0:00:04 > 0:00:10Philip Madoc made his name playing compelling, fascinating villains.
0:00:10 > 0:00:13Magua is a great chief. We have conquered.
0:00:13 > 0:00:15But there is to be no taking of scalps.
0:00:15 > 0:00:21His rich voice and dark looks made him everyone's favourite bad guy.
0:00:21 > 0:00:26Your name will also go on the list. What is it?
0:00:26 > 0:00:28- Don't tell him, Pike!- Pike.
0:00:31 > 0:00:35But the greatest challenge of Philip's life came when he was chosen to play a true Welsh hero.
0:00:36 > 0:00:39Don't you see, if we were more inseparable,
0:00:39 > 0:00:41we would be insuperable?
0:00:41 > 0:00:45At the peak of his career, his voice had become the voice of Wales.
0:00:45 > 0:00:47Lamb, your name is.
0:00:47 > 0:00:49Welsh, your breed.
0:00:49 > 0:00:51No finer sight to behold.
0:00:51 > 0:00:55A splendid dish on which to feed.
0:01:13 > 0:01:17Philip Arfon Jones was born in Twynyrodyn
0:01:17 > 0:01:20in Merthyr Tydfil in 1934.
0:01:20 > 0:01:22His father, William Richard Jones,
0:01:22 > 0:01:24had moved to Merthyr from North Wales,
0:01:24 > 0:01:27and Philip was born into a bilingual family.
0:01:28 > 0:01:30His first language would have been Welsh,
0:01:30 > 0:01:33with both parents speaking Welsh.
0:01:33 > 0:01:35It was just with him going to school,
0:01:35 > 0:01:37he came home and wanted
0:01:37 > 0:01:41to practise his English, so from then on, English was spoken at home.
0:01:41 > 0:01:44And so when I was born, it was an English household.
0:01:46 > 0:01:49At Cyfarthfa Grammar School, Philip was a keen sportsman
0:01:49 > 0:01:52and captain of the cricket team.
0:01:52 > 0:01:54He showed a flair for drama from an early age.
0:01:56 > 0:02:00We used to go to Queen's Road youth club on Tuesday and Thursday evening.
0:02:00 > 0:02:02There was a drama group set up there.
0:02:02 > 0:02:05We were doing it all. We'd have a bit of fun out of this, you know?
0:02:05 > 0:02:08But of course, that's not Philip, see?
0:02:08 > 0:02:12Anyway, he came in, and he got a brush, the head of the brush in between his legs,
0:02:12 > 0:02:16and he is riding on this as the horse, like.
0:02:16 > 0:02:20Well, everybody was roaring laughing. But he didn't like that.
0:02:20 > 0:02:25Anything he did, he did, very positive about it, like.
0:02:25 > 0:02:29It was in him anyway to be an actor then at that early stage, you know?
0:02:29 > 0:02:32In the sixth form, Philip got a chance
0:02:32 > 0:02:35to show off his acting talent to the whole of Merthyr
0:02:35 > 0:02:39when he took on the title role in the school's production of Macbeth.
0:02:39 > 0:02:44I took a seat in the front row, and I was OK for a while,
0:02:44 > 0:02:48and then the ghost of Banquo was there, and he was talking to
0:02:48 > 0:02:51this ghost, and I thought, I couldn't cope with that.
0:02:51 > 0:02:53So I took a quick run to the back row.
0:02:53 > 0:02:56But I just remember it because it was all so convincing,
0:02:56 > 0:03:00and people really thought that he did have a talent.
0:03:00 > 0:03:02Philip was a natural performer,
0:03:02 > 0:03:05not just on stage but also on the dance floors of Merthyr.
0:03:07 > 0:03:08He loved dancing.
0:03:08 > 0:03:14He used to go to the Drill Hall in Georgetown Saturday night. But he liked to do it properly.
0:03:14 > 0:03:18The tango. The tango with all the... And the leather shoes, and all.
0:03:18 > 0:03:23He looked the part, like, you know? Always dressed immaculate.
0:03:23 > 0:03:24Oh, he was a good dresser.
0:03:25 > 0:03:29Two of Merthyr's dance halls, the YMCA and the YWCA,
0:03:29 > 0:03:32each attracted a very different class of clientele.
0:03:34 > 0:03:36The roughs would go to the YM,
0:03:36 > 0:03:38but all the classy girls would go to the YW.
0:03:38 > 0:03:42Nice girls, better class women seemed to go there.
0:03:42 > 0:03:44We had the rough and readys in the YM.
