Classic TV

Weird old title sequences: The Prisoner (1967-1968)

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Number 6: Where am I?
Number 2: In the Village.
Number 6: What do you want?
Number 2: Information.
Number 6: Whose side are you on?
Number 2: That would be telling. We want information… information… information
Number 6 : You won’t get it!
Number 2: By hook or by crook we will.
Number 6: Who are you?
Number 2: The new Number 2.
Number 6: Who is Number 1?
Number 2: You are Number 6.
Number 6: I AM NOT A NUMBER, I AM A FREE MAN!
Number 2: (LAUGHS)

A title sequence can serve many functions. Generally, it’s there to give the viewer a flavour of the show: is it action-packed, a comedy, a romance, a drama? It might also be there to introduce the cast.

In olden days – far less than nowadays – it also used tell the story of the show so that viewers could know the format of the show and the backstory, so they could drop in at any point, even if they had missed the first episode.

The Prisoner, one of the most famous and influential TV shows of the 60s and possibly ever, actually used its equally iconic title sequence in place of a first episode. Which you have to admit is weird.

In The Prisoner, a secret agent with no name but who looks and acts suspiciously like John Drake of the earlier international blockbuster TV show Danger Man (Secret Agent in the US) resigns his job. We don’t know why – although we do see him do it in the title sequence – and he heads off home. While he’s packing his bag for what looks like a holiday, he’s gassed through his front door’s keyhole by a mysterious man in a hearse.

He falls unconscious and when he wakes up, he’s in The Village, an Italianate paradise filled with people who only have numbers. They’re all spies and government employees who quit their jobs but whose knowledge was too important to have running around free on the outside, so were brought to The Village to keep their secrets secret.

Bizarre idea concocted by writers? No, it actually happened during World War 2.

Number 6 – as our hero is called in The Village – wants to escape. The people who run The Village – presumably Number 1 but also his deputy, Number 2, who’s played each episode by a different, usually very awesome actor such as Peter Wyngarde, Mary Morris or Leo McKern – want to know why Number 6 resigned and they’re going to stop him leaving, sometimes using a giant white ball called Rover that emerges from the sea, until he tells them.

For 17 episodes it’s a never-ending chess match between the two sides, with 6 using his brains and brawn to fight for his freedom, while the state tries to stop him.

See what happened there? I made the sub-text text. The Prisoner, you see, as well as being marvellous entertainment, is one of the most profound looks at the relationship between the individual and society that British TV has ever produced. Should we be happy to be just numbers and subvert our individuality for the common good, or should the state allow the individual to do as he or she wishes – even if it’s to the detriment of others?

It’s all good, but The Prisoner has many standout episodes:

  • Free For All: in which Number 6 decides to stand for election as Number 2 and is subverted by the process in a metaphor for politics and the media
  • Schizoid Man: in which a double of Number 6 turns up, claiming to be the real thing. Trouble is everyone thinks the real Number 6 is Number 12 and that he’s been hired to make Number 6 doubt himself – which since “Number 6” is a better version of himself than he is, gives 6 a few identity problems of his own
  • The General: a new technology is invented that can imprint knowledge into people’s minds through television – a whole degree in just a few minutes. But does it turn out educated people or just drones who can regurgitate facts?
  • Checkmate: Number 6 concocts his most impressive escape plan yet, using the natural arrogance of the guards against them. But an ironic twist spoils everything.
  • Hammer Into Anvil: When another prisoner kills herself thanks to the cruelty of Number 2, Number 6 organises a campaign to make him think he’s being undermined by his own staff
  • A Change of Mind: Number 6 is ostracised by the Village
  • The Girl Who Was Death: A left over Danger Man script
  • Fall Out: Number 6 escapes, but finds that society is the real prison, and the Village is everywhere.

That final episode proved to be so complex – and mental – that writer/producer/director/star Patrick McGoohan actually faced death threats and had to leave the country (beat that Lost). But the show has remained engrained on the collective TV mind ever since, with remakes threatened every five minutes (AMC and ITV made one last year and it was pants) and homages in everything from The Simpsons to The Tube. It’s certainly left a legacy of catchphrases, some of them oppressive in their Orwellian simplicity:

  • “Be seeing you”
  • “Beautiful day”
  • “Questions are a burden for others, answers are a prisoner for oneself”
  • “Unmutual!”
  • “A still tongue makes for a happy life”
  • “I will not be pushed, filed, stamped, indexed, briefed, debriefed, or numbered! My life is my own.”

