O Vilão

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.

Villain is a classic example of the English gangster genre which stretches from Brighton Rock, through Get Garter and the Long Good Friday, to Lock, Stock etc. Writers Dick Clement and Ian La Frenais have fashioned a kind of East-End version of White Heat with Burton in the mother-fixated Jimmy Cagney role.

Burton gives us his Ronnie Kray impersonation and clearly relishes the sly dialogue of the script. The support includes notable turns from Nigel Davenport, Donald Sinden, and an hilarious Joss Ackland as a would-be heavy with an upset tummy.

The action is well-handled and the settings convincingly grubby but it's the superb dialogue that repays repeated viewings.

Michael Tuchner's "Villain" is everything a gangster film should be; tough, violent, grim and filled with loathsome characters who have no redeeming features. The film is clearly influenced by the Krays and does an excellent job of creating a vision of what the real underworld is like, with no comical scenes or foolish characters - the overall tone is ice cold.

The film's plot is pretty familiar with Richard Burton playing Vic Dakin, one of the top crime bosses in London, who is seeking more power through controlling a prominent politician (Donald Sinden) and planning a major robbery.

The film benefits hugely from the casting of Richard Burton in the lead role of Vic Dakin who, like Ronnie Kray, is a gay, mother-fixated psychotic. Although the Welsh Burton does struggle with the Cockney accent, he is totally believable as the character and must be commended for his no-holds-barred performance, which few other Hollywood stars would have dared risk their career on. It is testament to Burton's performance that a former Kray henchman rates it as the most realistic portrayal of a British gangster on screen and very close to what Ronnie Kray was really like. In other words not a very nice man as the film stated at the time - "Meet Vic Dakin, then wish you hadn't."

Why "Villain" has become so forgotten is a mystery. It was made in the same year as "Get Carter" in 1971 but neither film was a hit. However "Get Carter" eventually found a large cult following and is now widely regarded as a British classic. Although "Villain" is one of the top five British gangster films it is not quite in the same league as "Get Carter", "The Long Good Friday" and "Brighton Rock" but it does deserve wider recognition.

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!!"

You have to live Burton camping it up as a psychotic mum loving gangster. It's all a bit small budget but if you stumble upon it you will enjoy it. It's quite violent in places as Burton is proper psych!!