The Vox Project
Presenting, a new and exciting, if somewhat mythical, Shadowplay Project.
For a while I was fascinated by Marina Vlady in CHIMES AT MIDNIGHT. Well, actually I still am. But when I saw La Vlady in Godard’s TWO OR THREE THINGS I KNOW ABOUT HER, something seemed different. The voice, of course. Welles was happy to use Jeanne Moreau’s own hoarse, sexy tones for her characterisation of Doll Tearsheet (with the logic that, since the British were always fighting the French, and armies have camp followers, there would be a lot of French tottie knocking around Merrie England) but Vlady plays the lady wife of Henry Hotspur, and had to sound plummily English.
So, somebody else provided the voice, and for once Welles couldn’t do it himself (I imagine he’s responsible for Fernando Rey’s and possibly Walter Chiari’s dubbing in this film). The question that vexes me is, who?
The throaty vibrato has a slight air of Fenella Fielding about it, and this is lent weight by the fact that we know Fielding has done a spot of revoicing in her time: she dubbed Anita Pallenberg as the Black Queen in BARBARELLA. But this voice isn’t quite AS extreme. I’m thinking Joan Greenwood, who perhaps is more Shakespearian.
But I don’t know! And it frustrates me.
Nor do I know for sure if that’s the voice of TV comedy legend Richard Briers issuing from beneath the mustache of Jean-Pierre Cassel in Richard Lester’s THE THREE MUSKETEERS. It sure sounds like him (and Briers had worked with Raquel Welch in FATHOM) but it could conceivably be Ian Carmichael. But neither one has any certain connection with Lester. (NB — the IMDb confirms Briers as the voice artist responsible.) Nonetheless, I am morally certain that’s Michael Hordern providing vocals for the captain of the musketeers, played externally by Georges Wilson.
Lester’s films are full of overdubs — the Greek chorus narrating THE KNACK… AND HOW TO GET IT certainly seems to include Dandy Nichols, who appears briefly, and Arthur Lowe, who doesn’t. Both would later perform in THE BED SITTING ROOM.
Fellini’s English language movies contain similar mysteries: in CASANOVA that’s certainly Robert Stephen’s uniquely fluctuating fruitiness emanating from the aristo who hosts a shagging contest in his court. Which makes me suspect that at least one of the crystal-sharp lady’s voices in the film stems from his significant other, THE ROCKY HORROR PICTURE SHOW’s Patricia Quinn. Several of them sound like her.
Film history is full of anonymous voices whispering slyly from the lips of faces famous and infamous and unfamous. And the few people who know the truth aren’t getting any younger. So, without any resources or any free time to devote to the problem, I’m nevertheless launching the Vox Project. All I want is for anyone who knows anything about famous dubs to let me know so I can put it on the record. It would be particularly interesting to hear from people in the industry with direct knowledge of this. Let’s not let this important and sexy information disappear from history.
Spread the word!