Sunday, 4 December 2016
Yet yesterday I found myself in the Entertainment Exchange Leamington Spa and read the blurb on the back of the box. I have a feeling there is somebody in Leamington with very good taste in television indeed, because that shop has introduced me to many a new TV series. I was surprised to find on the basis of the episode summaries that I was interested in this series and that the episodes gave the impression that they were more about detection and the sort of human problems which interest me, than about the army life which some of this show's fans so appreciate.
First things first. I was surprised to see that this show was originally broadcast in 1964. I think it may be my lack of attention to the small print but the show is in black and white, which of course isn't a problem for me, but I was fully expecting it to be in colour, on the basis of the stills on the box. Naturally the box says the show is in black and white and given that fact I suppose it isn't really naughty to put colour stills on the box, but nonetheless it came as a surprise. Each episode opens with the Cathy Gale-era- Avengers ABC jingle. In fact, this show is in sound terms surprisingly like the early Avengers, because it uses some of the same sound effects. As is the case with all of the ABC series of that era, the titles are vibrant and effective in a way which naturally looks old-fashioned now, but was probably high-quality graphic design at the time.
I suspect another reason I've put off buying this series is that it stars John Thaw, and everyone knows that I don't like actors re-appearing over and over in shows. 'Did you watch that thing with Benedict Cumberbatch last night,' people say, and of course the answer is no because Benedict Cumberbatch is always Benedict Cumberbatch. I am relieved to find though that John Thaw isn't that unwelcome to me in this show. I suppose this was made before he became a National Institution and Much Loved Figure, plus of course he younger and playing a younger character, but he comes across rather differently in this show. His presence and energy are different, it is not just a matter of him playing a different role from the rather acerbic senior roles he became known for. Perhaps it is genuinely that he hadn't matured into his later acting persona, and so can seem quite different. His role here is not lacking in depth, though, and in particular there is an undercurrent of anger to his character which I find interesting: this is exactly the short of character I like, one who recognises when there is something wrong and won't shut up about it.
In addition to Thaw, this show has a cast of differing guest stars each episode, which can only be described as star-studded, although probably the Names only became well-known afterwards. The Names would include Tenniel Evans, Yootha Joyce, Leonard Rossiter, Ian McShane, Mike Pratt, Warren Mitchell, Hywel Bennett, and Colin Blakely. Since at the point of writing this I am just nearing the end of the first disc of four, this list of stars has had the unusual effect on me of making me want to see the roles that these actors play in their respective episodes, since they are sure to be very different roles from those they are best-known for.
There is also a broad spectrum of 'issues' dealt with by the various episodes, including rape, colonialism and racism, black market trading, and the ongoing effects of Britain's relationship with Germany in the Second World War. Naturally all of these are within the context of the army, but personally I don't find that distracting from the actual subjects under investigation. This is far more a human interest show than one about army life, and so I am finding that I take to it.
As usual at the time, the episodes, at least the ones I have seen so far, are almost completely studio-based. Naturally coming from me that is not a criticism. The episodes take the form of three 'acts', familiar from The Avengers. I see that the producer was John Bryce, who unbeknown to me was a producer on The Avengers until he got the push. I feel the episodes have probably had extensive restoration: except when you pause it the picture is as crisp as it is ever going to get in TV of this age. It would be churlish to be over-critical of the odd patch where the sound is a little noisy. Perfectionists should avoid fifty-year-old television.
All in all, Redcap is a series which I am looking forward to delving in to further, and I may even splash out for series 2.
Wednesday, 16 November 2016
The first of the two I have in mind today is The Owl Service, adapted for screen from his own novel by Alan Garner. If there is one thing that can truthfully be said about The Owl Service, it is that it is guaranteed to leave its viewer uncomfortable. For a start, the book it is based on wasn't intended for children originally. And of course on adaptation the book doesn't really make a convincing children's programme, since to adult eyes it is quite incredibly sexy. I mean real, proper, all but showing it, young sexy stuff. I see that it is a 12 certificate, but frankly it is the sort of television which most twelve year olds would watch later in life and suddenly understand what was going on.
