|
Post by Arthur Pringle on Nov 3, 2018 15:39:08 GMT
Thanks Charles. I believe he got through a few packs of cigs each day as well as the booze, he would've been only 45 in Villain, mind you he didn't have the best complexion to begin with.
You may remember watching Villain on BBC1 in 1991 when it was cut short by a newsflash announcing The Gulf War. It was Wednesday 16th January & the film started at 11.30pm. I was watching a clip of Ian McShane on the Jonathan Ross Show where he mentions his '44 Inch Chest' co-star Ray Winstone telling him about the interruption & noticed a link in the comments to a video recording of the moment it happened, here it is-
Btw, over on ITV they were showing, believe it or not, the film of 'War Of The Worlds' when it was also interrupted by a newsflash.
|
|
|
Post by Arthur Pringle on Nov 7, 2018 1:05:26 GMT
I mentioned seeing a dubbed version of Villain, I've compared it with the original version & all actors except Burton ( whose dialogue is identical throughout the film ) have been dubbed apart from the scene where Dakin confronts Draycott in the toilet, for some reason Sinden's real voice is heard here & strangely at the very end of the film where Wolfe shouts at Dakin you can hear a mixture of McShane's real voice & his dubbed voice. Other than that all the actors have been horribly revoiced.
The dialogue too has been Americanised throughout the film, here's a list of the offending words & lines-
bird/broad w***er/weirdo sod/louse a couple of ice creams/a couple of friends I met cheese & chutney or ham?/cheddar cheese or ham? it p***ed down/it poured he doesn't give a monkeys/he doesn't give a damn you know he put it about too much/he bragged a bit too much you're a grass Danny, you don't just pack it in/ you're a stoolie Danny and informers don't pack it in jack everything in/chuck everything in he's a nutter/he's crazy a minder down the Bush/a bouncer down at the clubs ponce/pimp saloon/sedan you canvas her/ask for it b***ocks Mr Barzun/balls Mr Barzun quite a tickle/quite a take he doesn't bother with traffic or tea leaves/he doesn't bother with prostitution or dope hustling/dealing nothing like a flat tire to make you feel bleeding inconspicuous/nothing like a flat tire to make you feel bleeding conspicuous ( an example of British humour going over American's heads ) you'd get indigestion if you swallowed your Rennies too quickly/you'd get indigestion if you ate your wheaties too quickly dabs/prints he's having one of his turns/he's having one of his attacks pack it in/knock it orf it's a cock up/if they don't call up cuppa/cup of tea packed your job in/quit your job your lot/you and the others time we felt your collar my son/time we faced things my son caused a few raised eyebrows at Boots mind you/caused a few raised eyebrows at the camera shop can't you see the Sunday's?/can't you just see the columns? oh for christ's sake, by honest joe soap?/oh for christ's sake, better start growing up christ she's nothing Vic, bit of spare that's all/christ she's nothing Vic, bit of a bang that's all dodgy/dangerous bloke I knew came out of Brixton yesterday, on remand for GBH, lucky really/bloke I know came out of prison yesterday, he got this from someone else & told me he's ill like isn't he?/he's very ill civvie hospital/city hospital ta/thanks dress the lads up as sisters/dress the lads up as nurses there's no time for George Medals/there's no time for gold medals a doddle/a cinch you can't put the frighteners on all of them/you can't be frightening all of them you call them punters/you call them poor slobs
In the clip below "looks like a doddle" becomes "looks like a walk-in", "we're playing away" becomes "robbery's not our way"
They've also removed words & bits of dialogue such as when Burton says "I was talking to Frank" ( he says it twice in the original, you can see his lips moving but no dialogue in the US version ) & when Burton offers Ackland a drink he says "I daren't Vic, I daren't" in the original, here he says "I can't Vic, I daren't".
|
|
|
Post by Dirty Epic on Nov 8, 2018 8:39:21 GMT
Just a quick one and apologies if you've already mentioned it is this re-dubbed version of Villain available on Youtube or is it a amazon/iTunes job Arthur? Thanks.
Be interesting to see it like that... although not sure it would be better.
|
|
|
Post by Arthur Pringle on Nov 8, 2018 13:47:01 GMT
Just a quick one and apologies if you've already mentioned it is this re-dubbed version of Villain available on Youtube or is it a amazon/iTunes job Arthur? Thanks.