0:03:44 > 0:03:47'Course, Philip would be over in the YWCA, wouldn't he?
0:03:47 > 0:03:52Dancing with all these grammar school girls, you know? The upper crust, as we called them.
0:03:56 > 0:03:59Philip was an ambitious young man,
0:03:59 > 0:04:02and his aspirations lay beyond Merthyr.
0:04:02 > 0:04:06In 1952 he began studying modern languages at Cardiff University.
0:04:06 > 0:04:08As part of his course,
0:04:08 > 0:04:11he spent a year studying and working as an interpreter in Vienna.
0:04:16 > 0:04:20He started to experience areas of culture, new ways of living,
0:04:20 > 0:04:24new food, new songs,
0:04:24 > 0:04:28new theatre, that he had never experienced before in South Wales.
0:04:29 > 0:04:33Philip returned to Cardiff to finish his modern languages degree.
0:04:33 > 0:04:36But he was still pursuing his passion for acting,
0:04:36 > 0:04:40appearing in a student production of the play A Sleep Of Prisoners.
0:04:40 > 0:04:44Christopher Fry, the playwright, actually came to see it.
0:04:44 > 0:04:46And suggested to Philip afterwards
0:04:46 > 0:04:49that he should try for a scholarship at RADA.
0:04:49 > 0:04:52He could see the talent there.
0:04:52 > 0:04:54My mother thought there was no future in it,
0:04:54 > 0:04:59so he was encouraged to do a year of teacher training,
0:04:59 > 0:05:02which he did, at Cardiff.
0:05:03 > 0:05:06But Philip's destiny lay outside the classroom.
0:05:06 > 0:05:11In 1958 he won a scholarship to study at the Royal Academy of Dramatic Art.
0:05:11 > 0:05:12It was there that he met
0:05:12 > 0:05:16a young drama student from Llansamlet called Ruth Llewellyn.
0:05:17 > 0:05:21He came into a rehearsal of Under Milk Wood.
0:05:21 > 0:05:26He had fairly dyed yellowish hair at this particular point,
0:05:26 > 0:05:29and a sort of mauve cardie on.
0:05:29 > 0:05:33And we all thought, you know, people didn't dress like this, you see.
0:05:33 > 0:05:35And especially Welsh people.
0:05:35 > 0:05:40We all thought he was gay. But I soon found out he wasn't gay.
0:05:42 > 0:05:43Romance blossomed,
0:05:43 > 0:05:47and it wasn't long before Philip and Ruth were an item.
0:05:48 > 0:05:50She was really attracted to two things from him.
0:05:50 > 0:05:54One was his charm and his voice, and he had a lovely resonant voice.
0:05:54 > 0:05:58And she also loved his intellectual prowess.
0:05:58 > 0:06:03I think that really attracted my mother to him.
0:06:03 > 0:06:07Philip's training at RADA had taught him how to make the best
0:06:07 > 0:06:11of his greatest natural asset - his voice.
0:06:11 > 0:06:17We were all taught to have good projection, clarity of diction,
0:06:18 > 0:06:20and that was it.
0:06:21 > 0:06:25PHILIP: In my craft, or sullen art, exercised in the still night
0:06:25 > 0:06:28when only the moon rages,
0:06:28 > 0:06:32and the lovers lie abed with all their griefs in their arms,
0:06:32 > 0:06:34I labour by singing light,
0:06:34 > 0:06:37not for ambition or bread,
0:06:37 > 0:06:41or the strut and trade of charms on the ivory stages,
0:06:41 > 0:06:45but for the common wages of their most secret heart.
0:06:46 > 0:06:49He had a voice which was almost Burton-esque.
0:06:49 > 0:06:52There is a natural authority in that voice.
0:06:52 > 0:06:54Burton had it, Philip Madoc had it.
0:06:54 > 0:06:59With that magnificent voice, he was ideal for classical theatre.
0:06:59 > 0:07:02After leaving RADA, Philip acted in repertory theatre for a while,
0:07:02 > 0:07:06but he was destined to make his name in a different medium.
0:07:06 > 0:07:11In 1961 he made his first appearance on television,
0:07:11 > 0:07:12in a BBC schools programme.
0:07:14 > 0:07:16- Greetings.- Greetings.
0:07:16 > 0:07:20- You are new to this section of the wall, aren't you? - That's right. Just arrived.
0:07:20 > 0:07:23You know, wherever you go, it's always the same story.
0:07:23 > 0:07:28Whatever the blood, we legionaries are all Roman.
0:07:28 > 0:07:31This is Rome's wall. And I've seen nothing to equal it.
