I've moved house today - in great haste because my agent made a monumental balls up to the extent that I went round & took the keys off them until my belongings were removed! Anyway I'm set up in a nice flat in a nice part of the city where I can hear traffic (I can't sleep without traffic noise). Now if I could just suss out cooking electric life would be perfect & I'd only have to worry about selling my house rather than the truly present danger of starving to death!
The thought of cities & flats has led my thoughts to The Avengers, specifically the earlier series. The Mauritius Penny is actually one of my all-time favourite episodes, but I've been thinking of it in terms of its city setting. On reflection I think one of the errors the Avengers film made was to make the setting too rural & thereby downplay the citified interplay of people & interests that is actually essential to The Avengers. The reality in the 1960s & now is that the majority of British residents live in urban areas, & I think the film may have been drawing on the stately-home-and-village-fete stereotype too much.
The significance of the city setting to The Avengers cannot be overstated. For a start a city gives Steed & others the anonymity necessary to wander into criminal undertakings without being recognised. The city setting gives these earlier episodes a certain pace - I'll grant you that while I feel rural scenes increase as The Avengers wears on the pace remains the same & the characters are only ever really visitors to the country. The gentlemanly Steed is only ever really a city character - his trademark bowler & umbrella mark him out permanently as such. Steed's apartment in series 5 & 6 draws on a rural idyll, to my mind. His original apartment - as seen in this episode - & the middle one are uncompromisingly city settings. Of course Mrs Gale's apartment could only ever be found in a city. I mention these to underscore the native city setting of The avengers, until I've wrung perhaps every last drop from this whipping-horse.
This particular episode is one that could only take place in the city. The stamp shop is a real stroke of Avengers characterful scene-painting. I also love the Fascist dentist. I can fully sympathise with Steed's plight - the last time I went to the dentists myself I had to be sedated & at one point she actually told me I shouldn't be awake! I have a feeling that probably being actually killed with a dentist's drill would be a slow & messy business, although I love her continued use of dental jargon as she threatens Steed with it.
Nor is this episode short in other classic Avengers touches - the evil conspiracy is true Avengers, & places this episode clearly in the maniac-in-pursuit-of-world-domination (starting with compulsory dental inspections) category.
My one criticism of this episode is not the usual one - the face (& distinctive voice) most familiar to me personally is Alfred Burke. I'm delighted to say I saw him in this before I ever saw Public Eye, but while he is now associated with the latter role for me, I don't find his presence distracting. Rather my criticism would be that the show seems to have got lots of matters of historical fact about stamps completely wrong (see http://www.dissolute.com.au/the-avengers-tv-series/series-2/207-the-mauritius-penny.html). I don't notice this myself, not knowing about stamps, but I can see that watching this show would be a real irritation for a hard-core philatelist. These errors are surely of a sort which would be easily corrected by reference to public domain sources, & indicate a sloppiness about getting it right.
Thursday, 13 November 2014
I think probably the Avengers 'recipe' is at its best in these episodes. The episode is populated with a cast of characters who are overdrawn to exactly the right degree: they wouldn't seem real in the real world but aren't overdone. Steed is at his best playing his upper class buffoon role at the golf club. The scene immediately after the opening scenes, of the stocking-clad figure searching an agent's apartment, place this in the category of corruption in the Establishment. The visual language of traditional, solid, furniture & leather-bound books, are what indicate this in the language of The Avengers.
Incidentally some of the books in the bookcase, pictured just before they're overturned, look very much like volumes from Steed's library to me. That screenshot is the closest I've ever got to seeing the titles: it kills me that I can't quite read it. I realise this little obsession of mine is taking over my life & I should probably seek treatment for it. Clearly the intention is for the viewer merely to see generic leather-bound books, but I suppose I'm just not built that way. When I found them cropping up in ITC series as well (click the 'Steed's library' label on the web version of this blog to see all the places I've spotted them), but not so far in a BBC show, my curiosity was too piqued not to chase the rabbit.
My interest is also piqued by the gender roles in this Avengers. I've never noticed before that Mrs Peel is literally the only woman in the cast: admittedly it is set in the traditionally all-male environs of a golf club. I love the black & white furry outfit in which Mrs Peel turns up to play golf. It once again inverts the corruption-in-the-establishment motif by making Mrs Peel - representative of modernity & breaking convention - a major figure in ridding the episode's setting of the evil, thus suggesting that modernity props up & can be used to save, conservatism. Also in the scene where she disturbs the intruder in the flat, she gets an opportunity to fight him (surely to be on the receiving end of that beating would have been the fantasy of many a man in the 1960s!), but she doesn't win. Despite monumental intelligence & physical prowess she succumbs to the trick of being enclosed in a chair frame, relegating her almost to the role of 'the little woman'. I would read it that in this male-dominated episode she couldn't be allowed to win.