Apart from the sexiness The Owl Service is some heavy-duty television. It is based on an ancient Welsh myth, and is the sort of high-quality drama which would attract rave reviews from the critics if aimed at adults. What is just plain bizarre but never explained is that you never actually see the mother of the family, although she is referred to often and so has a role in the drama. Until you realise that that is what is happening it makes the cast very confusing indeed. Something which is perhaps not commented on enough in the blogosphere is that the three main young people are dressed in signature colours which at the time were the colours of UK domestic wiring, although no longer, of red (Neutral), green (Earth) and black (neutral), which gives a certain ready relatedness to their characters. Where it falls down somewhat was that the actors playing teenagers were actually in their early twenties, which makes it look a bit wrong.
I see from the reviews on the internet that Alan Garner himself seems to have an ambivalent impact on people. On reviewer (I'm afraid I cannot now for the life of me find this again) commented that after watching the extra about Garner which is included on the DVD, he decided to take no interest in Garner or anything he had done ever again. He didn't give a reason apart from taking a dislike to him. I like the extra about Garner, actually, it shows his own home, which is a classic of 1970s interior design a la Terence Conran's House Book. What I would say about that documentary is that you would get the impression from it that Garner was a complete loner and lived alone. I was surprised to find after watching it that he has been married twice and has five children!
The main thing which is 'wrong' with the Owl Service is that in a sense it is outside its time. It is a heavy-duty drama, which would require heavy work to appreciate it. It is the work of a man who is obviously very intelligent and educated to a level which just doesn't exist for most people nowadays. Certainly I would doubt that today's children would have the patience to deal with The Own Service, although I see his books are still in print. The series is paced probably rather slowly and is probably two too many episodes: if it were fewer with less recapping, it would seem snappier but not overly hurried. Since this is actually my only real criticism of this show, I would recommend it to anyone who has an interest in magic, supernatural, mythology, and what have you.
Of quite a different sort is The Flockton Flyer, which is another one I didn't see at the time despite being alive, and which I am still watching so it may be that I have to revise this post after I have seen the whole thing. I see that at the time it was broadcast it was very popular (although of course we only had three stations at the time so popular was as popular did), making it to a second series. This is the stuff of which dream childhood television is made of. Who wouldn't have dreamt at the time of having parents cool enough, when dad was made redundant from his mechanic's job, to take up his interest of the railways full time by moving into the local abandoned railway station?
There is a sense in which while The Owl Service draws upon a very specific literary myth (which wouldn't have been readily available to all viewers) The Flockton Flyer taps into major themes in everyone's psyche. Apart from having parents cool enough to move to a whole new life on the railway, what's not to love about being around trains in and of itself? What child watching this in the depressing days of 1978 wouldn't have been jealous of the children's relatively care-free lives? There is also a sense in which all of the cultural references invoked in the railways, for example ghosts, are brought into play.
I suppose youcould say that what The Good Life is to adult television, The Flockton Flyer is to children's television, at least as far as giving up the rat race for something you love is concerned. The 1970s was also relatively early in the preservationists' battle to prevent the wholesale destruction of our past, and that is part of the zeitgeist of the time which The Flockton Flyer perfectly plugs into. There is also a sense in which it is a more classically-plotted story than The Owl Service, because while obviously there are stresses and strains along the way, this show has a much more comfortable feeling, and you have a sensation that everything is going to be OK.
The Flockton Flyer has a slightly different story each episode, so that it doesn't require the sort of extended attention which The Owl Service does. It is also much more straightforward with none of the complex subtexts in the other piece. The story moves rather faster, and it manages to feel more modern. I keep wanting to say that (in UK schooling language) it feels more as if it is at a CSE level than at an O Level, but I don't mean by that that it is dumbed down at all. There are complx issues of adult motivation and decisions discussed in this show, and yet it wears this discussion much more lightly than the complex relationships of The Owl Service. I think one of the things I like best about it is that the Commander's patrician tones are voiced by Anthony Sharp, one of my all-time favourite actors, and I do not extend my usual criticism of familiar faces to him. Arbitrary, I know, but this is my blog and I reserve the right to be consistent or not.
I'm actually finding it very difficult to find a criticism of this show! And so I would recommend both of these shows to my readers, just for slightly different reasons and probably to different groups of people with different expectations! Certainly if asked to choose between them I would find it very difficult because they are such different creatures.