0:07:34 > 0:07:37Oh, yes, I see what you mean by the desolation.
0:07:37 > 0:07:40Philip had now changed his surname to Madoc.
0:07:40 > 0:07:42TV work was highly sought after,
0:07:42 > 0:07:46but with only two channels on air, parts were few and far between.
0:07:46 > 0:07:49In 1963, Philip and Ruth were about to get married
0:07:49 > 0:07:51when Philip's agent called.
0:07:51 > 0:07:56Our marriage date had to be put off because he got a Maigret.
0:08:00 > 0:08:03And my parents did it without batting an eyelid.
0:08:03 > 0:08:05"Yes, of course, Philip."
0:08:05 > 0:08:09Because it was so important that you did get that exposure on television.
0:08:09 > 0:08:11Sit down!
0:08:11 > 0:08:14Maigret was a hugely popular series about a Parisian detective
0:08:14 > 0:08:18which ran for 52 episodes in the early '60s.
0:08:18 > 0:08:19What's the charge?
0:08:19 > 0:08:23Philip played a gigolo who murders his wealthy mistress.
0:08:23 > 0:08:29I want to know about a man like you. How do you make your living?
0:08:29 > 0:08:30Where do you get your money?
0:08:31 > 0:08:36- I do all right.- But how? - Buying, selling. I get by.
0:08:36 > 0:08:39Not too badly, either, I'd say.
0:08:39 > 0:08:44Tailored silk shirts, diamond cufflinks. Look at those shoes.
0:08:44 > 0:08:47Snakeskin. He grows his own.
0:08:47 > 0:08:52- I don't have to be here, so what's the charge?- This one.
0:08:52 > 0:08:55Malicious assault on a woman. Michelle Papinos.
0:08:55 > 0:09:00I served my sentence. You can't rake that up again.
0:09:00 > 0:09:02- I want to know why you did it. - I roughed her up a bit.
0:09:02 > 0:09:06- She was asking for it.- What do you mean, she was asking for it?
0:09:07 > 0:09:12- She insulted you? - She wanted it! Oh, she liked it.
0:09:12 > 0:09:14- Liked being knocked about? - Some women do.
0:09:16 > 0:09:19Television demanded a more restrained style of acting than theatre,
0:09:19 > 0:09:23and Philip had to adjust his style accordingly.
0:09:23 > 0:09:25RUTH: I can always remember my mum saying,
0:09:25 > 0:09:28"He's mumbling. He's mumbling. That's not right."
0:09:28 > 0:09:31And she used to tell him, as well.
0:09:31 > 0:09:34"Why don't you have that projection that you have on the stage?"
0:09:34 > 0:09:36"Well, you can't do that, you see, Iris."
0:09:36 > 0:09:40"Oh. Well, bring it down, the voice, but clarity of diction, please."
0:09:40 > 0:09:43I'm in the clear, and you know it.
0:09:43 > 0:09:46'In television, projection was less important,
0:09:46 > 0:09:48'and a big voice could be a disadvantage.
0:09:48 > 0:09:51'What became more important were your physical characteristics.'
0:09:51 > 0:09:57He was a very handsome man. He had lots of dark hair, dark good looks.
0:09:57 > 0:09:59Extremely lively eyes.
0:09:59 > 0:10:02And I think at that stage there must have been every hope of being
0:10:02 > 0:10:05a leading man or a romantic hero.
0:10:06 > 0:10:10- What time's he due back? - Any time now. Pubs are shut.
0:10:10 > 0:10:14In the detective series Cluff, Philip plays a ladies' man
0:10:14 > 0:10:16who's courting a local farmer's wife.
0:10:17 > 0:10:22Big fella like Rufus, and his wife chasing anything she can get?
0:10:22 > 0:10:25- You don't care, do you?- Not much.
0:10:25 > 0:10:28What about you, Saul lad, you ready to jump out of t'window?
0:10:28 > 0:10:31- Catch me doing that(!)- He'd break you in half if he caught us.
0:10:31 > 0:10:34Never. He wouldn't know how to start.
0:10:34 > 0:10:35Oh, he's a big fella.
0:10:37 > 0:10:40That doesn't mean a thing.
0:10:40 > 0:10:42You've got to know how to use your weight.
0:10:42 > 0:10:47- Oh, and you do? - You know I do.- Well, bully for you!
0:10:47 > 0:10:51I'm glad to have not got you for a wife.
0:10:51 > 0:10:53I see - just good enough for half an hour here and there, eh?
0:10:54 > 0:10:58- You know what I mean. - Don't know why I put up with you.
