apparently innocent situation that becomes both threatening and "absurd" as Pinter's characters behave in ways often perceived as inexplicable by his audiences and one another. Pinter acknowledges the influence of Samuel Beckett, particularly on his early work; they became friends, sending each other drafts of their works in progress for comments.^[][]

Pinter wrote The Hothouse in , which he shelved for over 20 years (See "Overtly political plays and sketches" below). Next he wrote The Dumb Waiter (), which premièred in Germany and was then produced in a double bill with The Room at the Hampstead Theatre Club, in London, in ^[97] It was then not produced often until the s, and it has been revived more frequently since , including the West EndTrafalgar Studios production in The first production of The Caretaker, at the Arts Theatre Club, in London, in , established Pinter's theatrical reputation.^[] The play transferred to the Duchess Theatre in May and ran for performances,^[] receiving an Evening Standard Award for best play of ^[] Large radio and television audiences for his one-act play A Night Out, along with the popularity of his revue sketches, propelled him to further critical attention.^[] In , The Birthday Party was revived both on television (with Pinter himself in the role of Goldberg) and on stage (directed by Pinter at the Aldwych Theatre) and was well received.^[]

By the time Peter Hall's London production of The Homecoming () reached Broadway in , Pinter had become a celebrity playwright, and the play garnered four Tony Awards, among other awards.^[] During this period, Pinter also wrote the radio play A Slight Ache, first broadcast on the BBC Third Programme in and then adapted to the stage and performed at the Arts Theatre Club in A Night Out () was broadcast to a large audience on ABC Weekend TV's television show Armchair Theatre, after being transmitted on BBC Radio 3, also in His play Night School was first televised in on Associated Rediffusion. The Collection premièred at the Aldwych Theatre in , and The Dwarfs, adapted from Pinter's then unpublished novel of the same title, was first broadcast on radio in , then adapted for the stage (also at the Arts Theatre Club) in a double bill with The Lover, which had previously been televised by Associated Rediffusion in ; and Tea Party, a play that Pinter developed from his short story, first broadcast on BBC TV in ^[97]

Working as both a screenwriter and as a playwright, Pinter composed a script called The Compartment (), for a trilogy of films to be contributed by Samuel Beckett, Eugène Ionesco, and Pinter, of which only Beckett's film, titled Film, was actually produced. Then Pinter turned his unfilmed script into a television play, which was produced as The Basement, both on BBC 2 and also on stage in ^[]

"Memory plays" (–)

From the late s through the early s, Pinter wrote a series of plays and sketches that explore complex ambiguities, elegiac mysteries, comic vagaries, and other "quicksand-like" characteristics of memory and which critics sometimes classify as Pinter's "memory plays".^[] These include Landscape (), Silence (), Night (), Old Times (), No Man's Land (), The Proust Screenplay (), Betrayal (), Family Voices (), Victoria Station (), and A Kind of Alaska (). Some of Pinter's later plays, including Party Time (), Moonlight (), Ashes to Ashes (), and Celebration (), draw upon some features of his "memory" dramaturgy in their focus on the past in the present, but they have personal and political resonances and other tonal differences from these earlier memory plays.^[][]

Overtly political plays and sketches (–)

Following a three-year period of creative drought in the early s after his marriage to Antonia Fraser and the death of Vivien Merchant,^[] Pinter's plays tended to become shorter and more overtly political, serving as critiques of oppression, torture, and other abuses of human rights,^[] linked by the apparent "invulnerability of power."^[] Just before this hiatus, in , Pinter re-discovered his manuscript of The Hothouse, which he had written in but had set aside; he revised it and then directed its first production himself at Hampstead Theatre in London, in ^[] Like his plays of the s, The Hothouse concerns authoritarianism and the abuses of power politics, but it is also a comedy, like his earlier comedies of menace. Pinter played the major role of Roote in a revival at the Minerva Theatre, Chichester.^[]