Sunday, 6 November 2016
I wrote some time ago, when I bought the region 2 DVDs of A Game of Murder that I was confused about whether or how the whole remaining series had been released on DVD. Well, they have been. In region 2 you have the option of buying some of the individual mysteries on German-released DVDs. I haven't clapped eyes on them but they are rumoured to be in English as well as German. I then found on UK amazon that Francis Durbridge Presents has been released in Australia in two vlumes, both branded BBC. They are advertised on Amazon as being region 0 discs, so I was rather worried to find when volume 1 arrived that the boxes were marked region 4. I have however found that they play OK on both of my laptops (ironically I don't actually own a TV, my dear, there's never anything on). Of course I am not giving any guarantee here that these discs will play on all or any DVD equipment, merely commenting that I am relieved to find that despite being marked region 4 they play on my own laptops.
Volume 1 includes four mysteries, including A Game of Murder. I had never seen the other three, and Durbridge is best known to me as the author of the Paul Temple series of mysteries. He was a fantastically prolific mystery author, known for his wildly convoluted plots which made it very difficult to work out the culprit. This series of his adventures written for television were apparently wildly popular at the time, although there is relatively little about them on the internet, I assume because they haven't been available.
The Desperate People, which I will focus on here because it is the only one I have seen several times at this point, is the first adventure and incorporates the classic settings of a Durbridge adventure: London flat world, English eccentrics, country house hotels and the usual desperate hero. The plot of this one is frankly rather reminiscent of A Game of Murder. It isn't really a criticism but I found the plot of this one so convoluted that it was at times difficult to follow. On the other hand this means that this adventures avoids the weakness of many a whodunnit: this one will take repeated viewing and much spotting of clues.
There is a disclaimer thingy at the beginning of the DVD commenting that the age of the footage means there will be variations in sound and visual quality. My one criticism of this realease is that I just don't believe the sound couldn't have been cleaned up more than it was: there is often a fluttering sound running along with the action. I don't find the picture quality unacceptable.
It is probably an indication of the exact moment in history when this show was made that there is much usage of outside filming, and very good quality it is too. It is then very apparent when the inside shots switch over to sets. This is not a criticism, merely a statement of fact. In fact one of my favourite aspects of this show is the external shots. I love the views of sixties London, I love the cars, I love the vision of an England which doesn't really exist any more. Oh - I also love the way everyone lights up a cigarette at natural points in the action. This is the real smoking of the time, not the pointed, conscious, smoking of Mad Men. Even though this is a mystery there is a very real sense in which this is comfort viewing because it shows a world which doesn't exist any more, and of course we all like a nice murder which isn't going to intrude on our own safety.
Apart from some quibbles about the sound quality, I welcome this release of a long-lost classic which will be a welcome addition to the library of any classic TV buff.
Saturday, 5 November 2016
The original Dick Barton series was a radio series broadcast from 1946 to 1951on the Light Programme, and the eponymous hero undertook a series of adventures, driven by his boredom after being demobbed after the war. The series is redolent of a Britain long-gone, and many of the attitudes it shows are redolent of a dream Britain which probably never really existed. To put Dick Barton into the world so often discussed on this blog, he is definitely one of us, a real Englishman and defender of what is right. He is out of the same stable as Bulldog Drummond - a stable which later would give birth to John Steed and John Drake, that is after they felt the need to earn their livings. Barton was a hero of the time, and also an interesting model for a generation which had been amputated from the cosy comfort of pre-War Britain. Dick Barton was a hugely successful franchise of the time, including films as well as radio, and has become emblematic of that time and the attitudes which characterised it.
And it is at this point that I would have to introduce a slight problem into this show. The reason for going into the original Dick Barton was to delineate exactly what was being transferred onto 1970s TV: a 1940s hero in a very particular time with a bunch of attitudes which were largely superseded by that point. And this series, while consisting of new adventures, would be almost slavish in its reminiscences of the time and original series, to the extent of being broadcast by Southern Television in the same 15-minute slot that the original radio series broadcast in. and it was played completely straight; to quote the 'viewing notes' which come with the boxed set:
'Southern took as much as they could from the original format. The result would be so engagingly straight-faced that many critics and viewers would interpret the whole series as an extended parody.'
And that is the problem. Dick Barton is a re-creation in a different medium, with slavish adherence to elements of the original radio show, transplanted to a very different era, yet not advertised as a parody. This means that it is a bit difficult to know how to approach this show: either as a reminiscence or a parody. It is a TV show and cannot be viewed as if it were an old film, and I notice that the show's rave reviews on the internet tend to be from people who love the original series or like that genre of adventure hero literature.
