Although we haven't seen "A Bit of Tom Jones" yet, we send our congratulations to the filmakers and applaud their creativity, pluck and determination. We wish them much success and hope they continue to inspire other independent-minded talent who might have a dream to realize. http://www.guardian.co.uk/film/2009/nov/22/welsh-film-tom-jones The Hollywood blockbusters 2012 and A Christmas Carol are playing to respectable audiences Merthyr Tydfil's Vue multiplex, entertaining fans with their multimillion pound effects. But in screen eight, the staff are having to drag in extra beanbags in an attempt to accommodate everyone who wants to see a comedy made for just £100,000 and with a marketing budget of a couple of grand.
In these days when megabucks movies dominate, A Bit of Tom Jones?, is providing hope for independent film-makers who may have ideas and talent but no money.
The movie is a bawdy farce with a plot turning an attempt to sell the Welsh superstar singer's severed manhood (better not to go into too many details for taste as well as spoiler reasons). And it is outselling rivals such as Michael Jackson's This is It and the sci-fi drama The Fourth Kind at some cinemas in south Wales.
Unlike other low-budget movies that have found homes in small arthouse cinemas, A Bit of Tom Jones? is doing good business at large screens in multiplexes.
It has already spread from Merthyr, in the Welsh valleys, to Cardiff and Vue is now considering releasing it just across the English border, perhaps in Bristol to start, to see if it can gradually take hold across the rest of the UK, just about the reverse of the normal multiplex model in which films are released with huge hype and quickly vanish.
Writer and director Peter Watkins-Hughes, a former BBC producer, could hardly contain his excitement as he introduced the film, his first feature, in Merthyr this week. "We're killing The Fourth Kind, we're killing Harry Brown and that's got Michael Caine in it," he said. "I think it's just extraordinary." The making of the movie sounds a little like something out of an Ealing comedy. Set mainly in the valleys town of Tredegar, the team begged and borrowed to eke out the budget. Watkins-Hughes had originally imagined setting it in 1960s Los Angeles with Errol Flynn's penis at the centre of the plot. But cost prompted him to bring the setting back to south Wales.
Businesspeople, including a pub landlord and solicitor, clubbed together to raise funds while Welsh actors including Eve Myles, Gwen Cooper in the BBC's Torchwood, and Margaret John, who plays Doris in the BBC sitcom Gavin and Stacey, worked at reduced rates.
A factory loaned a small fleet of dumper trucks for the film's chase scene and the local force provided flashing lights for a police car.
The film was originally intended to be a straight-to-video release. But Watkins-Hughes decided to send it to the Vue in Merthyr. Staff looked at the film, thought it had potential and passed it on to head office who agreed it ought to be shown.
The production team has not been able to afford many 35mm prints and so, on one crazy day, they had to play half the movie at one cinema, take that reel to another so it could start there and then repeat the process for the second half.
Meanwhile, the paucity of the advertising budget meant Watkins-Hughes and his cohorts had to drum up an audience themselves. They bought a little bit of advertising space on local radio in the valleys and then blitzed the area with photocopied posters until the police and local councils warned them to calm down. It also helped that a little controversy was sparked because some Tom Jones fans were upset at the film's premise.
But mainly it has been about word of mouth. At the first screening in Merthyr, Watkins-Hughes told the audience: "I want to make a contract with you. If you enjoy this film, will you do me a favour, will you tell other people: 'Saw this Welsh film, it should have been shit but it was really funny'."
Watkins-Hughes told the audience the film aimed to "capture the valleys' sense of humour." But he said there was a serious side in that the success of the film could prompt others to make movies in and about their own communities.
Craig Matthews, the manager at the Merthyr Vue, said: "It's great that a local product has done so well. They've made it work because of the energy they've put into it." Clive Threadgold, Vue's film buyer for the south west, said he felt other independent film-makers could follow the Tom Jones model – if they matched the effort and verve of Watkins-Hughes and his backers.
Bernie Snowball, the manager of the Market Hall cinema in Brynmawr, said: "I'm not surprised the film is doing well. It's a laugh-out-loud comedy, with the added bonus of being set in Wales." Adding that it comfortably beat the Michael Jackson film at his cinema, he said: "It's a mad thing they've done, but a brilliant one."