0:11:00 > 0:11:02You know why, don't you?
0:11:05 > 0:11:07Despite Philip's romantic good looks,
0:11:07 > 0:11:12casting directors recognised in him a different kind of potential.
0:11:12 > 0:11:14I'm still the best, aren't I?
0:11:14 > 0:11:16'You began to realise that there was something slightly'
0:11:16 > 0:11:19sinister in that smile. That there was something mischievous in him.
0:11:19 > 0:11:24He was ideal material for television directors who wanted villains.
0:11:24 > 0:11:27In 1965, Philip's dark looks
0:11:27 > 0:11:30and his ability to speak fluent German
0:11:30 > 0:11:32landed him a role in a major Hollywood movie,
0:11:32 > 0:11:37alongside one of the world's most glamorous leading ladies.
0:11:43 > 0:11:49In Operation Crossbow, Philip held his own opposite Sophia Loren and George Peppard,
0:11:49 > 0:11:52playing the part of a menacing German policeman.
0:11:56 > 0:11:57Jawohl.
0:12:13 > 0:12:16Oh, hier ist alles in Ordnung, Herr Leutnant.
0:12:17 > 0:12:19Erik van Ostamgen.
0:12:19 > 0:12:20Gut...
0:12:24 > 0:12:29This first feature film role had a big impact on Philip's career.
0:12:29 > 0:12:32Phil started playing Germans.
0:12:32 > 0:12:37And found a niche which was very lucrative.
0:12:40 > 0:12:43Philip's biggest role to date came in 1970,
0:12:43 > 0:12:48when he played a sadistic SS officer in the series Manhunt.
0:12:48 > 0:12:50Your family wife and children.
0:12:50 > 0:12:52- Does your wife know about Nina by the way?- Of course not!
0:12:52 > 0:12:56- That's interesting, the way you said that.- You can forget about my wife.
0:12:56 > 0:12:58It's interesting the way you said "Of course not",
0:12:58 > 0:13:00it makes me think you've got a guilty conscience about Nina!
0:13:00 > 0:13:03I don't aspire to YOUR levels as a womaniser,
0:13:03 > 0:13:05Herr Obersturmbannfuhrer.
0:13:05 > 0:13:08- Yes, but only with Aryans.- Really? - Strictly with Aryans.
0:13:08 > 0:13:10That makes it all right?
0:13:10 > 0:13:13With your wife? You've consulted her of course?
0:13:13 > 0:13:17Hilda and I have done our duty by the Reichsfuhrer SS marriage laws and SS marriage ceremony.
0:13:17 > 0:13:19Our names duly entered in the SS Clan Book -
0:13:19 > 0:13:23four children as decreed, all delivered in the SS Lebensborn maternity home
0:13:23 > 0:13:26and all entered duly in the SS Clan Book.
0:13:26 > 0:13:29Four daughters, unfortunately. But they will all breed, for the SS.
0:13:29 > 0:13:33- And that's it?- That's it. - Jesus Christ!
0:13:33 > 0:13:37No - he's been banned from all SS ceremonies, including funerals.
0:13:38 > 0:13:40Playing foreign villains
0:13:40 > 0:13:43paid for Philip and Ruth's first house together.
0:13:43 > 0:13:47They were now a family, following the birth of their son Rhys in 1967.
0:13:49 > 0:13:52And there was great excitement in the Madoc household
0:13:52 > 0:13:56when Philip got a major part in the BBC's new Sunday evening drama.
0:13:58 > 0:14:00We'd had a black-and-white television at that point,
0:14:00 > 0:14:04but we got a brand-new colour television in order to watch it.
0:14:04 > 0:14:08Philip played the part of Magua, chief of the Huron Indians.
0:14:08 > 0:14:10SHE SCREAMS
0:14:10 > 0:14:11Magua!
0:14:11 > 0:14:13Yes...
0:14:13 > 0:14:16Magua.
0:14:18 > 0:14:20On a visit to the set, Rhys was able to see
0:14:20 > 0:14:23how his father immersed himself in the role.
0:14:23 > 0:14:26The main language that the Indians spoke was Huron,
0:14:26 > 0:14:30and he learned the odd phrase that he could find of Huron,
0:14:30 > 0:14:34and was very meticulous in wanting to get the character right.
0:14:34 > 0:14:39He didn't want to play a caricature of a North American Indian,
0:14:39 > 0:14:41he wanted to BE a North American Indian.
0:14:41 > 0:14:44I was born a chief, and a warrior.
0:14:45 > 0:14:49Among the red Hurons of the lakes I was a chief.