Be interesting to see it like that... although not sure it would be better. Dirty, there's a review on amazon ( see first review on link below ) that describes the dubbed version, they downloaded it from amazon video, I think the US dvd will be the same. www.amazon.com/Villain-DVD-Richard-Burton/dp/B000RWDY72I turned it off as soon as I realised it was dubbed, only coming back to it in order to make the list of dialogue changes. If anyone is similarly curious about seeing it send me a PM- with the proviso that the original is on dvd & talkingpicturestv, I don't expect anyone would be happy buying it on amazon video only to discover it was badly dubbed.
|
|
|
Post by Steve Austin on Nov 9, 2018 9:16:36 GMT
That must have been a ball ache to write down Arthur, thanks for taking one for the team there
|
|
|
Post by Arthur Pringle on Nov 9, 2018 17:44:49 GMT
That must have been a ball ache to write down Arthur, thanks for taking one for the team there Thanks Steve. Yeah, it took a couple of hours & began to get a bit tedious half way through, I had both versions playing in separate players on my laptop & noted down the dialogue on the thread post as I went, once I started I couldn't stop
|
|
|
Post by Arthur Pringle on Nov 9, 2018 22:41:17 GMT
|
|
Lord Emsworth
Director
Drive safely, we're walking or cycling...
Posts: 1,428
Online Status:
|
Post by Lord Emsworth on Nov 26, 2019 11:31:12 GMT
I thought it was about time I started a thread on the film which alongside 'Get Carter' is one of the best British crime flicks ever made. For the most part forgotten by many, probably because it's been overshadowed by Mike Hodges bleak vision of Jack Carter heading up north to seek revenge on his late brother, it is nonetheless a fantastic period piece based loosely on the story of one of the Kray twins, with a definite uneasy feel running through most of the plot and the action, not to mention a quite nasty (for the time) portrayal of a violent wages snatch. With a screenplay by Dick Clement and Ian Lefrenais which includes for the first time in any British film the words p*ss, w*nker, orgasm and f*kkers, a high quality cast and locations which ooze late '60s / early '70s London, it ought to have more of a following. More than four decades after being released it certainly bears repeated viewings just as much as 'Get Carter', 'Robbery' and 'The Long Good Friday'. Like 'Get Carter' it was shot in the Summer of 1970 and released in 1971 to some quite unkind reviews from the press, 'Mary Poppins' it wasn't! Based on James Barlow's book 'Burden Of Proof' it was shot mostly around various parts of North, West and South London with the wages blag happening 'out in the sticks' in the new concrete jungle of downtown Bracknell, and conveys a palpable sense of the '60s ending and a new, dull grey and quite bleak decade about to unfold. The casting was spot on with Richard Burton as Vic Dakin, a nasty piece of work who loved his Mum and liked boys, although when the film was first reviewed in 1971 his cockney accent was brought into question by some journalists. Backed up by British acting stalwarts Nigel Davenport, Joss Ackland, Ian McShane, Colin Welland, T.P.McKenna, Tony Selby, Del Henny, John Hallam and Michael Robins, Burton leaves a trail of nastiness and contempt behind him until the law finally catches up with him on a piece of South London waste ground. Thanks Villain
Incredibly I've never seen this film (I know, I know...) but I do have the DVD and will be watching it this week. Can't wait - as I've heard plenty of good things about it.
I'm delighted to find this extensive discussion and I will be back to go through each post with a fine toothcomb once I've watched the film
More when I've seen it
|
|
Villain
Director
Nine Elms, 1970, looking for the loot...
Posts: 1,294
Online Status:
|
Post by Villain on Nov 26, 2019 14:51:15 GMT
I thought it was about time I started a thread on the film which alongside 'Get Carter' is one of the best British crime flicks ever made. For the most part forgotten by many, probably because it's been overshadowed by Mike Hodges bleak vision of Jack Carter heading up north to seek revenge on his late brother, it is nonetheless a fantastic period piece based loosely on the story of one of the Kray twins, with a definite uneasy feel running through most of the plot and the action, not to mention a quite nasty (for the time) portrayal of a violent wages snatch. With a screenplay by Dick Clement and Ian Lefrenais which includes for the first time in any British film the words p*ss, w*nker, orgasm and f*kkers, a high quality cast and locations which ooze late '60s / early '70s London, it ought to have more of a following. More than four decades after being released it certainly bears repeated viewings just as much as 'Get Carter', 'Robbery' and 'The Long Good Friday'. Like 'Get Carter' it was shot in the Summer of 1970 and released in 1971 to some quite unkind reviews from the press, 'Mary Poppins' it wasn't! Based on James Barlow's book 'Burden Of Proof' it was shot mostly around various parts of North, West and South London with the wages blag happening 'out in the sticks' in the new concrete jungle of downtown Bracknell, and conveys a palpable sense of the '60s ending and a new, dull grey and quite bleak decade about to unfold. The casting was spot on with Richard Burton as Vic Dakin, a nasty piece of work who loved his Mum and liked boys, although when the film was first reviewed in 1971 his cockney accent was brought into question by some journalists. Backed up by British acting stalwarts Nigel Davenport, Joss Ackland, Ian McShane, Colin Welland, T.P.McKenna, Tony Selby, Del Henny, John Hallam and Michael Robins, Burton leaves a trail of nastiness and contempt behind him until the law finally catches up with him on a piece of South London waste ground. Thanks Villain
Incredibly I've never seen this film (I know, I know...) but I do have the DVD and will be watching it this week. Can't wait - as I've heard plenty of good things about it.
