Skip to main content

Villain (1971)


Vic Dakin (Richard Burton) is a doting son. He loves his dear old mother, brings her tea and tucks her up in bed every night. They live together in their cosy suburban house, and he takes her to Brighton every week for a day trip to the seaside. But Vic Dakin has another side. He is also one of London's most notorious criminals, a vicious sadist who will bribe, blackmail and maim those who cross or threaten him.

The police are on Dakin's trail, led by Inspector Matthews (Nigel Davenport), who is looking for a way to bring him in. But Dakin seems untouchable, and in his world almost anyone can be bought. He even has a Member of Parliament, Gerald Draycott (Donald Sinden), in his pocket, who can support him and provide an unquestioned alibi if necessary. And he has his errant lover, Wolfe (Ian McShane), a small time hustler who supplies women, and occasionally men, for country house orgies to provide material for Dakin's blackmail efforts.


British poster for Villain (1971)
Original British poster for Villain

Things start to go wrong for Dakin when he masterminds a wages snatch. The job is on the territory of his rival, Frank Fletcher (T.P. McKenna), so Dakin involves Fletcher and his brother-in-law Edgar (Joss Ackland) in the job. But when the money goes missing and Edgar is arrested, Inspector Matthews sees an opportunity to set a trap for Dakin.

Villain is an oddly neglected and underrated British crime film of the early 1970s. Released the same year as the much more celebrated Get Carter, Villain is now undeservedly obscure, despite the star presence of Richard Burton and a strong supporting cast. Produced by Jay Kanter and Alan Ladd Jr, the future head of Twentieth Century Fox, the film was based on the 1968 crime novel Burden of Proof by James Barlow. British sitcom writers Dick Clement and Ian La Frenais, best known for their TV series Auf Wiedersehen Pet, The Likely Lads and Porridge, were brought in to write the script, with Al Lettieri also credited. I've read that Lettieri, more familiar as an actor playing hoods in contemporary crime films The Getaway and The Godfather (both 1972), re-wrote Clement and La Frenais's script, but it seems more likely that it was the other way around, especially as Lettieri gets only an "adaptation" credit. The pithy dialogue certainly sounds like it was the work of Clement and La Frenais, and it's this that helps to make Villain as quotable in its own way as Get Carter. The film marked the feature début and career high point of its director, Michael Tuchner, who did most of his subsequent work in television.


Ian McShane and Richard Burton
Wolfe (Ian McShane) and Vic Dakin (Richard Burton)

The film's biggest coup was to engage Richard Burton, still a big British star, to play the lead role of mob boss Dakin. Burton was one of the biggest names of the 1960s, thanks partly to his high profile and tempestuous marriage to Elizabeth Taylor. In that decade he enjoyed several major critical and commercial successes, including Becket (1964), The Spy Who Came in from the Cold (1965), Whose Afraid of Virginia Woolf (1966), Where Eagles Dare (1968) and Anne of the Thousand Days (1969). Burton was initially approached by Villain's executive producer, Elliot Kastner, who had produced his recent hit Where Eagles Dare.

Vic Dakin is obviously inspired by London gangster twins the Krays, especially the bisexual Ronnie Kray, with additional overtones from the 1949 film White Heat. Burton was criticised for his failure to sound much like a Londoner, but he plays the role with gusto. He does tend to chew the scenery a little, but he makes for an engaging star presence even if you don't quite believe he really is Vic Dakin. He is ably supported by a cast including Ian McShane, in one of his best film performances as Wolfe, T.P. McKenna as his more subdued and businesslike rival, Joss Ackland as the sickly Edgar, and Nigel Davenport as the police inspector on his trail.

Like Get Carter, Villain is bleak, sweary and violent. Dakin is just as likely to beat up his associates as his enemies, including his lover Wolfe. He is a complex character, vicious, sadistic, but loves his old mum and has a sense of humour, as when he blames today's kids for vandalism carried out by his own men, remarking that "We should never have abolished the National Service", with tongue only slightly in cheek. His choice of car is an interesting detail, a solid, chauffeur-driven Rover P5B, much more respectable than the flashy Jaguars of most British screen criminals, or the ostentatious American cars favoured by the real life Kray twins.


