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Robert Rietti
Robert Rietti, OMRI (born Lucio Herbert Rietti, sometimes Rietty; 8 February 1923 – 3 April 2015) was an English actor, translator, playwright, and dubbing director. With over 200 credits to his name, he had a highly prolific career in the British, American, and Italian entertainment industries. He was particularly prominent in post-production dubbing both foreign and domestic, often overseeing the English-language dubbing of foreign actors' dialogue. He is known for his dubbing work in the James Bond film series, Waterloo, the 1972 adaptation of Treasure Island, and Avalanche Express.
Born in 1923, Rietti was the younger of two sons of Italian-Jewish actor Victor Rietti and Rachel Rosenay. In 1932, at the age of nine, he joined his father's company Teatro Italiano, making his stage debut in Mysterious Currents. His father (under whom Ida Lupino and June Duprez had studied acting) developed his son's acting career under the name Bobby Rietti. He made his motion picture debut as Fattorino in Monty Banks' comedy Heads We Go (1933). He soon caught the eye of David O. Selznick, who offered him an extended film contract. Despite letting down Alfred Hitchcock, who handpicked him to play the lead in Sabotage (1936), he made 17 motion pictures during the 1930s, remaining a popular child actor throughout that decade. They would later work together in Hitchcock's film Frenzy.
Rietti was also active on the stage. At the age of twelve he played Jonathan opposite Elisabeth Bergner in James Barrie's last play, The Boy David (1936), which dramatised the Biblical story of King Saul and the young David. Altogether, in his boyhood years he acted in eighteen films and over one hundred and twenty plays.
His successful career on the stage and in motion pictures was interrupted by the outbreak of the Second World War. Rietti and his brother, being Italian, were interned at Ascot internment camp. He later joined the Rifle Brigade, but accepted the army's request for him to head "Stars in Battledress", a group of young actors, which included the young Peter Ustinov and Terry-Thomas, who toured England, and were flown throughout liberated Europe, to entertain Allied troops. In 1945, he was invited by John Gielgud to join his production of Hamlet for troops in the Far East. After the war, he returned to work in the theatre, films, radio, and the latest medium, early television.
In radio, he teamed up with Orson Welles in the radio series The Third Man (1951), and then again on the popular series The Black Museum (1952), which was broadcast to the US Armed Forces. This was to be the beginning of many collaborations between Rietti and Orson Welles, who remained close friends. He was also a regular on the radio series Horatio Hornblower (1952) with Michael Redgrave, The Scarlet Pimpernel (1952), Theatre Royal (1954) with Sir Laurence Olivier, and the classic Sherlock Holmes (1954) with John Gielgud and Ralph Richardson.
His frequent work in television and many guest appearances made him a familiar face in the 1950s and 1960s. He is credited with 164 television appearances. He guest starred together with his father in The Jack Benny Program (1957) and in Harry's Girls (1960), which were both directed by his friend Ralph Levy, director of The Burns and Allen Show. They also performed together in three versions of his father's television success To Live in Peace and his father's television play Against the Stream (1959). In 1958, George Sanders presented Candle for the Madonna, an original television play Robert had written, in which Robert also played the lead.
Among the earliest of his film appearances were with Leslie Howard in The Scarlet Pimpernel and with Douglas Fairbanks in The Private Life of Don Juan (both 1934). Of his 83 film appearances throughout his career, he is best remembered for contribution to the original James Bond pictures: besides Sean Connery, he was the only actor who appeared in both Thunderball (1965) and the re-make Never Say Never Again (1983). Other popular films he appeared in include The Italian Job (1969), Sunday Bloody Sunday (1971), The Omen (1976), as well as a cameo in Hannibal (2001). He played Robert Grant in Hell Is Empty (1967) for his brother, the producer Ronald Rietti.
With the growing popularity of epic international films in the 1950s, Rietti gained a reputation for his work in dubbing. He began his involvement in Paris, during an actor's strike in Britain, and would eventually be hired for both performing and directing jobs. He was also responsible for bringing in the French rythmo-band system into the United Kingdom. Rietti directed ADR in more than 700 films and received international recognition as the foremost director in this field. He was nominated in Hollywood for the Golden Reel Award (a technical Oscar) for his ADR direction of the English version of Once Upon a Time in America (1984), in which he directed Robert De Niro's post syncing.