I'm delighted to find this extensive discussion and I will be back to go through each post with a fine toothcomb once I've watched the film
More when I've seen it
Thanks LE - a late night viewing with your favourite tipple perched on the arm of a comfy chair is the best way to see 'Villain', no distractions, just watch, absorb and enjoy. There are some slowish parts but all the right ingredients are there : the story, script, characters, cast, direction, locations, soundtrack (often overlooked in this case) and cinemaphotography, all meshed together with an underlying sense of unease. In some ways I actually think it's better than Get Carter, despite its faults. ''WHO ARE YOU LOOKING AT....???!!!" Villain
|
|
Lord Emsworth
Director
Drive safely, we're walking or cycling...
Posts: 1,428
Online Status:
|
Post by Lord Emsworth on Nov 27, 2019 8:20:05 GMT
Jumpin' Jack Flash: David Litvinoff and the Rock'n'Roll Underworld
The opening sequence of this David Litvinoff biography describes how he was hung upside outside his London flat. An incident that inspired a similar scene in Villain. I've just bought the book, looking forward to reading it. Review as per amazon page here Jumpin' Jack Flash: David Litvinoff and the Rock'n'Roll Underworld"Keiron Pim's Jumping Jack Flash is an outstanding study of a remarkable, but until now wholly elusive figure. Meticulously researched and elegantly written, Pim's work is the first to bring us the story of David Litvinoff, that real-life Zelig of post-war British bohemia. And via the magnesium flare of his subject's story, Pim illumines the multifaceted world through which he moved: East End gangsters, Chelsea aristos, Soho artists and Notting Hill hippies. Litvinoff, for so long the missing piece of so many cultural jigsaws, finally gets a story of his own and it's even more bizarre than one might have hoped. This will be an indispensable read for anyone who appreciates that mad, alluring, myth-filled world." (Jonathon Green, author of 'Days in the Life: Voices from the English Underground') I loved this book
This is my review from when I read it in 2016....
It was thanks to (the wonderful) Paul Willetts that I got wind of this book. Paul tipped me off about it a few months prior to its publication. Paul had provided some help and support to Keiron Pim whilst he was writing this book about David Litvinoff (1928–75).
“David who?”
David Litvinoff was a mythic character from 1960s London who was a catalyst during that brief period when the worlds of pop, criminality, art and the aristocracy collided. He knew George Melly, the Kray twins, the Rolling Stones, Lucian Freud, Peter Rachman, Eric Clapton, and a host of other musicians, artists, criminals and aristos.
His most obvious legacy was through his role as consultant on the film “Performance”. Keiron Pim provides compelling evidence of how significant amounts of what ended up on the screen were drawn from Litvinoff’s inside information, some even drawn from personal experience.
“Performance” is ultimately just a fraction of what makes this book so fascinating and captivating. Part of the appeal lies in the extraordinary level of research Keiron Pim undertook. Litvinoff’s life left little evidence for the would be biographer. What remained were myths and unreliable memories. Keiron Pim’s challenge was to sift through these fragments and try to work out what really happened.
I loved it. From Litvinoff’s early life in Bethnal Green in the 1930s to his last, man out of time, months in the mid 1970s prior to his suicide, I was absorbed and engrossed throughout. The book abounds with lots of great social history and some brilliant vignettes of a life lived at full throttle.
The book muses on both a life, and an era, and what flowed from each, variously funny and sad, light and dark. Litvinoff was a walking contradiction and a mix of the monstrous, infuriating, charming, evil, amoral, insightful, inspirational and fascinating. I finished the book with very mixed feelings about him. I was dazzled by his hustler chutzpah and passion for art and music, but also very disturbed by some cruel and dark acts. For all his gifts, he was also a bully and a sexual predator who did some very bad things.
It's a great read - and a five star biography that I heartily recommend for anyone interested in London, social history, the 1960s and interesting lives - but I cannot get some of the darker aspects of his life out of my head.
|
|