Colin Welland, Nigel Davenport and Ian McShane
McShane (far right) is questioned by policemen Colin Welland and Nigel Davenport

The film suggests that the wages snatch is partly intended to show that Dakin hasn't gone soft, and to prove to his younger lover that he isn't past it. His relationship with Wolfe is controlling and sadistic and a bit near the knuckle for 1971. It probably didn't help Burton's image as a leading man either, although a sadomasochistic scene between Burton and McShane was apparently shot but cut from the final film. Ian McShane later recalled that Burton told him he was glad he was playing the part as he reminded him of Liz Taylor (!).

Villain's stand out sequence is the scene showing the wages snatch, extremely well executed by Tuchner and his editor Ralph Sheldon, as Dakin and his associates use their stolen Jaguar to ram the wages car and then brutally set about the occupants. This scene is very reminiscent of the '70s crime series The Sweeney and was probably an influence on it.

But Villain is more than just a traditional mix of blags, lags and Jags. Whether by accident or by design, it's very evocative of that era of early 1970s London. And it has that sense of nihilism and malaise that is often present in British films of the early '70s. In the world of Villain, almost anyone can be bought, and the higher up they are, the more corrupt they are likely to be. The film creates a vivid and cynical portrait of a world of violence, sleaze and greed. This is contrasted with the mundane lives of the ordinary people on the fringes of Dakin's world, whose weaknesses and frustrations the criminals exploit for their own schemes. As Dakin sneers memorably, "Stupid punters. Telly all the week, screw the wife Saturday". Even personal relationships are based on violence or coercion and a payroll blag is threatened by striking workers, a detail that helps to place the storyline firmly in the Britain of the 1970s.


Richard Burton in an identity parade in Villain 1971
Vic Dakin (Burton) in a police line up

Villain was filmed in and around London and the locations are particularly well chosen. The heist scenes were shot in Bracknell in Berkshire, using some of the same locations as the following year's The Offence (1972), starring Sean Connery. The film was generally well received in the UK and, according to Burton, did decent box office. But, probably inevitably, it flopped in the US where the critics panned it and many were appalled by its violence and sleaze. It was released the same year as the B movie-ish war adventure Raid on Rommel, and ultimately neither did much for Burton's career. The rest of the decade saw his box office appeal go into drastic decline, with only the occasional bright spot, such as his Oscar-nominated role in Equus (1977).

Villain isn't one of Burton's best or most sophisticated performances. He verges a little on caricature and his accent is all over the place. But he still makes for a compelling star presence, and Villain's obscurity is surprising. It's a tough and involving crime thriller that really does deserve to be much better known. And if you've ever wondered what Richard Burton would sound like with a stocking on his head yelling “Ram the f*ckers!” in a phoney Cockney accent, then this is the film for you.


Villain

Year: 1971
Genre: Crime, Drama, Thriller
Country: UK
Director: Michael Tuchner

Cast  Richard Burton (Vic Dakin), Ian McShane (Wolfe Lissner), Nigel Davenport (Bob Matthews), Donald Sinden (Gerald Draycott), T.P. McKenna (Frank Fletcher), Joss Ackland (Edgar Lowis), Fiona Lewis (Venetia), Cathleen Nesbitt (Mrs Dakin), Elizabeth Knight (Patti), Colin Welland (Tom Binney), Tony Selby (Duncan), John Hallam (Terry), Del Henney (Webb), Ben Howard (Henry), James Cossins (Brown), Anthony Sagar (Danny), Clive Francis (Vivian), Stephen Sheppard (Benny Thompson), Brook Williams (Kenneth), Wendy Hutchinson (Mrs Lowis), Michael Robbins (Barzun), Sheila White (Veronica), Cheryl Hall (Judy), Shirley Cain (Mrs Matthews), Lindy Miller (Gilly), Godfrey James (Car lot manager), Bonita Thomas (Strip dancer), Leslie Schofield (Detective Constable)