0:14:49 > 0:14:51A chief among chiefs.
0:14:51 > 0:14:55But are you not still a chief? You speak like one.
0:14:55 > 0:14:58I'm happy to acknowledge your authority.
0:14:58 > 0:15:01I saw the suns of 20 summers
0:15:01 > 0:15:04melt the snows of 20 winters
0:15:04 > 0:15:08before I saw a pale face in the woods and about the lakes.
0:15:08 > 0:15:11And before I saw a pale face... I was happy.
0:15:13 > 0:15:15Then the Canada pale faces came into the woods,
0:15:15 > 0:15:19and taught me to drink fire-water.
0:15:19 > 0:15:22And I became a rascal.
0:15:22 > 0:15:26- The French? Not the British, Magua? - That was to come.
0:15:26 > 0:15:27But first, because I was a rascal,
0:15:27 > 0:15:30my people drove me from the graves of my father.
0:15:30 > 0:15:33Like they would chase a wounded buffalo.
0:15:33 > 0:15:35He explains, "I was born a chief."
0:15:35 > 0:15:38And with a voice like that, you never doubted it.
0:15:38 > 0:15:42I've never ever seen the authority of an Indian chief captured so well.
0:15:44 > 0:15:49Philip's sensitive portrayal of Magua earned him critical acclaim.
0:15:49 > 0:15:53- RHYS:- For years and years afterwards he would receive fan mail
0:15:53 > 0:15:56and many, many letters congratulating him.
0:15:56 > 0:16:02We were often stopped just walking along the street - people wanted his autograph.
0:16:02 > 0:16:07He was an enormously charismatic figure, actually.
0:16:07 > 0:16:09Effortlessly charismatic.
0:16:09 > 0:16:14And he would be able to charm anyone, instantly.
0:16:14 > 0:16:16In 1973, Philip played a role
0:16:16 > 0:16:19that would earn him a place in television history.
0:16:19 > 0:16:24# Who do you think you are kidding, Mr Hitler
0:16:24 > 0:16:27# If you think we're on the run...? #
0:16:27 > 0:16:30Jimmy Perry was the co-writer of Dad's Army
0:16:30 > 0:16:31and a friend of the family.
0:16:31 > 0:16:35He was looking for an actor to play a captured U-boat commander.
0:16:35 > 0:16:38What Jimmy wanted was someone who could rattle off German
0:16:38 > 0:16:41just as it would sound, and be authentic.
0:16:41 > 0:16:44And my dad fitted that bill perfectly.
0:16:44 > 0:16:47One, two, three, four, five, six, seven, eight.
0:16:47 > 0:16:49Eight cod and chips.
0:16:50 > 0:16:52I want plaice.
0:16:55 > 0:16:58Right, that's one plaice and chips, seven cod and chips.
0:16:58 > 0:16:59Right, who wants vinegar?
0:16:59 > 0:17:03Also, aufpassen. Wie viele von euch wollen Essig?
0:17:03 > 0:17:05One, two, three, four for vinegar.
0:17:05 > 0:17:07Who wants salt?
0:17:07 > 0:17:10So wieder mal aufpassen, wie viele von euch wollen Salz?
0:17:10 > 0:17:12One, two, three for salt.
0:17:12 > 0:17:14Who don't want salt or vinegar?
0:17:14 > 0:17:16Also, zum dritten Mal, wie viele ohne Salz oder Essig?
0:17:16 > 0:17:18That's two without salt or vinegar.
0:17:18 > 0:17:21'Ere, just see if I've got this right.
0:17:21 > 0:17:24You want plaice and chips, they're going to have cod and chips.
0:17:24 > 0:17:27And that's four with vinegar, three with salt and two without...
0:17:27 > 0:17:29Walker?! What are you doing?
0:17:30 > 0:17:32I'm taking the order!
0:17:33 > 0:17:36And I don't want nasty, soggy chips.
0:17:39 > 0:17:44'The reason the character that Dad played in that scene was so successful'
0:17:44 > 0:17:46was because he didn't play it for laughs -
0:17:46 > 0:17:50he played it really straight, and everyone else played it for laughs around him.
0:17:50 > 0:17:54I tell you, Wilson. They're a nation of automatons.
0:17:54 > 0:17:56Led by a lunatic who looks like Charlie Chaplin.
0:17:58 > 0:18:02How dare you compare our glorious leader with that non-Aryan clown?
0:18:02 > 0:18:06- Now, look here... - I am making notes, Captain!
0:18:06 > 0:18:10And your name...will go on the list.