And, of course: “I am not a number. I am a free man” – which was always greeted with laughter and only ever appeared in that weird old title sequence:

After the jump, a couple of clips from the remastered Blu-Ray version of the series, including a great scene from my favourite episode, the metaphor-rich, extremely clever, Checkmate. But they all look gorgeous, I have to say.

Continue reading “Weird old title sequences: The Prisoner (1967-1968)”

Classic TV

Weird old title sequences: The Avengers

The Avengers

Today’s weird old title sequences are for The Avengers. You remember The Avengers don’t you? Steed, this dapper bloke in a bowler hat, and his lovely sidekick Mrs Peel fight weird sci-fi crimes together?

Kind of.

You see The Avengers changed a lot over its six series. Originally envisioned as a vehicle for rising star Ian Hendry from Police Surgeon, it began with Dr David Keel (Ian Hendry) investigating the murder of Peggy, his office receptionist and wife-to-be, by a drug ring. A mysterious trenchcoat-wearing stranger named John Steed (Patrick Macnee), who was investigating the ring, appeared on the scene and together they set out to avenge her death in the show’s first two episodes – hence the show’s title ‘The Avengers’. Afterwards, Steed asked Keel to continue partnering him when needed to solve crimes.

In this first series, Steed was the secondary character – he doesn’t even appear in some episodes. He also isn’t the dapper man about town we all grew to know and love, either. He was a hard-edged, ruthless character, willing to do what it took to get the job done, with Hendry’s Keel providing the moral centre for their work. In keeping with this blunt, down-at-heel approach, the show got some equally down-at-heel titles, with Hendry and Macnee lurking around on street corners in their trenchcoats, and – oh f*ck no – a jazz theme tune.

But slowly, the show began to change – and get a whole load more weird title sequences.

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Classic TV

Random Acts of Ali Larter/Weird Old Title Sequences: Coming to London in a purple wig and silver miniskirt to film the UFO remake

Ali Larter

Be still my beating heart. Ali Larter could be on her way to London next year to film a $150 million remake of Gerry Anderson series UFO, in which she’d play the part of Virginia Lake (more on her in a minute). I obviously don’t have pictures of that (yet), so here’s a picture and a vid from the first annual Los Angeles Gala, which was raising money for Friends Without Borders.

Significantly, though, this means we can have the first Random Acts of Ali Larter/Weird Old Title Sequences tie-in here on the blog. Because UFO had some weird old titles.

UFO
UFO
was Thunderbirds creator Gerry Anderson’s first attempt at a fully live-action show. He’d had a sort of stab at it with Secret Service, in which Stanley Unwin voiced a puppet version of himself, but whenever they did a long shot, they’d just use live action footage of him instead. It was about as convincing as it sounds.

But UFO got Gerry Anderson into live-action proper. The plot to UFO was similar to that of other shows he’d done before, particularly Captain Scarlet: The Earth is under attack from an alien race. What for, we don’t know at first, but it soon becomes apparent they need us for our body parts.

Yep, they’re kidnapping us, stealing our organs, and transplanting them into their bodies. A later episode, The Cat With Ten Lives adds a little wrinkle to that, but all the same, it’s pretty sick and a great concept.

Naturally, when we humans find out about this, it being Gerry Anderson world, we come up with a top secret defence strategy and matching organisation: SHADO (Supreme Headquarters Alien Defence Organization). With submarines underwater that can launch planes, satellites called SID (Space Intruder Detector) in orbit for monitoring, a Moonbase that can monitor space for approaching UFOs and send out spaceships to intercept, and a whole load of ground-based attack vehicles, all it needs to be complete is a top-secret underground headquarters. Which it did – under Harlington-Straker Studios (really Pinewood) as a cover, of course, and not to save on production costs for the show.

Naturally, of course, because of all the powerful magnetic fields that the Moonbase equipment puts out, all the women running it up there have to wear purple wigs.

Moonbase girls

Still, everyone wore string vests down on the submarine.

String vests on UFO

A tussle
The show itself was an interesting tussle between Gerry and Sylvia Anderson. On the one hand, Gerry wanted to do business as usual, and everything was going to be much as in Thunderbirds et al – that is, missions of the week.

Sylvia, on the other hand, wanted to do characters. She wanted to do stories that could be considered as drama. So the episodes of UFO vary between the same old plots you’d see already (Gerry’s stuff) and interesting ones, such as Confetti Check A-OK, which looked at SHADO boss Commander Straker’s guilt over the married he’d ruined (Sylvia’s stuff).

He’s a haunted man is Straker, channelling all his energies into his job, because he’s screwed up his personal life. In A Question of Priorities, he even sacrifices his own son so that the aliens can be stopped.