Pinter's brief dramatic sketch Precisely () is a duologue between two bureaucrats exploring the absurd power politics of mutual nuclear annihilation and deterrence. His first overtly political one-act play is One for the Road (). In Pinter stated that whereas his earlier plays presented metaphors for power and powerlessness, the later ones present literal realities of power and its abuse.^[] Pinter's "political theatre dramatizes the interplay and conflict of the opposing poles of involvement and disengagement."^[]Mountain Language () is about the Turkish suppression of the Kurdish language.^[78] The dramatic sketch The New World Order () provides what Robert Cushman, writing in The Independent described as "10 nerve-wracking minutes" of two men threatening to torture a third man who is blindfolded, gagged and bound in a chair; Pinter directed the British première at the Royal Court Theatre Upstairs, where it opened on 9 July , and the production then transferred to Washington, D.C., where it was revived in ^[] Pinter's longer political satireParty Time () premièred at the Almeida Theatre in London, in a double-bill with Mountain Language. Pinter adapted it as a screenplay for television in , directing that production, first broadcast in the UK on Channel 4 on 17 November ^[]

Intertwining political and personal concerns, his next full-length plays, Moonlight () and Ashes to Ashes () are set in domestic households and focus on dying and death; in their personal conversations in Ashes to Ashes, Devlin and Rebecca allude to unspecified atrocities relating to the Holocaust.^[] After experiencing the deaths of first his mother () and then his father (), again merging the personal and the political, Pinter wrote the poems "Death" () and "The Disappeared" ().

Pinter's last stage play, Celebration (), is a social satire set in an opulent restaurant, which lampoons The Ivy, a fashionable venue in London's West End theatre district, and its patrons who "have just come from performances of either the ballet or the opera. Not that they can remember a darn thing about what they saw, including the titles. [These] gilded, foul-mouthed souls are just as myopic when it comes to their own table mates (and for that matter, their food), with conversations that usually connect only on the surface, if there."^[] On its surface the play may appear to have fewer overtly political resonances than some of the plays from the s and s; but its central male characters, brothers named Lambert and Matt, are members of the elite (like the men in charge in Party Time), who describe themselves as "peaceful strategy consultants [because] we don't carry guns."^[] At the next table, Russell, a banker, describes himself as a "totally disordered personality&#; a psychopath",^[] while Lambert "vows to be reincarnated as '[a] more civilised, [a] gentler person, [a] nicer person'."^[][] These characters' deceptively smooth exteriors mask their extreme viciousness. Celebration evokes familiar Pinteresque political contexts: "The ritzy loudmouths in 'Celebration'&#; and the quieter working-class mumblers of 'The Room'&#; have everything in common beneath the surface".^[] "Money remains in the service of entrenched power, and the brothers in the play are 'strategy consultants' whose jobs involve force and violence&#; It is tempting but inaccurate to equate the comic power inversions of the social behaviour in Celebration with lasting change in larger political structures", according to Grimes, for whom the play indicates Pinter's pessimism about the possibility of changing the status quo.^[] Yet, as the Waiter's often comically unbelievable reminiscences about his grandfather demonstrate in Celebration, Pinter's final stage plays also extend some expressionistic aspects of his earlier "memory plays", while harking back to his "comedies of menace", as illustrated in the characters and in the Waiter's final speech:

My grandfather introduced me to the mystery of life and I'm still in the middle of it. I can't find the door to get out. My grandfather got out of it. He got right out of it. He left it behind him and he didn't look back. He got that absolutely right. And I'd like to make one further interjection.
He stands still. Slow fade.^[]

During –, there were also simultaneous productions of Remembrance of Things Past, Pinter's stage adaptation of his unpublished Proust Screenplay, written in collaboration with and directed by Di Trevis, at the Royal National Theatre, and a revival of The Caretaker directed by Patrick Marber and starring Michael Gambon, Rupert Graves, and Douglas Hodge, at the Comedy Theatre.^[97]

