I just want to add that all four members of the cast are brilliant here, and Thewlis & Gambon play off each other beautifully. Gambon catches the right note of ham (pun intended), and Thewlis finds his small spaces between, as his part requires.Although I would've liked to have seen the two windows facing back, more as two eyes, I can accept Conor McPherson's choices. Perhaps the space could've been a bit more confined, placing the trashcans closer to Hamm, but that, too, is personal taste.Certainly the steps down to the kitchen were genius, making Clov hobble up them torturously, and re-inforcing how dependent Hamm is on Clov.

Beckett said that his plays were about small men in large landscapes ( well Godot, anyway) and the trouble with this production is that the dreaded close-up obscures the rhythm and the dimension of the interplay between all characters. McPherson's direction is utterly wrong, showy, youthful, and consequently misplaced in a piece that possesses the echoes and regrets and pain of King Lear.Adapting to different media is of course desirable but the challenge of Endgame is the static, 'voiced only' nature of the text (that's why the parents are in the bins, Beckett couldn't manipulate them on and off stage, so he stuck them in bins), and the movement of the camera distracts from the essence of the play.It's a great shame as the play is the best and personal favorite of the writer himself.

One of the best from the series The Complete Beckett. Gambon is dreadful and brilliant. I found myself utterly riveted. As the TV ads here said when the full series was shown recently, many will find Beckett pointless. A fortunate few will find him brilliant. Thank heavens this series was made.

'Endgame' is often considered Beckett's masterpiece, arguably the greatest play of the 20th century. The musicality, companionship and lightness underpinning 'Waiting for Godot''s despair is replaced by claustrophobia; just as Vladimir and Estragon, kept alive by hope, are taken over by Hamm and Clov, bitter, maimed master and servant, waiting not for Godot, just the end.The play's apocalyptic comedy, complete with parents kept in dustbins, is a chessgame about death; mental disintegration in a meaningless universe; an allegory for the theatre. There are never any escapes in Beckett's hells, just the knowledge that the grim winding down of a life will be deferred for tomorrow night's performance.For me, the play is also an hilarious parody of the Anglo-Irish Big House story, with Hamm the cruel landlord, withering solitary as the Famine lashes outside, littered with the corpses he refused to help, always witholding that saving kind word, as we all do.Director MacPherson is himself an acclaimed playwright, and surely sensitive to Beckett as theatre, not just the words which enthrall other filmmakers of his work. He shoots his film in the obtrusively unobtrusive style of a BBC schools educational video, with minimal cinematic flourish.