Villain

Vic Dakin is a ruthless gay gangster who loves his mother, bullies his boyfriends and intimidates the authorities. A powerful figure in the East End mob scene, Dakin hears of a potential payroll heist opportunity, and decides to go for it- abandoning his usual modus operandi. Working alongside rival Frank Fletcher, Dakin has few he can trust on the job. Matters are complicated by dogged detective Bob Matthews, as well as Dakin's relationship with his underling and lover Wolfe, whose loyalties are ambiguous to say the least. Will Dakin pull off the heist; or will the villain finally face his comeuppance?

Gritty and darkly funny, Michael Tuchner's 'Villain' is an engaging crime film à la 'Get Carter' or 'The Long Good Friday.' Based on the novel 'The Burden of Proof' by James Barlow, and from a screenplay by Dick Clement, Ian La Frenais and Al Lettieri, the film features strong characterisation and an entertaining narrative, as well as one of the best shot heist sequences of the 1970's. Moreover, it explores the psychology of a sadistic bully, whose allegiances are only to himself.

Dakin is a fascinating character- supposedly based on Ronnie Kray- who is charming one moment, cruel the next. His relationship with Wolfe is especially interesting, whom he bullies into submission, though has a sincere fondness for. He treats his mother with deference, playing the epitome of the good son when he's with her, though could kick someone to death when she's out of earshot. Dakin is a self-interested, psychopathic sadist, who asserts his dominance through violence and intimidation, and is endlessly watchable as he does so.

Furthermore, Clement, Frenais and Lettieri's narrative exposes the corruption and hypocrisy of 70's Britain and its political and social system, through Dakin's exploitation of same. Tackling a variety of themes in a mature way- such as homosexuality, the confluence of sex and violence, as well as corruption- 'Villain' must have been a relatively tough watch for audiences in 1971. However, it is also a funny film- intentionally and otherwise- keeping things from getting too dark. While the dialogue tends toward the overblown and cliched, 'Villain' has a lot going for it.

Christopher Challis's cinematography is gritty and atmospheric. His usage of low-angles and shadows creates tension, while also making Dakin appear all the more brutal and menacing. He captures the bleakness and brutality of the London underworld- as well as the contrast between Dakin's lavish lifestyle and his violent deeds- with style and verve. The film also benefits from Jonathan Hodges's stirring score, as well as Ralph Sheldon's astute editing, which lends the film a steady pace, bolstering its impact and suspense.

'Villain' stars Richard Burton as Dakin, alongside Ian McShane as Wolfe, Nigel Davenport as Matthews and T. P. McKenna as Fletcher. Burton is marvellously menacing as the cockney criminal, even if his accent isn't exactly consistent. Unlike in many of the projects he made in the 70's, he really gives the role his all; delivering a nuanced and entertaining performance. McShane masterfully underplays it, sharing a fine chemistry with Burton, making his character both believable and compelling. Davenport and McKenna are both excellent, while Donald Sinden nearly steals the show as dodgy MP Gerald Draycott.

While not as polished or coherent as 'The Long Good Friday', Michael Tuchner's 'Villain' is still an entertaining and enjoyable crime flick. Although the dialogue is stilted from time to time, the narrative is engaging, the cinematography gritty and the score rousing. Boasting strong performances from all in the cast- especially those of stars Richard Burton and Ian McShane- 'Villain' shows that crime doesn't pay; and is a film well worth paying for.

I saw this movie about 15 years ago, so it is somewhat hazy now. But I remember it had a cast of solid British character actors. It also possessed an aura of menace and creulty that went from Vic Dakin down through the rest of the cast. The dialogue was tough and believable, as was the violence. The Dakin character was obviously based on Ronnie Kray, but so what, the Krays were topical at the time.

I enjoyed this film. It certainly stands up against the drek of today. I am sick and tired of violence and gangster's being treated with clever and stylistic humour.

Perhaps a poor relation to "Get Carter," (they were made around the same time as each other), this is nonetheless an underrated, interesting gangster film. Richard Burton is strangely cast as the violent East End villain, Vic Dakin. You can see that his character is obviously based on Ronnie Kray, and Burton has difficulty pulling off a cockney accent. He is often seen fumbling through his lines. With lots of London location filming and cockney banter, Americans will love this film. There is even a brilliant car chase during the violent wages snatch. Donald Sinden is brilliant as the sleazy, blackmailed MP who frequents high society sex parties. In this respect, the film is very satirical, the characters are stereotypical of an era where scandal amongst the English establishment and local "businessmen" was (and still is) rife.

I've watched 'Villain' innumerable times since I taped it off a late night Channel 4 screening in 1999. Why? Because it's truly excellent.

Atmosphere, plot, quirky characterisations, violent action, dialogue, squalid sex - brother, it's got the lot. A far, far more interesting film than the same period's 'Get Carter'.

Scripted by venerable British comedy maestros Clement and Le Frenais from an initial novel adaptation by the simian faced American character actor Al Lettieri (and I'm sure there's an interesting story behind that process), 'Villain' is remarkably modern in its tone. We aren't presented with goodies or baddies, simply players of the never-ending game:

Vic Dakin (a darkly humorous Richard Burton) is the good old traditional mother-loving gay psychopath who enjoys slicing up informers with a cut-throat razor;

Wolfie Lissner (a superb Ian McShane, playing probably the most interesting character in the piece) is a survivor who'll do what ever it takes to survive, be it pimping unsuspecting lovelies to the elite, selling pills to late night ravers or taking the brunt of Dakin's sadisitic sexual urges;

Bob Matthews (a wry Nigel Davenport) is the disillusioned copper dedicated purely to bringing Daykin down - "I don't want a fertile imagination, I don't want to know if society's to blame, I just want to catch criminals".

And Gerald Draycott (an eternally eyebrow-cocking, seedily lecherous Donald Sinden) is a charmingly corrupt politician with a weakness for the kind of nubile young girls Wolfie supplies.

The script traces the intertwining fates of these characters after a bungled wages heist with terse, witty precision. Oddball subsidiary figures like Joss Ackland's ulcer-ridden crook (who gobbles pain-relieving hard boiled eggs during a getaway) and James Cossins' bitter, wife-hating clerk garnish the proceedings like tangily flavorous seasoning. The backdrop of grubby and grim seventies Britain is so well sketched that you can almost smell it. Jonathan Hodge's musical score is both percussively minimalist and hauntingly lyrical - very powerful. And its a rare triumph for the otherwise hack-like Michael Tuchner, who directs superlatively here with vigorous assurance.

Look out for stalwarts like Tony Selby, Tim Barlow and an uncredited Johnny Shannon ('Performance's Harry Flowers) as a copper coshing con.

"Got a hard-oh, have ya? DRIVE!!"

This film may not be a classic but it is one of my favourite films of the early 1970s and is worth watching if only for the great cast. Richard Burton's portrayal as a vicious, homosexual mother-fixated, career-criminal psychopath is superb (the Kray twins had only recently been sentenced and comparisons can be drawn). It would have been easy to portray Vic Dakin-great villain name- as an American-style, one dimensional cardboard villain. Instead it is a study of intelligent evil. His character carries an air of menace made all the more frightening by his eloquence and intellect. The film has a good British cast (watch out for a scene-stealing Nigel Davenport as the police officer in charge), gritty 1970s locations and all the usual formula: the planning and execution of a robbery, torture scene, blackmail and even a hospital kidnap! What more could you ask from an old potboiler gangster film? Go on, watch the

film and make up your own mind. A strong British film and a must for fans of Richard Burton.