Screenplay Dick Clement, Ian La Frenais, adaptation by Al Lettieri, based on the novel Burden of Proof by James Barlow  Producers Alan Ladd Jr, Jay Kanter  Cinematography Christopher Challis  Art director Maurice Carter  Editor Ralph Sheldon  Music Jonathan Hodge

Running time 98 mins  Colour Technicolor  Widescreen Panavision
Production company Atlantic United Productions  Distributor Anglo-EMI Film Distributors (UK), MGM (US)

Comments

  1. Anonymous04 June, 2018

    I really think Richard Burton did quite a good job in this, even if this is far from one of his best performances. Quite a gritty and shocking film for the time. LMAO at Richard telling Ian that he reminded him of Liz!

    By the way, I'm hosting two blogathons that you are very welcome to take part in if you're able to. The Second Annual Alfred Hitchcock Blogathon, and The David Lean Blogathon.

    Maddy

    ReplyDelete
    Replies
    1. It's definitely not one of his best performances, but his charisma and star quality are still apparent. And it's a much better role than a lot of his '70s output, he made some terrible choices!

      Thanks for the blogathon invites. I'll have to get back to you on that.

      Delete

Post a Comment

Popular posts from this blog

The Matrix (1999)

In The Matrix, Keanu Reeves plays Thomas Anderson, an average guy living an average, unfulfilling life in an average and anonymous American city, somewhere at the end of the 20th Century.

Anderson works in a dull job as a computer programmer by day, while by night he is a computer hacker who goes by the name of Neo. Neo is looking for something. Specifically, he is looking for Morpheus, a shadowy figure wanted by the government for unspecified crimes.

When Neo is contacted over his computer by another hacker, Trinity (Carrie-Anne Moss), she tells him that he is in great danger. But she also tells him that, just as he has been seeking Morpheus, so has Morpheus been seeking him.

When Neo and Morpheus (Laurence Fishburne) finally meet, Morpheus reveals to him the startling and uncomfortable truth about the world in which he is living.



Death on the Nile (1978)

Following the success of the all-star murder mystery Murder on the Orient Express (1974), that film's producers, John Brabourne and Richard Goodwin, followed up with another lavish Agatha Christie adaptation, 1978's Death on the Nile.

As with Murder on the Orient Express, Death on the Nile assembles a group of mostly wealthy travellers taking part in an exotic journey, in this case a steam boat trip along the River Nile in Egypt in the 1930s. Among the passengers on board are a honeymooning couple, wealthy American heiress Linnet Ridgeway (Lois Chiles) and her new English husband Simon Doyle (Simon MacCorkindale), as well as the latter's jealous ex-fiancée Jacqueline (Mia Farrow), who appears to be stalking them wherever they go.



Linnet is later murdered while on board the boat, shot at close range with a pistol. Unfortunately for the murderer, the famous Belgian detective, Hercule Poirot (Peter Ustinov), is also on board. When he investigates, with the aid of an old asso…

The 39 Steps (1959)

Alfred Hitchcock's 1935 classic The 39 Steps is one of his best films of the 1930s. It's also been a highly influential one, influencing not only Hitchcock's later films, but also those of just about anyone else who has made a thriller in this vein since.

British film, theatre and television have found it almost impossible to leave the story alone, so enamoured are they with the Hitchcock film. There have been an additional two film versions, one in 1959 and one in 1978, a TV film in 2008, and a popular tongue-in-cheek stage version in the 2000s. Although The Thirty-Nine Steps was originally a popular novel by John Buchan, most of the subsequent versions have patterned themselves more on Hitchcock's film than on the original book.
The 1959 film stars Kenneth More as Richard Hannay, the lead role played in the Hitchcock film by Robert Donat. Hannay is out for a pleasant stroll in Regent's Park in London one day when he runs into a nanny pushing a pram, supposedly w…