Gavin and Stacey stars Ruth Jones and Rob Brydon team up with Sir Tom Jones and Robin Gibb for this special single release. Out March 9th on Mercury Records. The already much talked about and wildly rumoured special one-off collaboration from Gavin and Stacey favourites, Ruth Jones and Rob Brydon, who perform as Bryn West and Nessa Jenkins, is finally ready to be unveiled to the public. The special collaboration dubbed '(Barry) Islands In The Stream' will be one of two official Comic Relief singles which will be released for the Red Nose Day 2009 campaign on March 9th.
The comic duo have teamed up with legendary Welsh crooner, Sir Tom Jones, and very special guest Robin Gibb to bring us “Barry Islands In The Stream”. Bryn and Nessa caused renewed interest in the classic duet when they sang their rendition of the song at Gwen’s birthday barn dance in series 2 of “Gavin and Stacey”. The excerpt from the series which features Nessa and Bryn performing the duet and accompanied by a group of line dancers quickly became one of the most downloaded comic clips on YouTube. In fact, their rendition had even been seen by the Bee Gees and when Barry and Robin were approached for permission to record the song Robin Gibb personally called up and said he was a huge fan of the show and would do anything for Comic Relief. The Bee Gees originally wrote the song in 1983 when it became a smash hit for Dolly Parton and Kenny Rogers and subsequently has become one of Britain's most popular karaoke songs.
No. 9 - 'If He Should Ever Leave You,' Tom Jones. Leave it to this 68-year-old crooner to bring true swagger back to pop music. This gem combines Jones' trademark confidence and swinging delivery with modern production, care of Future Cut. The finished product is neither a redundant throwback nor a desperate attempt for an old dog to learn a new trick. This is a brand-new classic, brought to life by an old favorite. 
Global superstar Tom Jones is "opening up shop" once more with the release of 24 Hours, his first U.S. album release in more than 15 years. The exuberant performer first rose to fame in the early 1960s, but it was his hit single "It's Not Unusual" in 1965 that made him a living legend. Jones' clean-cut style, infectious blues and energetic pop tunes have helped him sustain a long career that continues unabated. Listen to the session online - including a performance of Seasons - at
1. KA at MGM Grand (Strip: Central) - With martial-arts-inspired acrobatics, thundering music, and a set that rotates 360 degrees, KA is the least airy-fairy of the Cirque de Soleil offerings.2. O at Bellagio (Strip: Central) - Cirque de Soleil performers + giant tanks of water = jaw-dropping acrobatics.
3. Tom Jones at MGM Grand (Strip: Central) - Come for the kitsch, stay for the charisma. There’s a reason he’s been doing this for 40 years.
4. Cher at Caesars Palace (Strip: Central) - 17 Bob Mackie costume changes. An entrance that involves descending from the ceiling. Truly, in coming to Vegas, Cher has come home.
5. Phantom: The Las Vegas Spectacular at The Venetian (Strip: Central) - Onstage fireworks, a falling giant chandelier and—we think—some people singing.
Parlophone / S-Curve are proud to announce the return of legendary singer Tom Jones with perhaps the defining album of his career; ‘24 Hours’. Intimate, personal, moving and full of fire this is the first time Tom has had a major hand in the songwriting - and the result is a work of revelation from one of the biggest-selling artists of all time.
Brand new album: ‘24 Hours’ (17th Nov)
Single: ‘If He Should Ever Leave You’ (10th Nov)
Tom Jones is to sing the British national anthem at the Hatton vs. Mayweather fight on Sat Dec 8 from the MGM in Las Vegas. Team Hatton made the request and Sir Tom is happy to comply and help make a small contribution to what is sure to be one of the great sporting events of the year. As a huge fan of boxing, Sir Tom is looking forward to hearing the voices of all the UK fans who've made a big effort to support their home-grown hero and hopes they will all sing along!
When will the match be shown?