0:18:10 > 0:18:13And when we win the war, you will be brought to account.
0:18:13 > 0:18:16You can write what you like, you're not going to win this war.
0:18:16 > 0:18:19- Oh, yes, we are.- Oh, no, you're not. - Oh, yes, we are!
0:18:20 > 0:18:24# Whistle while you work! Hitler is a twerp!
0:18:24 > 0:18:27# He's half barmy, so's his army, whistle while you... #
0:18:27 > 0:18:29Your name will also go on the list!
0:18:30 > 0:18:33- What is it?- Don't tell him, Pike! - Pike...
0:18:37 > 0:18:42In 1999, the scene was voted the funniest television moment of all time.
0:18:42 > 0:18:45'He was absolutely bemused by that.'
0:18:45 > 0:18:50As he always put it - that was one scene, five minutes long,
0:18:50 > 0:18:52and it was so successful.
0:18:55 > 0:18:58During the 1970s, Philip made regular appearances
0:18:58 > 0:19:02in some of the most iconic television series of the period.
0:19:03 > 0:19:06Philip Madoc was an absolute natural for science fiction.
0:19:06 > 0:19:07The mad European professor...
0:19:07 > 0:19:11Not at all surprised that he was forever wandering into Doctor Who.
0:19:11 > 0:19:14He was obviously on their list - "Who do we ring?" "Philip Madoc"...
0:19:14 > 0:19:16And I think perhaps a great lost opportunity.
0:19:16 > 0:19:19I think he would have made a superb Doctor.
0:19:19 > 0:19:21Condo?
0:19:31 > 0:19:32Doctor gone?
0:19:34 > 0:19:36I can see that, you chicken-brained biological disaster!
0:19:36 > 0:19:38How...
0:19:38 > 0:19:41and where?
0:19:43 > 0:19:46That drug. Did you put it all into the wine?
0:19:46 > 0:19:49Yes, Master, all little bottle in.
0:19:49 > 0:19:52Then he must still be unconscious. He can't have moved!
0:19:52 > 0:19:56That squalid brood of harpies, the Sisterhood!
0:19:56 > 0:20:00That accursed hag Maren found I was holding a Time Lord
0:20:00 > 0:20:02and rescued him.
0:20:02 > 0:20:05May her stinking bones rot!
0:20:05 > 0:20:07I'll see her die, Condo.
0:20:07 > 0:20:09I'll see that palsied harridan scream for death!
0:20:10 > 0:20:14In the two decades he'd been acting on television,
0:20:14 > 0:20:16Philip had given some formidable performances
0:20:16 > 0:20:19but always in supporting roles.
0:20:19 > 0:20:21In 1980, all that was about to change.
0:20:22 > 0:20:26BBC Wales was preparing to make a docu-drama
0:20:26 > 0:20:29about the life of Welsh Prime Minister David Lloyd George.
0:20:30 > 0:20:34Philip Madoc was desperate to play the part. He thought he was the man.
0:20:34 > 0:20:36He was the natural man to play the part.
0:20:36 > 0:20:39This would be the biggest challenge of Philip's career.
0:20:39 > 0:20:43He was taking on the lead role in a nine-part series.
0:20:43 > 0:20:48It would require him to portray Lloyd George from youth to old age.
0:20:48 > 0:20:52Back in those days, to get a series on network was a pretty big thing.
0:20:52 > 0:20:54There was a lot riding on it.
0:20:55 > 0:20:57It was a major series
0:20:57 > 0:21:01and he knew the responsibility that that would engender.
0:21:01 > 0:21:04He understood that he had to get that right.
0:21:04 > 0:21:07He would talk to Lloyd George's family,
0:21:07 > 0:21:09he would talk to the friends,
0:21:09 > 0:21:13he would look at archive material, and he was very meticulous in that.
0:21:13 > 0:21:16You needed somebody to understand
0:21:16 > 0:21:20the social, historical, political background.
0:21:20 > 0:21:23And you couldn't ask for anybody better than Phil.
0:21:23 > 0:21:26I repeat...
0:21:26 > 0:21:32It must be a policy uniting all liberal and patriotic Welshmen...
0:21:32 > 0:21:34SPEECH DROWNED OUT BY BOOS
0:21:34 > 0:21:40..in one league for the emancipation of their country
0:21:40 > 0:21:44from every wrong and oppression which now afflicts it!
0:21:44 > 0:21:45JEERING
0:21:47 > 0:21:50For God's sake, listen!
0:21:50 > 0:21:55If we, the Welsh people, don't pull together, then we have no future.
0:21:55 > 0:21:57Don't you see?
