The interim Ministry of Magic, in the aftermath of the war, gives heroes of the war a lot of say in the restructuring of their world.
Harry’s priorities lie in clearing the names of people who were Imperused or deprived of choices during the war, and convicting real Death Eaters and sympathizers. Hermione wants to put a new system together, the most effective system possible, one that will allow everyone a voice. Ron’s main concerns are with the Muggleborn registry, destroying it as unceremoniously as he does everything he believes in.
Of course, the Malfoys, the Cattermoles, and all the House Elves who were exploited in that war and all the past ones receive a bit of special attention.
Some new background on the brutal fight scene between Ron and Reg, from producer Tom Bevan and stunt co-coordinator Julian Spencer:
The brawl takes place in a London nightclub, and is just one of several scenes in which the brothers interact with each other on-screen.
Hardy and his stunt double Jacob Tomuri took it in turns to play both roles for the punch-up, which took five days to shoot.
Tim Bevan, the film’s producer, said: ‘In that scene every single trick that one could possibly use is being used. There are stunt doubles, there will be some split screen, there will be some motion control, and there will be some face replacement technology, it’s a very, very technical scene indeed.’
And it seems Hardy – who is famous for doing most of his own stunts – suffered for his art.
Stunt co-ordinator Julian Spencer said: ‘I told Tom and his double that I really wanted them to land these hits. All of the facial hits were real. They weren’t exactly punches but they were good banging slaps.
‘They both ended up with bloody noses, cauliflower ears and black eyes.’
Photographs by Greg Williams.
Published on August 23, 2015.
The Brothers Crim: The Krays.
The Krays ruled east London with their casual, callous violence. Now Tom Hardy has taken over their manor — playing both of the homicidal twins in a new film. How did he do this?
When they were young, Ronnie and Reggie Kray, as their wise old mum always used to say, were special, different from everybody else — but they were also the same. They were identical twins. They spoke alike, dressed alike, even thought alike. When Ronnie was ill, which was often, Reggie would show the same symptoms. That strange synergy and closeness meant that for much of their “working” lives, even when they were separated from each other in prison, they operated as one; a double-headed murder machine capable of extraordinary acts of blank-faced violence.
In Legend, the new film about their reign of terror in 1960s London, they have become the same person once again — played simultaneously, with low-key menace, by Tom Hardy. Best known for his roles in Mad Max: Fury Road, The Dark Knight Rises and Warrior, Hardy delivers a performance as the twins that is no less than a tour de force.
The decision to cast Hardy in two roles came soon after the writer and director Brian Helgeland finished the script. “I had to cast Reggie first,” says Helgeland. “He’s the lead, and that would limit me. I’d then be looking around for an actor who looked like Ron. Benedict Cumberbatch, say, is never going to look like him. I had seen Tom in the film Warrior, which had a Reggie Kray quality about it. When we sat down to talk about it, it was obvious that Tom wanted to play Ron — he kind of said, ‘If you let me play Ron, I’ll give you Reg.’ We decided that night that he was going to play both.”
Casting one actor in two roles presented Helgeland with some technical problems. Shots in which both Ronnie and Reggie appeared would be cut using a split-screen technique, and Hardy would record Ronnie and Reggie’s dialogue separately. “Then Tom would play it back in his ear — and respond to himself.” says Helgeland.
Hardy’s task was made more complex by the fact that, as the Krays grew older, their personalities took on distinct, separate characteristics. Reggie was brighter, more strategic in his thinking. Ronnie, beaten down by the demons of schizophrenia, became evermore determinedly violent.
They changed physically, too; they were no longer identical. Ronnie’s increasing reliance on drugs, to “calm him down” and stop him thinking about murder, caused him to put on weight; for his performance as the much-heavier Ronnie, Hardy wore prosthetic “plumpers” — gum guards made out of silicon; he puffed up his body, moved his head down. Make-up designer Christine Blundell drew back his hairline. Reg soon became Ron; Ron became Reg. Nowhere in the film do you see the join.
This brutal biopic is carried by the sheer power of Hardy’s performance. To both roles he brings a studied, low-voltage menace that electrifies the storyline. The violence is shocking because it is so by-the-by. That’s the way the Krays did business. In the film, quiet chats in the pub about the empire are punctuated with casual maiming and torture. In one scene, Ronnie, who had always been the more dangerous and unpredictable of the two, is enjoying breakfast in Pellicci’s, his favourite East End cafe. Ron says: “Darling, can I have another egg? I’ve eaten this one.” He then calmly arranges a meeting with the rival Richardson gang. An hour or so later, he is seen in a pub attacking the gang with a pair of claw hammers. Shortly afterwards, he was certified insane.
The film shows that Ronnie adored the process of violence, but Reggie, quieter and more cerebral, did not flinch from it, either. While Ronnie would simply slice his victims’ faces, Reggie’s techniques were subtler. It was he who had perfected the “cigarette punch”. He would offer a victim a cigarette only to break their jaw as he moved to give them a light. If you want to break a jaw, Reggie had learnt, it’s much easier if it’s open at the time.