Like Celebration, Pinter's penultimate sketch, Press Conference (), "invokes both torture and the fragile, circumscribed existence of dissent".^[] In its première in the National Theatre's two-part production of Sketches, despite undergoing chemotherapy at the time, Pinter played the ruthless Minister willing to murder little children for the benefit of "The State".^[]

As screenwriter

Pinter composed 27 screenplays and film scripts for cinema and television, many of which were filmed, or adapted as stage plays.^[] His fame as a screenwriter began with his three screenplays written for films directed by Joseph Losey, leading to their close friendship: The Servant (), based on the novel by Robin Maugham; Accident (), adapted from the novel by Nicholas Mosley; and The Go-Between (), based on the novel by L. P. Hartley.^[] Films based on Pinter's adaptations of his own stage plays are: The Caretaker (), directed by Clive Donner; The Birthday Party (), directed by William Friedkin; The Homecoming (), directed by Peter Hall; and Betrayal (), directed by David Jones.

Pinter also adapted other writers' novels to screenplays, including The Pumpkin Eater (), based on the novel by Penelope Mortimer, directed by Jack Clayton; The Quiller Memorandum (), from the spy novel The Berlin Memorandum, by Elleston Trevor, directed by Michael Anderson; The Last Tycoon (), from the unfinished novel by F. Scott Fitzgerald, directed by Elia Kazan; The French Lieutenant's Woman (), from the novel by John Fowles, directed by Karel Reisz; Turtle Diary (), based on the novel by Russell Hoban; The Heat of the Day (), a television film, from the novel by Elizabeth Bowen; The Comfort of Strangers (), from the novel by Ian McEwan, directed by Paul Schrader; and The Trial (), from the novel by Franz Kafka, directed by David Jones.^[]

His commissioned screenplays of others' works for the films The Handmaid's Tale (), The Remains of the Day (), and Lolita (), remain unpublished and in the case of the latter two films, uncredited, though several scenes from or aspects of his scripts were used in these finished films.^[] His screenplays The Proust Screenplay (), Victory (), and The Dreaming Child () and his unpublished screenplay The Tragedy of King Lear () have not been filmed.^[] A section of Pinter's Proust Screenplay was, however, released as the film Swann in Love (Un amour de Swann), directed by Volker Schlöndorff, and it was also adapted by Michael Bakewell as a two-hour radio drama broadcast on BBC Radio 3 in ,^[] before Pinter and director Di Trevis collaborated to adapt it for the National Theatre production.^[]

Pinter's last filmed screenplay was an adaptation of the Tony Award-winning play Sleuth, by Anthony Shaffer, which was commissioned by Jude Law, one of the film's producers.^[24] It is the basis for the film Sleuth, directed by Kenneth Branagh.^[24][][] Pinter's screenplays for The French Lieutenant's Woman and Betrayal were nominated for Academy Awards in and , respectively.^[]

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From 16 to 31 July , a Harold Pinter Festival celebrating his work, curated by Michael Colgan, artistic director of the Gate Theatre, Dublin, was held as part of the annual Lincoln Center Festival at Lincoln Center in New York City. Pinter participated both as an actor, as Nicolas in One for the Road, and as a director of a double bill pairing his last play, Celebration, with his first play, The Room.^[] As part of a two-week "Harold Pinter Homage" at the World Leaders Festival of Creative Genius, held from 24 September to 30 October , at the Harbourfront Centre, in Toronto, Canada, Pinter presented a dramatic reading of Celebration () and also participated in a public interview as part of the International Festival of Authors.^[][][]

In December , Pinter was diagnosed with oesophageal cancer, for which, in , he underwent an operation and chemotherapy.^[] During the course of his treatment, he directed a production of his play No Man's Land, and wrote and performed in a new sketch, "Press Conference", for a production of his dramatic sketches at the National Theatre, and from on he was increasingly active in political causes, writing and presenting politically charged poetry, essays, speeches, as well as involved in developing his final two screenplay adaptations, The Tragedy of King Lear and Sleuth, whose drafts are in the British Library's Harold Pinter Archive (Add MS /2).^[]