0:21:57 > 0:22:00If we were more inseparable we would be insuperable!
0:22:01 > 0:22:04The series saw husband and wife united on-screen,
0:22:04 > 0:22:07when Ruth played the part of Lloyd George's mistress.
0:22:07 > 0:22:10You always laugh at my Welsh.
0:22:10 > 0:22:12But Ruth was enjoying even greater exposure
0:22:12 > 0:22:14in a new comedy series of her own.
0:22:14 > 0:22:16# Go, go, go to the holiday rock! #
0:22:16 > 0:22:19GLOCKENSPIEL CHIMES
0:22:19 > 0:22:23Hello, Campers! Welcome to your first morning at Maplin's.
0:22:23 > 0:22:24But just as Philip and Ruth
0:22:24 > 0:22:27were reaching new heights in their professional lives,
0:22:27 > 0:22:30their marriage was breaking down.
0:22:30 > 0:22:33Before the year was out, they had divorced.
0:22:34 > 0:22:36During this turbulent time,
0:22:36 > 0:22:39Philip could take some comfort in his new-found success.
0:22:39 > 0:22:42Lloyd George was one of the most acclaimed
0:22:42 > 0:22:43television series of the time.
0:22:43 > 0:22:47He started to get different types of offers coming in.
0:22:47 > 0:22:50There was no longer just the villain-type of roles,
0:22:50 > 0:22:51it started to open up.
0:22:54 > 0:22:57In 1982, Philip was cast in the lead role
0:22:57 > 0:23:00as lifeboat coxswain in the drama Ennal's Point.
0:23:02 > 0:23:04I put up with a lot of things here.
0:23:04 > 0:23:08Oh, you see, there is a coxswain on every street in this village.
0:23:08 > 0:23:10Every street!
0:23:10 > 0:23:14But they all happen to be on holidays when the balloons go up.
0:23:14 > 0:23:16And when I started all I got was,
0:23:16 > 0:23:18"Oh, he's not the man Tom Grail was." Your father.
0:23:21 > 0:23:24I had my problems. I have still got them.
0:23:24 > 0:23:25Not like I have.
0:23:25 > 0:23:27Your life is your own business.
0:23:27 > 0:23:30But in ten shouts you have missed four.
0:23:32 > 0:23:34I am trying to run two crews - one and two.
0:23:36 > 0:23:38So from now on, you start again.
0:23:39 > 0:23:40You're off the boat, Billy.
0:23:42 > 0:23:46As the skipper of a lifeboat, Philip was in his element.
0:23:46 > 0:23:49One of his great passions in the world was sailing.
0:23:49 > 0:23:51He loved just being afloat.
0:23:52 > 0:23:57He was one of the first, I remember, in the UK to start windsurfing.
0:23:57 > 0:24:00I think he really liked to do things that he knew...
0:24:00 > 0:24:04one, that no-one else really had experienced,
0:24:04 > 0:24:08or that he was doing for his own real benefit for the first time.
0:24:08 > 0:24:12In 1991, Philip landed a role
0:24:12 > 0:24:16that provided him with a fresh linguistic challenge.
0:24:16 > 0:24:19When Peter Edwards set out to make a series in Welsh and English
0:24:19 > 0:24:21about a police detective,
0:24:21 > 0:24:24only one man fitted the bill.
0:24:24 > 0:24:26If somebody breaks into your house
0:24:26 > 0:24:29and you are threatened, you call the police.
0:24:29 > 0:24:33And my feeling was, in Wales,
0:24:33 > 0:24:34you would call Phil.
0:24:34 > 0:24:37Because you would trust him.
0:24:37 > 0:24:40- What happened then?- I don't know.
0:24:42 > 0:24:44Mr Green appears to have teeth marks
0:24:44 > 0:24:47on the back of his left hand.
0:24:47 > 0:24:50- They just came.- What do you mean? - Appeared.
0:24:50 > 0:24:51Just appeared. Just now.
0:24:51 > 0:24:54- No, where did you get them from? - I have no idea.
0:24:54 > 0:24:56Did she bite you? Caroline, did she bite you?
0:24:56 > 0:24:58When you were strangling her?
0:24:58 > 0:25:00I do not need to hold onto that which is no longer meek...
0:25:00 > 0:25:03When she was fighting for her life? Now, then,
0:25:03 > 0:25:04did you kill Caroline Webb?
0:25:04 > 0:25:07I don't know!
0:25:08 > 0:25:11A Mind To Kill was a bilingual co-production -
0:25:11 > 0:25:14a version in English for ITV and Welsh for S4C.