I'm going to have to be upfront about my opinion that I think the format is a terrible mistake because it ties this show in too much to its radio background. I think it may work very well if you were going to do the thing of watching one episode an evening, but in the sort of continuous viewing a boxed set invites, the theme tune becomes exhausting. I find it interesting that while Southern broadcast the show in its evening slots as it wanted, the other networks broadcast the episodes two at a time at weekends; I'm left with the impression that this was an individual exercise in reminiscence and parody which backfired because no other enthusiasts could be found to follow into Barton-land.
There is another sense in which Dick Barton works really well. I wanted to write here about the sense of comfort viewing a show set in a world where we know who everyone is and the foeigner is either subservient or the baddie. Of course some of Our Sort of People go off the rails as well. And then I wanted to write about how ridiculous Dick Barton makes these attitudes look. I particularly wanted to write about the way the show's heavy-handed gallantry and obvious compliments to women are absolutely hilarious. And then I wanted to write about despite their comments about women the partnership between Barton and Snowey White is susceptinle of a sexual interpretation (I mean only in the way the dynamic between them is a rather Holmes and Watson couple dynamic, I wouldn't like to suggest that anything would be - hushed voice - going on), a question which no other Dick Barton adaptation has ever raised in my mind! Far from interpreting the whole series as an extended parody, I'm finding it raises question upon question and is far from the simplistic hero-fest that the early Barton films are.
I think that this show produces such a mixed effect on me is an indication of its quality. Its slavish adherence to the format of a 1940s radio show, but transplanting it to 1970s TV, means that it requires a sort of attention which the other shows of the time don't. Perhaps this was another reason for its lack of success.
Otherwise I frankly can't see why this show gets such a critical hammering on the internet. I have read repeatedly, for example, not only that it was plagued by budgetary problems, which is a mere statement of fact, but that these budgetary restrictions show in the actual finished product. Personally I can't see it, I really can't. The period setting of the show is done as well as pre-CGI TV will allow. I would maintain that there is a sense in which this show is set in a fantasy world, as sort of 1970s reconstruction of a previous world, rather in the same vein as the world later inhabited by the young fogies of the 1980s. If you look closely you will see things in the background of shots which couldn't have been there in the 1940s, but that is my pernickerty nature coming out. After all this show was made in the real world (and benefits from that) rather than in a studio. It escapes that dreadful 1970s colour palette of browns and greys by virtue of being set earlier. Rooms are decorated in relatively stronger colours, I love the motor cars and clothes.
I have read it questioned why this show would get a 12 rating in the UK rather than a Parental Guidance, given the relatively safe content and low-level fighting. I suspect that that was influenced by the traumatic subjects touched upon in this show. Every episode ends with a cliffhanger and there are multiple attempts on Barton's life, some of them being in a quite twisted way, such as being buried in the sand on a beach to be drowned by the incoming tide, being locked in a refrigerated container to freeze to death or another one where Jock is locked in a gas-filled room to be killed in a detonation set off by a telephone call. For younger children I think these methods of killing would be the stuff of nightmares and would verge on torture if used in reality, which I think may explain the 12 certificate. Any fighting scenes are nonetheless fairly low-key, and there is no bad language of any sort.
I have commented on the pacing, which is strange by any standards. The picture is strong and clear, with no apparent deterioration of the recording, if it has not been restored. The sound, similarly is strong and clear. The visuals throughout are naguralistic with naturally no CGI of any kind or even any special effects. People who like the sort of television I write about here will feel quite at home with this series, and I would recommend it to anyone, with just the proviso that the format can take some getting used to. It may best be watched one episode at a time over a number of weeks, but I feel that this show is far too addictive to do that, and the repeated cliffhangers will have the viewers wanting to know what happens next.