The murder of Jack “the Hat” McVitie is a crucial scene in the film. It was a seminal event in the lives of the twins, since it marked Reggie’s coming-of-age as a murderer, but also the beginning of the end of the Krays’ reign of fear. The scene is choreographed with brutal precision; a stunt double is used in some takes, but on screen we really only have eyes for Hardy. Reggie’s victim, a low-level member of The Firm, is stabbed to death at an East End party in a room full of witnesses.
With a carving knife, Reggie slashes, slashes and slashes again — and blood pours out of McVitie’s body. The camera cuts to Ronnie as he looks on approvingly. “Go on, Reggie, do him.” It is a gripping piece of cinema, all the more disturbing because it is shot in the prosaic surroundings of a neat and tidy flat. (So much blood was spilt that the Krays had to pay for new carpets.)
One of the intriguing — and controversial — aspects of the film is that Hardy plays Reggie sympathetically. Leaving aside the maiming and torture scenes, we are left with a picture of an intelligent, even considerate young man. Reggie’s appetite for violence was not piqued as often as his brother’s.
“I thought at the beginning that if Reggie’s not going to be the hero of the film, what’s the point?” says Helgeland. “I don’t need to spend two years of my life making a film like this, when I could spend 10 minutes telling you what a despicable person he was. In film, there is often such a black-and-white morality. You are either good or evil. It’s diminishing, in a way, to whatever it’s applied to. Reggie Kray had an inner life, he wasn’t a monster. But I’m not trying to soft-pedal what he was responsible for.”
The relationship between Reggie and his long-forgotten first wife, Frances Shea, is a central theme of the film. Reggie married Shea in 1965. In typical Kray style, their wedding photos were taken by David Bailey. Their marriage lasted just months; Frances left him — in the film, following a gin-fuelled beating from her husband — and began calling herself Shea again. She tried to get the marriage annulled on the grounds of non-consummation, but Reggie delayed proceedings, imploring her to return and promising a second honeymoon in Ibiza. Before a court got the chance to hear the annulment case in 1967, Frances, alone, depressed and pill-dependent, ended her life. She was found dead from an overdose, and was buried — under the name Kray — in the family’s showpiece plot in Chingford.
Reggie never really recovered from his grief, and although Frances’s central role in the Krays’ story has been overlooked in the macho folklore that always accompanied it, her death marked a turning point for the twins’ empire. Helgeland realised this when he met Chris Lambrianou, a former member of The Firm, outside one of the Krays’ old haunts in the East End.
Many thanks to Ilona Delamere
“Loosely, Tom’s treating Ronnie as a great character role and Reggie as a leading man. Reggie would be an old-fashioned Steve McQueen type, and Ronnie was the guy who was on pills and wasn’t so mentally stable — not that either of them were! But [Tom’s] found very definitive looks and characters for them both — that’s what’s going to stun the audience.”
2. My muse is emotionally compromised and breaking down.
Teddy didn’t know if he’d been angry or upset when everything had
finally kicked off, but regardless of that he was still alive and
relatively uninjured. Even though he knew he’d have bruises and cuts
from glass shards for weeks, the other two men were unconscious and
bleeding so again, relatively he was fine. Teddy didn’t even know who’d
started it, but it had been personal so everyone had become the enemy.
But now after the fighting, everything caught up with him and he
felt… Empty. Nothing anymore, so overwhelming that he felt like
screaming, but without any energy left all he could do was slouch down
against a wall and wait for something to happen.
Fights didn’t often involve Ron or Reg when they weren’t directly related to the twins, but in-fighting between rival gangs was reported on by members of the Kray’s firm, and the fight that had gone down at the dive bar was internal and didn’t spill out into the street, so nobody outside of it was aware save for Alby. He kept a watchful eye on many of the neighbouring gangs and when nobody exited the closed bar after a long, uneventful pause, he went in search of Ron and Reg to report in.
It was Ron that agreed to look into it, high on his own sense of self worth while Reg was off doing his thing with some trollop, so he entered the bar cautiously with his pistol in his inside pocket, his nose filled with the smell of sweat and blood. Alby followed, but let Ron lead.
hey all you tom hardy or taron egerton fans that are excited for legend i know you’re gonna google ron and reg to find out more about them and i wanna just put these things here because i’ve done a bunch of research on the krays and you’re gonna find a lot of conflicting rumors and things but here are some facts
ron kray DID NOT kill frances shea
ron kray WAS NOT GAY, he was bisexual
ron and reg DID NOT have an incestuous relationship
reg kray WAS NOT GAY OR BISEXUAL, he was straight
ron kray WAS NOT a pedophile
there’s not too much coming to mind right now but if you have any questions pls ask me
Okay so I fiiiiinally got to go and see Legend and can I just say I absolutely LOVED it! Tom Hardy’s performance was stunning, Taron was amazing and I found the film surprisingly accurate?? (Not 100% obviously but nobody’s perfect)
It was just everything I expected and more and I’m still excited even after seeing it!