From 9 to 25 January , the Manitoba Theatre Centre, in Manitoba, Canada, held a nearly month-long PinterFest, in which over performances of twelve of Pinter's plays were performed by a dozen different theatre companies.^[] Productions during the Festival included: The Hothouse, Night School, The Lover, The Dumb Waiter, The Homecoming, The Birthday Party, Monologue, One for the Road, The Caretaker, Ashes to Ashes, Celebration, and No Man's Land.^[]

In , Pinter stated that he had stopped writing plays and that he would be devoting his efforts more to his political activism and writing poetry: "I think I've written 29 plays. I think it's enough for me&#; My energies are going in different directions—over the last few years I've made a number of political speeches at various locations and ceremonies&#; I'm using a lot of energy more specifically about political states of affairs, which I think are very, very worrying as things stand."^[][] Some of this later poetry included "The 'Special Relationship'", "Laughter", and "The Watcher".

From , Pinter experienced ill health, including a rare skin disease called pemphigus^[] and "a form of septicaemia that afflict[ed] his feet and made it difficult for him to walk."^[] Yet, he completed his screenplay for the film of Sleuth in ^[24][] His last dramatic work for radio, Voices (), a collaboration with composer James Clarke, adapting selected works by Pinter to music, premièred on BBC Radio 3 on his 75th birthday on 10 October ^[] Three days later, it was announced that he had won the Nobel Prize in Literature.^[]

In an interview with Pinter in , conducted by critic Michael Billington as part of the cultural programme of the Winter Olympics in Turin, Italy, Pinter confirmed that he would continue to write poetry but not plays.^[] In response, the audience shouted No in unison, urging him to keep writing.^[] Along with the international symposium on Pinter: Passion, Poetry, Politics, curated by Billington, the Europe Theatre Prize theatrical events celebrating Pinter included new productions (in French) of Precisely (), One for the Road (), Mountain Language (), The New World Order (), Party Time (), and Press Conference () (French versions by Jean Pavans); and Pinter Plays, Poetry & Prose, an evening of dramatic readings, directed by Alan Stanford, of the Gate Theatre, Dublin.^[] In June , the British Academy of Film and Television Arts (BAFTA) hosted a celebration of Pinter's films curated by his friend, the playwright David Hare. Hare introduced the selection of film clips by saying: "To jump back into the world of Pinter's movies&#; is to remind yourself of a literate mainstream cinema, focused as much as Bergman's is on the human face, in which tension is maintained by a carefully crafted mix of image and dialogue."^[]

After returning to London from the Edinburgh International Book Festival, in September , Pinter began rehearsing for his performance of the role of Krapp in Samuel Beckett's one-act monologueKrapp's Last Tape, which he performed from a motorised wheelchair in a limited run the following month at the Royal Court Theatre to sold-out audiences and "ecstatic" critical reviews.^[] The production ran for only nine performances, as part of the 50th-anniversary celebration season of the Royal Court Theatre; it sold out within minutes of the opening of the box office and tickets commanded large sums from ticket resellers.^[] One performance was filmed and broadcast on BBC Four on 21 June , and also screened later, as part of the memorial PEN Tribute to Pinter, in New York, on 2 May ^[]

In October and November , Sheffield Theatres hosted Pinter: A Celebration. It featured productions of seven of Pinter's plays: The Caretaker, Voices, No Man's Land, Family Voices, Tea Party, The Room, One for the Road, and The Dumb Waiter; and films (most his screenplays; some in which Pinter appears as an actor).^[]

In February and March , a 50th anniversary of The Dumb Waiter, was produced at the Trafalgar Studios. Later in February , John Crowley's film version of Pinter's play Celebration () was shown on More4 (Channel 4, UK). On 18 March , BBC Radio 3 broadcast a new radio production of The Homecoming, directed by Thea Sharrock and produced by Martin J. Smith, with Pinter performing the role of Max (for the first time; he had previously played Lenny on stage in ). A revival of The Hothouse opened at the National Theatre, in London, in July , concurrently with a revival of Betrayal at the Donmar Warehouse, directed by Roger Michell.^[]