Wednesday, 2 November 2016
The subject of The Invasion, put very simply, is fear and loathing of The Machine, and the ambivalence towards technology which was so characteristic of the time provides a number of ironic twists to this adventure. The first of these is obviously that ironically, despite the Doctor's repeated statements that he hates computers (which I am taking as representative of technology as a whole) this adventure does not survive in its entirety. The irony is that the technology of the time, and the television companies' attitudes to it, resulted in this cry against the dominance of technology not surviving. This irony becomes even more twisted when it comes to the simple fact that people have gone to endless trouble to recreate the missing episodes as animations, and very successfully so, too. It is at this point that the plot beomes so postmodern I'm having difficulty getting my head around it: the alien Time Lord, brought to our planet by alien technology (whose failure is responsible for his being stuck here), hates our puny technology as being too dominant, yet he is doing so in a technologically up-to-date TV show, which then doesn't survive because the technology is both ridiculously expensive and considered in the light of a previous enterntainment medium (the theatre, and one-off performances), only to be recreated decades later because there is such a fan base for the show. Phew!
There is another irony of time in this show. The landmark Millbank Tower was used as the offices in International Electromatic. Although at the time the tower would have been an icon of modernity and thus would have plugged into exactly the 1960s fear of the future, which was yet matched with a yearning for modernity and an attitude that progress was the way ahead. The irony here is that buildings such as Millbank were built in a positive orgy of destruction of the past at the time, which was seen as fully desirable in the age before the preservationists really got into their stride, and yet Millbank is itself now listed so will have to be preserved within very strict constraints for all time:
'Millbank Tower was built as the Vickers Tower for the Legal and General Assurance Society, in conjunction with the British engineering firm, the Vickers Group, from which it took its original name and whose boardroom was on the 30th floor. It was designed by Ronald Ward & Partners (Douglas Marriott, job architect) which began designs in 1956, with planning permission granted the following year, and endorsed by the Royal Fine Art Commission in 1958. At 387 feet (118 metres) and 32 storeys, it was briefly the tallest building in London, until 1965 when it was surpassed by the GPO tower. The River Thames had been identified as a suitable location for tall buildings early on in post-war planning policy, although there was concern that the Vickers Tower might dominate the Houses of Parliament. However, later it was its appearance in views down St. James's Street that were the cause of criticism, as well as its relationship with the river. However, Ian Nairn described it in his Modern Buildings in London (1964) as 'the only London skyscraper to have the clean zest and élan, literally sky-reaching and skyscraping, of the best in New York.' It has latterly been more universally praised for the successful shape and composition of the tower (with its concave and convex shapes) and the effective way that the curtain walling and Britain's first use of projecting stainless steel mullions reflect playfully on the adjacent Thames and vice versa. The curved butterfly or diabolo form was derived from the original plan for the lifts, and later retained after this arrangement was modified. The design was also of interest for its early experimentation of entasis (the deliberate swelling of form, to preserve the visual impression of straightness) in the tower, as also at Centre Point and Britannic House.' (https://historicengland.org.uk/listing/the-list/list-entry/1242617 which see for a truly orgasmic description of the building's architecture)
It seems that despite managing to keep away from Sapphire and Steel I have still wound up talking about time at length, but then perhaps it isn't very realistic to try to avoid it with Doctor Who! There is also an undercurrent to this one of modernity's relationship to authority. I love the climax to the fifth episode where the policeman goes down into the sewer and tells the 'kids' (in an interesting presentiment of Scooby Doo) to get out. Naturally he represents authority against the kids in their up-to-date clothes representing the vulnerability of impulsive rebellious youth. The authority figure of course meets his match in the shape of the cybermen, thus referring back to the way in which the brave and frightening new world of the future will not be constrained by the authority of the past. That this world will be a frightening one is indicated by the way in which UNIT have to resort to grenades to fight against the cybermen, and that the technology of the future may not be controllable by humans is indicated by the way one cyberman is left standing after a blast which would have killed humans.
I like this Doctor Who adventure a lot. I like the fact that it speaks so loudly of the mid-sixties, which is of course one of my favourite times in history. I like these early Doctor Who adventures as a rule, and I particularly like the mixture of earth-bound things and alien life and technology in this one. I think what I like about the cybermen adventures is that the cybermen do not look ridiculous, as the monsters in many of the early Doctor Who adventures can, giving an impression of being just plain funny years afterwards. If I have one criticism of this one I think it is probably that its plot can be rather difficult to follow. This is made up for by the fact that you can actually jump in randomly with this one (in my humble opinion). I have read that this Doctor Who experienced several revisions in production and I think that can show. Of course it may also be an anachronism but I feel that this adventure could have been adequately done with fewer episodes.