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Robert Rietti
Robert Rietti, OMRI (born Lucio Herbert Rietti, sometimes Rietty; 8 February 1923 – 3 April 2015) was an English actor, translator, playwright, and dubbing director. With over 200 credits to his name, he had a highly prolific career in the British, American, and Italian entertainment industries. He was particularly prominent in post-production dubbing both foreign and domestic, often overseeing the English-language dubbing of foreign actors' dialogue. He is known for his dubbing work in the James Bond film series, Waterloo, the 1972 adaptation of Treasure Island, and Avalanche Express.
Born in 1923, Rietti was the younger of two sons of Italian-Jewish actor Victor Rietti and Rachel Rosenay. In 1932, at the age of nine, he joined his father's company Teatro Italiano, making his stage debut in Mysterious Currents. His father (under whom Ida Lupino and June Duprez had studied acting) developed his son's acting career under the name Bobby Rietti. He made his motion picture debut as Fattorino in Monty Banks' comedy Heads We Go (1933). He soon caught the eye of David O. Selznick, who offered him an extended film contract. Despite letting down Alfred Hitchcock, who handpicked him to play the lead in Sabotage (1936), he made 17 motion pictures during the 1930s, remaining a popular child actor throughout that decade. They would later work together in Hitchcock's film Frenzy.
Rietti was also active on the stage. At the age of twelve he played Jonathan opposite Elisabeth Bergner in James Barrie's last play, The Boy David (1936), which dramatised the Biblical story of King Saul and the young David. Altogether, in his boyhood years he acted in eighteen films and over one hundred and twenty plays.
His successful career on the stage and in motion pictures was interrupted by the outbreak of the Second World War. Rietti and his brother, being Italian, were interned at Ascot internment camp. He later joined the Rifle Brigade, but accepted the army's request for him to head "Stars in Battledress", a group of young actors, which included the young Peter Ustinov and Terry-Thomas, who toured England, and were flown throughout liberated Europe, to entertain Allied troops. In 1945, he was invited by John Gielgud to join his production of Hamlet for troops in the Far East. After the war, he returned to work in the theatre, films, radio, and the latest medium, early television.
In radio, he teamed up with Orson Welles in the radio series The Third Man (1951), and then again on the popular series The Black Museum (1952), which was broadcast to the US Armed Forces. This was to be the beginning of many collaborations between Rietti and Orson Welles, who remained close friends. He was also a regular on the radio series Horatio Hornblower (1952) with Michael Redgrave, The Scarlet Pimpernel (1952), Theatre Royal (1954) with Sir Laurence Olivier, and the classic Sherlock Holmes (1954) with John Gielgud and Ralph Richardson.
His frequent work in television and many guest appearances made him a familiar face in the 1950s and 1960s. He is credited with 164 television appearances. He guest starred together with his father in The Jack Benny Program (1957) and in Harry's Girls (1960), which were both directed by his friend Ralph Levy, director of The Burns and Allen Show. They also performed together in three versions of his father's television success To Live in Peace and his father's television play Against the Stream (1959). In 1958, George Sanders presented Candle for the Madonna, an original television play Robert had written, in which Robert also played the lead.
Among the earliest of his film appearances were with Leslie Howard in The Scarlet Pimpernel and with Douglas Fairbanks in The Private Life of Don Juan (both 1934). Of his 83 film appearances throughout his career, he is best remembered for contribution to the original James Bond pictures: besides Sean Connery, he was the only actor who appeared in both Thunderball (1965) and the re-make Never Say Never Again (1983). Other popular films he appeared in include The Italian Job (1969), Sunday Bloody Sunday (1971), The Omen (1976), as well as a cameo in Hannibal (2001). He played Robert Grant in Hell Is Empty (1967) for his brother, the producer Ronald Rietti.
With the growing popularity of epic international films in the 1950s, Rietti gained a reputation for his work in dubbing. He began his involvement in Paris, during an actor's strike in Britain, and would eventually be hired for both performing and directing jobs. He was also responsible for bringing in the French rythmo-band system into the United Kingdom. Rietti directed ADR in more than 700 films and received international recognition as the foremost director in this field. He was nominated in Hollywood for the Golden Reel Award (a technical Oscar) for his ADR direction of the English version of Once Upon a Time in America (1984), in which he directed Robert De Niro's post syncing.
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