Revivals in included the 40th-anniversary production of the American première of The Homecoming on Broadway, directed by Daniel J. Sullivan.^[] From 8 to 24 May , the Lyric Hammersmith celebrated the 50th anniversary of The Birthday Party with a revival and related events, including a gala performance and reception hosted by Harold Pinter on 19 May , exactly 50 years after its London première there. The final revival during Pinter's lifetime was a production of No Man's Land, directed by Rupert Goold, opening at the Gate Theatre, Dublin, in August , and then transferring to the Duke of York's Theatre, London, where it played until 3 January ^[] On the Monday before Christmas , Pinter was admitted to Hammersmith Hospital, where he died on Christmas Eve from liver cancer, aged ^[]

On 26 December , when No Man's Land reopened at the Duke of York's, the actors paid tribute to Pinter from the stage, with Michael Gambon reading Hirst's monologue about his "photograph album" from Act Two that Pinter had asked him to read at his funeral, ending with a standing ovation from the audience, many of whom were in tears:

I might even show you my photograph album. You might even see a face in it which might remind you of your own, of what you once were. You might see faces of others, in shadow, or cheeks of others, turning, or jaws, or backs of necks, or eyes, dark under hats, which might remind you of others, whom once you knew, whom you thought long dead, but from whom you will still receive a sidelong glance if you can face the good ghost. Allow the love of the good ghost. They possess all that emotion&#; trapped. Bow to it. It will assuredly never release them, but who knows&#; what relief&#; it may give them&#; who knows how they may quicken&#; in their chains, in their glass jars. You think it cruel&#; to quicken them, when they are fixed, imprisoned? No&#; no. Deeply, deeply, they wish to respond to your touch, to your look, and when you smile, their joy&#; is unbounded. And so I say to you, tender the dead, as you would yourself be tendered, now, in what you would describe as your life.^[][][]

Posthumous events

Funeral

Pinter's funeral was a private, half-hour secular ceremony conducted at the graveside at Kensal Green Cemetery, 31 December The eight readings selected in advance by Pinter included passages from seven of his own writings and from the story "The Dead", by James Joyce, which was read by actress Penelope Wilton. Michael Gambon read the "photo album" speech from No Man's Land and three other readings, including Pinter's poem "Death" (). Other readings honoured Pinter's widow and his love of cricket.^[] The ceremony was attended by many notable theatre people, including Tom Stoppard, but not by Pinter's son, Daniel Brand. At its end, Pinter's widow, Antonia Fraser, stepped forward to his grave and quoted from Horatio's speech after the death of Hamlet: "Goodnight, sweet prince, / And flights of angels sing thee to thy rest."^[]

Memorial tributes

The night before Pinter's burial, theatre marquees on Broadway dimmed their lights for a minute in tribute,^[] and on the final night of No Man's Land at the Duke of York's Theatre on 3 January , all of the Ambassador Theatre Group in the West End dimmed their lights for an hour to honour the playwright.^[]

Diane Abbott, the Member of Parliament for Hackney North & Stoke Newington proposed an early day motion in the House of Commons to support a residents' campaign to restore the Clapton Cinematograph Theatre, established in Lower Clapton Road in , and to turn it into a memorial to Pinter "to honour this Hackney boy turned literary great."^[] On 2 May , a free public memorial tribute was held at The Graduate Center of The City University of New York. It was part of the 5th Annual PEN World Voices Festival of International Literature, taking place in New York City.^[] Another memorial celebration, held in the Olivier Theatre, at the Royal National Theatre, in London, on the evening of 7 June , consisted of excerpts and readings from Pinter's writings by nearly three dozen actors, many of whom were his friends and associates, including: Eileen Atkins, David Bradley, Colin Firth, Henry Goodman, Sheila Hancock, Alan Rickman, Penelope Wilton, Susan Wooldridge, and Henry Woolf; and a troupe of students from the London Academy of Music and Dramatic Art, directed by Ian Rickson.