0:25:14 > 0:25:16SCENE IS REPEATED IN WELSH
0:25:17 > 0:25:21This meant Philip had to switch languages constantly during filming,
0:25:21 > 0:25:25remembering two sets of lines for every scene.
0:25:25 > 0:25:27To carry consistency through
0:25:27 > 0:25:30and to shift, shot by shot,
0:25:30 > 0:25:35from Welsh to English is very difficult.
0:25:35 > 0:25:38'How did you know, almost to the inch, where we'd find her?'
0:25:38 > 0:25:40A Mind To Kill ran for five seasons
0:25:40 > 0:25:44and was sold to over 90 countries worldwide.
0:25:44 > 0:25:46- AMERICAN VOICEOVER:- Now, only one man can solve the puzzle.
0:25:46 > 0:25:49All I want to know is how he died.
0:25:49 > 0:25:53Detective Chief Inspector Noel Bain in A Mind To Kill.
0:25:55 > 0:25:59Everybody has a story about going into a hotel
0:25:59 > 0:26:04and there is Phil speaking French, or German, or Indonesian,
0:26:04 > 0:26:07or Romanian, or whatever it has been dubbed into.
0:26:09 > 0:26:13The international success of A Mind To Kill suited its star perfectly.
0:26:13 > 0:26:15Ever since his student days in Vienna,
0:26:15 > 0:26:17Philip had developed a passion for travel.
0:26:17 > 0:26:21He loved the Himalayas and he went back two or three times,
0:26:21 > 0:26:23as well as to places like China.
0:26:23 > 0:26:26He often described himself as a Welsh internationalist.
0:26:26 > 0:26:28The international side being his languages.
0:26:28 > 0:26:31Philip was fluent in seven languages,
0:26:31 > 0:26:34including, as he liked to say, English.
0:26:34 > 0:26:37His mastery of language and his rich voice
0:26:37 > 0:26:39made him a much sought-after narrator.
0:26:39 > 0:26:42His recordings of classic works,
0:26:42 > 0:26:45such as The Canterbury Tales and The Old Testament,
0:26:45 > 0:26:48gave pleasure to thousands of audio-book listeners.
0:26:48 > 0:26:52'In the beginning, God created the heaven and the earth.
0:26:52 > 0:26:57'And the earth was without form and void.
0:26:57 > 0:27:00'And darkness was upon the face of the deep.'
0:27:00 > 0:27:03When commercial directors wanted the voice of Wales,
0:27:03 > 0:27:04they turned to Philip.
0:27:04 > 0:27:07'And there, upon the plate,
0:27:07 > 0:27:09'a glorious reddish tint,
0:27:09 > 0:27:12'as you cavort with your companions,
0:27:12 > 0:27:14'the new potato and the mint.'
0:27:14 > 0:27:18'This is Crumlin, jewel of the Welsh Empire,
0:27:18 > 0:27:23'for beneath these hallowed hills lies fuel.
0:27:23 > 0:27:27'Not coal or oil... but pure Pot Noodle.'
0:27:27 > 0:27:29# Oh, Pot Noodle! Oh, Pot Noodle! #
0:27:29 > 0:27:31Don't be afraid of the noodle!
0:27:31 > 0:27:34In late 2011, Philip came home to Wales,
0:27:34 > 0:27:35to star in a trailer
0:27:35 > 0:27:38for the forthcoming Six Nations Championship.
0:27:43 > 0:27:46He was enormously proud of being Welsh.
0:27:46 > 0:27:48As far as he was concerned, there was no other culture
0:27:48 > 0:27:52he had ever wanted to have been. And he'd experienced a lot of cultures.
0:27:52 > 0:27:54It's time.
0:27:57 > 0:27:58I know.
0:28:01 > 0:28:04I have felt the day's lengthening shadows.
0:28:06 > 0:28:09And there is but one resting place
0:28:10 > 0:28:16to welcome the eternal rising sun.
0:28:16 > 0:28:19Which I have prepared to your exact instructions.
0:28:19 > 0:28:22MEN CHEER
0:28:24 > 0:28:28This was to be Philip's final television appearance.
0:28:28 > 0:28:30Following a short illness,
0:28:30 > 0:28:35Philip Madoc died on the 5th of March 2012.
0:28:40 > 0:28:43'Do not go gentle into that good night,
0:28:43 > 0:28:47'Old age should burn and rave at close of day;
0:28:47 > 0:28:51'Rage, rage against the dying of the light.'
0:29:01 > 0:29:04Subtitles by Red Bee Media Ltd