The Remains of the Day

The Remains of the Day, 1993

Directed by James Ivory

Distributed by Columbia Tristar Home Video

Freud felt that it was only possible to develop cogent and definitive conclusions from the clinical material of a psychoanalytic treatment after termination. In a similar vein, only after I had watched The Remains of the Day several times and had the entire film text in front of my inner eye was I able to develop some tentative interpretive formulations about the film. My basic methodology for approaching this film lies in the assumption that there is an exchange between the film and its interpretive audience that manifests itself in a network of multiple identifications. Reflections on these identifications reveal a direct connection to psychoanalytic theory. A new text is created that is anchored in the concrete data of the film but no longer resides exclusively or directly in the film images. Instead, the new text grows out of the psychoanalytic interpretation brought to bear on the film.

There is a parallel situation in the narrative of the film itself. Closely integrated are the collaboration of Lord Darlington with the Nazi regime and the unhappy love story between the housekeeper, Ms Kenton, and the butler, Stevens. The film deftly sketches the interrelationship of these two threads of action through a psychological portrait of the protagonist Stevens and his authoritarian, contemptuous behaviour towards others. In essence, The Remains of the Day is a social criticism film that depicts psychopathological preconditions for the socially recognised behaviour of an English butler. He is neutral towards the political convictions and moral values of his master—knowledge of them would greatly impede the fulfilment of his purpose in life, which is to serve loyally and unobtrusively. His one and only task is to carry out his master's orders and wishes in exquisite detail and without any reservations whatsoever.

Being of service has an inherent value for Stevens. The film persuas