There’s also a slight disconnect because the show was shot in two filming blocks due to a change of studios. During the second block, which also saw a change in the writing department, George Sewell, who had played Straker’s second in command Alec Freeman during the first block, was unavailable. In his place came Wanda Ventham as the more memorable Virginia Lake. Because initially she essentially had a man’s lines – just like Cathy Gale before her on The Avengers – Lake was strong, tough and took no nonsense from Straker or anyone else. Because she’s a character who was co-opted at the last moment, she’s also notable for having been a research scientist in the pilot episode, a computer specialist and headed up Moonbase at one point.

From UFO to Space: 1999
The show didn’t do too badly, but it didn’t do as well as everyone hoped. By the time the second season was ready to go, it became clear it wasn’t going to pan out, even though the show’s creators had hoped a shift of focus to life on the Moonbase might have helped out.

So instead, Gerry and Sylvia decided to come up with an entirely new show set on the moon: Space: 1999, which I believe I’ve already covered.

On the whole, it wasn’t a great show, it has to be admitted. It definitely had its moments and in terms of plot, although not in terms of charm, it’s head and shoulders above Anderson’s previous shows as well as Space: 1999, although the latter trounces it significantly for production values. There are a few classic episodes, but no more than a handful, so I wouldn’t be buying too many from Amazon, if I were you.

Anyway, brace yourself for the weird old title sequence of UFO. In case I forgot to mention it, UFO was set in the then far off future of 1980, where all the fashions were strange and futuristic and the cars were just mental, too. But all of that gets explained in…

If they are going to remake an episode for the movies – for there are three planned – I’d recommend Mindbender, which involved everyone hallucinating because of a strange moon rock. Standout moments, apart from the fact Stuart Damon of The Champions is in it, is when Commander Straker gets affected and begins to hallucinate that his entire life is fictional and is being filmed as part of a TV series, masterminded by a woman called Sylvia. The clue, as they say, was in the episode title. You can watch the whole thing below. Aren’t I nice?

Have you seen Ali Larter acting randomly? If so, let us know and we’ll tell everyone about it in “Random Acts of Ali Larter

Classic TV

Weird old title sequences: Space: 1999

Space: 1999

Look up into the sky. Is there a round, silvery shape there? No, of course not. As we all know, the Moon left the Earth’s orbit back in 1999 following a cataclysmic nuclear explosion caused by waste from Moonbase Alpha going into chain reaction.

That, at least, was the scenario painted in Space: 1999, even if it – obviously – never came to pass. Made by Gerry Anderson, originally to be the second season of his earlier live action show UFO, Space: 1999 was a mix of many elements, some good, some bad. On the one hand, it did have some fantastic model work, cinematography and sets, the likes of which probably haven’t been bettered.

On the other hand, the acting was dreadful, and the plots… oh, the plots. They were concept sci-fi: great big ideas about philosophy, the universe, etc, but handled so badly, and usually with a plastic-looking monster, that it was impossible to regard them with any seriousness, particularly since the science part of the science-fiction was so ineptly handled.

The show was also hampered by having husband and wife team Martin Landau and Barbara Bain as the two leads. Okay, they’d been fine on Mission: Impossible but their marriage was now breaking down and they could barely stand the sight of each other. Therefore, zero chemistry between the leads.

After a first, not terribly successful series, a new producer was brought on board to help boost the ratings. Unfortunately, they brought on board Fred Freiberger, the US TV producer responsible for the changes made to season 3 of Star Trek that got it cancelled, and who went on to make the changes to The Six Million Dollar Man that got it cancelled. So despite the introduction of hot, shape-changing alien Maya, and an Italian lothario, guess what happened to the proposed season three.

During this time, Space: 1999 went through a couple of title sequences. For the first season, we got the funky disco theme coupled with the “This episode” (did you miss that? We said “This episode”, loser!) montage of highlights that Ronald D Moore copied for Battlestar Galactica. It also (weirdly enough) had Barbara Bain on a turntable.

Season two grabbed itself a whole new set of titles and a new theme. It wasn’t as cool, didn’t have Barbara Bain on a turntable, and it had a stupid “Red alert” on it. But it was more action packed and it did explain the plot.

These, however, were not the weirdest title sequences for Space: 1999. In overseas markets, there were completely different sets of titles that pioneered whole new areas of weird. The Japanese set was perhaps the least weird, since all they did was add a really odd new electronic/lounge theme to the first season titles.

No, for absolute weirdness, you had to go to Italy and watch Spazio: 1999‘s second season titles.