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The filming in the movie, known in Russia under another name
- "The Pervert", - was interesting for Timothy Dalton as a happiest chance to work with so
outstanding masters of the world cinema like Marcello Mastroianni and Virna Lisi.
Certainly, we don't know, what did young Timothy Dalton think
about his partners that time, but, perhaps, his opinion was accordant with the one of Jack
Lemmon, the "patriarch" of the contemporary American cinema, the actor, who was always welcome
on either side of the Atlantic Ocean. There are his words:
"You have an idea of him (Mastroianni - K.E.) as a "Latin lover",
which is unpleasant to him, he has a hatred for it sometimes and by right, and the fact you
forget about it from time to time means, that he was lucky to become the one of the really
great actors. When we needed to film, for example, we passed the scene firstly in English, then
in Italian. Even when we acted in Italian (but I had to speak English again), I have not even a
shadow of doubt what a line goes every moment, because his eyes told me about everything.
Another Italian actor, who I know, has the same absolutely complete contact with the partner -
Virna Lisi. " [L1, p.416]
In the article about the film
"El Hombre�" I have already called your attention to the fact of the delicate acting Timothy
Dalton demonstrates there - you don't feel any loss or imperfection in the drawing the image
of his hero because he couldn't apply his own voice - you hear the voice of another actor - in
Spanish! Who knows, may be it was an association with Marcello, what helped the young actor to
fathom a mystery of actor's mastership a little bit faster!
But what about the film itself?
In [L1, p.319] you will find the next: "For the most part
because he (Mastroianni) has got a good chance to go out Italy, the actor returned to England
for filming "The Voyeur" under direction of Franko Indovina", the dark history of an Italian
man and woman (Mastroianni and Virna Lisi), who had nothing in common with each other besides
money and "eight-mm" cinecamera to play the games with a hazzard and risk. The hero of
Mastroianni has a predictable end - the lover of his woman (Timothy Dalton), who was found with
his help, kills him during the filmimg of the movie."
As it underscored in [L1, ibidem], an Italian press took a grave
view of this film. The majority of Italian newspapers flagellated the cineasts' aspiration to
add the "lustre" to heart-piercing movies. It was remarked, that "the moderate striptease of
Virna Lisi must make those who has come to the cinema theatres under impression of the dark
advertising a real come-down".
We have not any information about the estimation of his own
taking part in this movie for Timothy Dalton, but the opinion of Marcello Mastroianni on this
subject we know: "This is one of the things I have done with a light fog in my head" [L1,
ibidem].
It's interesting, that the comments of both actors about
their relation to the roles they have played, including not very successful films, are very
similar. Compare the words of Marcello with the ones, Timothy said!
Marcello: "� the film is like a child, who was born beimg ill,
- you ought to love him anyway" [L1, p.325].
Timothy: "I could never say which of my parts had most satisfied
me or which was my favorite. Even my failures are my blood, my sweat, my care, my love, part of
me; and I can't disown them." [L.2] " /�.2/.
And else: the role of Mark in "The Voyeur" is the first part of
love-mate in the career of Timothy Dalton. I think, later Timothy, like Marcello, was a little
bit pressed upon this line of business, though he always was a success in it!
K.E., 1999
List of References.
1. ������� ����. �������� ����������. ����� � ����������. / ���. �
����.. - ������ �/�.: ���-�� "������", 1999. - 480 �. Copyright, 1993, Donald Dewey.
2. "Timothy Dalton Finds A Hamlet in the Hero." New York
Times, 26.07.87 Page H21.
[Genre]
[Character]
[Chronology]
[1960-70-th]
[80-th]
[1990-th]
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