DAYTONA BEACH -- Two types of women's panties flew at singer Tom Jones during his sold-out concert Tuesday night at Peabody Auditorium: sexy, sheer thongs the width of spaghetti, and a few granny panties the size of Nebraska. Which ones did the 1960s-spawned pop crooner deserve? For most of the night -- those thongs, though a few songs earned him those un-sexy bloomers. Back when the Beatles were changing the face of music and Elvis was shape-shifting into a dough-boyish crooner, Jones carved himself a niche as a sex symbol with a voice that was the crooner version of heavy metal -- a voice that could melt Barbie dolls at 50 paces. Amazingly, Jones' voice can still melt Barbies at 20 paces. But that's not always a good thing. Just like in his '60s heyday, the switch on Jones' power croon has two positions: off and 8,756 degrees. As it happens, Jones' flame-thrower voice was -- and is -- the perfect, magnificent tool for all those goofy, ridiculous, fun, bombastic, vaguely cabaret-like hits he wheeled out Tuesday: "What's New Pussycat?," "Delilah," "She's a Lady," "You Can Leave Your Hat On" and his signature theme, "It's Not Unusual."
Clad in a purple suit with a gaudy silver cross on a necklace that out-blinged the rappers, Jones also scored when he turned on the thrusters on a rap version of "Resurrection Shuffle" and a surprisingly funky version of Prince's "Kiss."
Before I begin this review, I have to post a disclaimer: I write reviews and criticism for a living and at all times try to be objective. That is true here, too. But I have to let you know that I am a Tom Jones fan. Jones began playing here almost 40 years ago and his is a remarkable record, in that he is by no means an oldies act like so many others who came up in the 60s. He hit a dry patch in his career but came back strong about 20 years ago with his take on the Prince hit, “Kiss.” He began to record with the UK’s best and brightest — Van Morrison, Robbie Williams, among them — and continues to succeed, changing musical genres, always experimenting.
OK, now that we’re caught up on the career, how about the show?
When it comes to sex appeal in the AARP demographic, Tom Jones is no Mick Jagger. He's better. Of course, such judgments are subjective, but based on the sheer number of women's undergarments tossed on stage at Friday's sold-out show at Hard Rock Live, the 66-year-old sex symbol is way hotter than that kid in the Rolling Stones. There was much chatter about lingerie among the early arrivers in the audience and it didn't take long for the first volley of unmentionables. "It's great to be here at the Hard Rock in Orlando," Jones was telling the crowd as the first lace projectile landed at his feet. He didn't miss a beat, going on about how the show would include "some new songs, some old songs and some in between."
The guy's a pro. Jones indulged in a newer song early in his 90-minute performance, delivering a big, Vegas-worthy rendition of Hoobastank's "The Reason." It was well received, but the evening's high notes were all drenched in nostalgia. "Help Yourself," "Delilah," "She's a Lady" and "What's New Pussycat?" were among the songs that inspired audience members to rise from the comfort of their reserved seats, wave their arms and, of course, throw more underpants. This would all be a joke, except that Jones still does a remarkable job of being Tom Jones after all these years.
DAYTONA BEACH -- Hey, you MTV kids: Long before Justin Timberlake proclaimed "I'm bringing sexy back," a strapping lad from Wales -- the son of a coal miner -- was bringing sexy to Las Vegas showrooms and concert stages on both sides of the Atlantic. With an onstage swagger and a power-croon voice that would make King Kong quake in his boots, Tom Jones racked up 17 Top 40 hits from 1965 to '71, including such bombastic pop songs as "What's New Pussycat?" and "It's Not Unusual." But Jones wasn't finished mining pop music after his initial run. In 1988, he teamed with the Art of Noise for a hit remake of Prince's "Kiss." Throughout the '90s, he refreshed his hip quotient via a number of duets with such Gen-X favs as Tori Amos, Portishead, Stereophonics and, most famously, with Mousse T. on "Sex Bomb." Jones also teamed with producer Wyclef Jean to craft an electro-funky remake of the Leadbelly song "Black Betty," and he sang Randy Newman's "You Can Leave Your Hat On" for the film "The Full Monty."Sir Tom -- he was knighted by Britain's Queen Elizabeth last year -- is still bringing sexy back. The 66-year-old singer performs Tuesday at Peabody Auditorium in Daytona Beach. You still have questions about the wailer from Wales? Here's everything you wanted to know about Mr. Jones but were afraid to ask.