The moral of this show, as so often with TV of this era, is that humanity must remain the priority, and master of the emerging technology; trusting in the technology will leave humans at the mercy of its false promises. This is of course why the baddie is so often a deranged megalomaniac, whose ambitions explode in his face: these people have put their own ambitions, rather than humanity, at the centre of their world, and they are a terrible warning to all of us as to what can happen if we do that. Of course once again there was no way the script writers of the 1960s could have foreseen, as they hammered away at their typewriters, the brave new world of IT failures and a world which really does need to be turned off and started again. For that reason these 1960s TV shows with a moral (while the Avengers often deals with these heavy subjects, the lightness of its treatment means that it doesn't come across as having a a moral, so I wouldn't include it among them) can seem like they are warning about something which never came to pass. Perhaps this is the reason I like TV of this era: the fears of the past generation always seem quaint to future generations, and TV of this era allows time travel to what seems like a safer era. And yet...the sheer timey-wimey-sliminess of this time travel also leaves us at the mercy of time and if we are not careful we travel full circle and are confronted with some fairly confusing ironies of time.
Tuesday, 25 October 2016
Plot-wise, we are in totally familiar territory with Undermind. Well, I say totally familiar, it is in the sense that technology, some kind of signal, is being used to get inside people and undermine society. The use of technology is very apparent from the very beginning of the series, and of course that is a characteristic subject of the 1960s television I write about here. The only different from the short of shows I watch normally is that the enemy here is an alien force, which I suppose places us with one foot in the sort of horror films of the 1950s when an all-American town is taken over by an alien force, only in this case of course it is set in Britain.
In the case of Undermind the fear is placed in a very specific period of time. It is not for nothing that Heriot's profession is given as a personnel selection manager, and he has just come back from working abroad. Rather than the earlier welfare officer and manager dealing with pay disputes and bonuses, the 1960s was the time when personnel took off as a profession, and so Heriot is part of an up and coming profession. They also pioneered the use of psychological tests for selection and I feel it is important when watching Undermind to remember that Heriot would have been seen at the time very much as the Business Efficiency Bureau in The Avengers episode The Fear Merchants. To many members of the contemporary audience, Heriot would have seemed almost a magician; he would have known the questions to ask to find out very specific psychological answers. It is therefore very pointed that a member of his profession is up against the forces of psychological invasion.
There would also have been an ambivalence about Heriot and his profession among the contemporary audience of Undermind, since one of the things in the zeitgeist of the time was the way in which advertising was actually being used to get inside people; exactly the way the signal is being used to make people behave in very uncharacteristic ways. In fact there is hardly a popular fear of the time which is not exploited at some point in Undermind. Think of most plot arcs of the last three series of The Avengers, cross them with Doomwatch, The Champions and Adam Adamant Lives, and you have pretty much a plot summary of Undermind.
Otherwise there is a sense in which the plot of Undermind is a very conventional example of the little people against a great force, with no resources and in this case no real knowledge of what they are up against. Undermind very successfully paints the scenario of paranoia by placing the invasion in all levels of society, from the high to the low. That is the basic premise, and the show also draws on virtually every premise used in science fiction and the culture of the time. One of the things I notice about the reviews of this show on the internet are the frequency with which it is compared to other shows. I've already done it myself.
But there is something wrong with Undermind. There is a conflict at the heart of the show, and which I am feeling even as I write that there is something wrong with it. I actually don't want to, because I have a sensation of being in the presence of Great Television. For a start many of the reviews deal with the episodes as individual story arcs, as indeed they are with different writers, and the episodes are often not seen in a very good light. I think this is the start of Undermind going awry for me: I have read that there is a very clear single story ard through the entire series. I'm sure there is, but if I pause to think about it during any particular episode I find I can't, which I think is a result of patchy writing rather than a lack of concentration on my part. It is a personal opinion but while I see that other reviewers are appreciative that the sense of the opponent is deliberately left nebulous, that drives me nuts, and contributes to the sense of the series not really having a single clear plotline, because there isn't a clear enemy. This is my one largest criticism of this show, and this is a criticism which has compromised my enjoyment of watching this show.
I think Undermind also suffers because it doesn't stand up well to some of our modern sensibilities - such things as how Irish people are portrayed and the insensitivity of this depiction in the run up to the Troubles in Northern Ireland are of course unacceptable to modern eyes but I think are apt to detract from the actual show. My personal opinion is that Undermind is best watched as a compendium of all sorts of ideas present in the cult TV and thus psyche of the 1960s, a snapshot of a particular time's treatment of these ideas, and a vehicle for the various Big Name guest stars.