In fact that scene also creates the one thing that is monumentally wrong (to my mind) with this episode. Not only is Mrs Peel's first fight scene placed way too early, & her losing it apparently puts her in a subordinate position, but Steed's appearance is timed exactly wrongly. The stockinged-headed figure runs through the door, neatly closing it behind him, Mrs Peel extricates herself from the chair & runs to open the door, only to find Steed on the other side, who shows no sign of rush. He *should* have at least seen the intruder running away. This really is an incredible blunder, which could easily have been solved by having Mrs Peel chase the intruder & come back a little later to find Steed already in the flat. On the other hand, if you feel I'm making too much of this, it could be interpreted as an aspect of the unreality of The Avengers - the timing is almost slapstick, & may contribute also to the magical omniscience technique used so much in The Avengers.
Apart from that my only gripe would be with the large number of repeat Avengers faces (http://theavengers.tv/forever/peel1-18.htm lists no fewer than five actors), which tends to leave you wondering who people are. It took me a while to realise that Collins is Francis Matthews, who played Paul Temple in the series I recently reviewed. I don't really buy the criticisms I have read on the internet that this one's plot is ridiculously full of holes & patchy. It is saved by the excellent visuals. Some familiar locations are used which give the authentic Avengerland feeling. But for someone who would rather pull out my own fingernails than play golf I find the setting of a golf course unexpectedly atmospheric.
I'm not sure it's worthy of my Stonking Good Television category, but this is classic Avengers.
Thursday, 6 November 2014
I see I have only posted on The Professionals once. This is a state of affairs which clearly needs to be addressed. I *just* remember watching on episode - the one with the creepy dummies - with my dad. In fact I'm not convinced it would necessarily qualify as 'cult' TV in most people's book - that is unless you define it as I do, whatever I take a shine to. I like to approach The Professionals as a headlong rush down memory lane, about as far as my memory will take me, to the 1970s. The hair is long, the trousers are flared, the shirts are open to show hairy chests, the men have unreconstructed attitudes, Cowley is an old-school boss, the cars are the sort of cars I salivated over in my youth. The Professionals is a time capsule, more than anything else, for me personally.
The episode I'm writing about gives a prominent role as detective & lover to Martin Shaw. I'm astonished to discover that he's a proponent of vegetarianism, but then Lewis Collins's personality was always closer to that of his on-screen character. It also took me a while to connect this Martin Shaw with the one who played Dalgliesh: interestingly versatile, & also interesting how a man can change. I literally didn't connect the two Martin Shaws.
This one begins with a wonderful display of the now-outmoded communications & video technology of the time, followed by a scene in one of the underpasses of the time, to add an aura of gritty reality. Interestingly, the glimpse of mews houses before the shoot-out in the underpass clearly places the location of this in Avengerland, which mixes my two types of TV: unreal & real. I love that this scene takes place in an underpass: even in big bad Birmingham, which was notorious for them, they're hard to come by nowadays, although they were everywhere at the time of this show.
This episode is also an interesting showcase of CI5's more sophisticated detecting. It involves an element of acting & duplicity in pursuit of a worthy cause. I think this episode would have been improved by not explaining this in so much detail to the viewer so early, so that we would have been forced to deal with the moral issues without knowing the justification.
It also more or less separates Bodie & Doyle for the earlier part of the show. Their normal chemistry was dependent on the simple fact that in reality they didn't get on. Interestingly they are seen more as individual personalities here: Bodie as the colder hunter, Doyle as the lover. Further moral issues are raised by the way they seem to 'use' the female characters, but the whole point of this episode is that those exact same tactics are being used by the other side as well.
Altogether a tautly-plotted Professionals episode, relying heavily on individual characterisation of Bodie & Doyle, & on the moral issues involved in their work. The only improvement would be to have played up those issues a bit.
Sunday, 2 November 2014
Incidentally I've been reading about the classic UK test card in an effort to find an illustration to this post (the illustration isn't it, & I would refer you to http://www.theguardian.com/tv-and-radio/shortcuts/2012/apr/22/the-test-card-girl-and-clown where bothe original can be found & this quote:
'In the mid-70s, there were only three TV channels and very few programmes during the day. For long periods there was nothing but trade test transmissions, largely to enable TV shops to get the best possible picture. These transmissions were made up of the test card, with its instrumental soundtrack, and the occasional test film – such as The Home Made Car, a 1963 Academy Award-nominated short. During the school holidays, or on Saturday mornings before your parents were up, there was little else for bored kids to do but watch the test card and transmitter information – the music and the images became as embedded in the minds of a generation as the Monkees and the Robinson Crusoe theme.
'The most iconic image, introduced in 1967 with the advent of colour TV, was called Test Card F. Its designer was a BBC engineer called George Hersee and, for a dummy run, he had included a picture of his eight-year-old daughter, Carole, at the centre of it. The BBC decided that replacing Carole's picture with an adult model was too risky – they needed something timeless, and 1967 fashions weren't exactly built to last. So Carole went into a photographer's studio: the result was the familiar image of a girl with an alice band, playing noughts and crosses with a rather terrifying toy clown, surrounded by mysterious test graphics. Hersee was, unsurprisingly, teased at school and, to her discomfort, the image was used on a daily basis until 1998. Now living in the New Forest with two daughters, she can claim to have had more screen time – around 70,000 hours – than anyone else in British TV history.'