A particular way in which Undermind is open to criticism is that even for the time - it was broadcast in 1965 - it seems quite old-fashioned. This was Emma Peel-era Avengers time, and that show looks much more modern than Undermind, and a criticism I have read repeatedly is that it is almost completely studio-bound. Personally that isn't a problem for me, since I quite like the reflection that television at the time was much closer to the theatre than to the film industry. Interestingly, the sets use much of the visual language that I like so much in the Avengers. I particularly like the way modern office settings (such as the picture which illustrates this post) are used to indicate modernity and futurism. More domestic settings are used to indicate solid middle England, although of course in this case it is infiltrated by a mysterious power rather than populated by ruthless megalomaniacs. Production values are very much of the time. The pacing is, as you would expect, slow by modern standards. To my mind there is a drawback with the DVD release that I wouldn't like to guess at how much work has gone into restoration. I can't believe it is none, but there rae points at which the picture is quite grainy or unstable. I personallt don't have any difficulty with hearing the soundtrack, but I have read that some people do.
There are some familiar faces in this show, chief amongst them being Jeremy Wilkin playing Drew Heriot. It took me ages to work out where he was familiar from (see, these reappearing actors, do distract you from the actual show itself) and realise that he is more familiar to me personally wearing a string vest uniform in the Gerry Anderson show UFO. Since I'm not actually planning on posting about UFO here I will just weigh in on the debate raging on the internet over what the female cast of UFO wear under their string uniforms. A sort of skin coloured bra-thing. Easy. The only thing that's wrong there is that Sylvia Anderson should have done something to hide the men's chest hair and nipples, to create a futuristic look and a mystery that will rage for decades to come. But back to Undermind. The fact that it took me a long time to work out where I had seen Wilkin before indicates his acting ability, and his role in this show is quite different from his more senior role in UFO. Of course Rosemary Nichols is instantly recognisable to someone of my televisual interests as the IT expert in Department S, although once again her role is very different here, and it is the sound of her voice which makes her familiar. I'm torn at this point, frankly: there is an irony that so many of the shows I like are ITC ones when so many of the actors in those shows were recycled round all the other shows, and that drives me crazy! That said, in this case the fact that I had to spend some minutes thinking who the key actors were didn't seem too distracting from the actual show. I am indebted to the ladydontfallbackwards.wordpress.com blog for the insight that this technique of using familiar facse is actually used to advantage here by casting the actor Jeremy Kemp, who would have been known to audiences at the time from Z Cars, in a completely uncharacteristic role, to reinforce the feeling that there is something very wrong.
Yet despite its weaknesses, my opinion is that Undermind manages to have an extraordinary effect on the viewer, no doubt intentional, and done with remarkably little razzamataz. It has been some time since I first watched it but I have been watching episodes several times over the past few days to write this blog post, and I find that they are different to what I remember. I don't just mean that I had forgotten them, but the music (which is used very sparingly indeed) manages to get inside your head. I remembered it being used much more than it actually is. I have found the music going through my head while I have been out and about, and yet if you asked me to hum it to you I would be unable to. The show has actually managed to invade me in a very real sense, which is surely an achievement for any TV show, especially one which has rather been forgotten about for sixty years.
I suspect that the audience for this show is very much the same as the audience for this blog, namely hard core classic and cult TV fans. There will no doubt be some people who remember the show from when it was first broadcast, and others like myself who prefer old TV to modern TV. I would very much recommend this show to the dedicated cult TV fan, just simply as a showcase for many of the great names (both writers and actors) of the time, and also as a vehicle for so many of the common plot arcs which were prominent at the time. If you watch this with a mindset of setting out to be reminded of other shows and plots of the time, you will find it a great success. Its studio-bound setting does not really provide much in the way of reminiscence of the time, if that is what you are looking for. If you are a sci-fi fan, you will also like it as a lengthier and slower example of ge dating from the 1960s.
I would not like to suggest that this show's weaknesses are such as would prevent people watching it. In fact I think people should watch it. But then I've seen it, and you don't know whether I'm an undermind as a result...
Image credit: http://cult-tv-lounge.blogspot.co.uk/2014/01/undermind.html?m=1