ISSUE SIX
Around The Beatles- TV Special
Doctor Who - Remembrance Of The Daleks
Essential Sixties Concert Review (by Janina)
The Who In Hyde Park Concert Review (by Janina)
CD Review - The World Of Manfred Mann (by Bethany)
Concert Review - The Manfreds In Liverpool
Film Review - Women In Love (by Janina)
Around The Beatles TV Special (1964)
by Anne-Marie Trace
The first Beatles we see in this television special is Ringo and he's having a little trouble with a canon! For me the music in this programme takes second place to everything else, I guess I should tell you about it anyway.
The Fabs don't do all the music, they have some guests to provide a little entertainment. Sounds Incorporated play at being 'house band' while a parade of artists is watch by the Beatles seated in a 'royal box.' Millie grins her way through a couple of numbers including 'My Boy Lollipop,' Long John Baldry grasps his lapels firmly and does a little musical sparing with the Vernons Girls leading to 'Hit The Road Jack' mutating into 'Get You Gone John' as he leaves the stage. Paul introduces PJ Proby in his first UK TV appearance as he to offer his rendition of 'Walking The Dog' and a nation of mutts run off to bury their leads. I have to confess to not being over impressed with PJ's performance, he wails too much for my liking and not in the good way! He does have rather piecing eyes though. Cilla Black also puts in an appearance with a pretty gutsy performance. The Beatles obviously open and closed the show, the highlights of which are Ringo shaking his wig during 'I Want To Be Your Man,' Paul providing a lovely crinkly nose moment while screaming 'Long Tall Sally' and the terrible miming during 'Shout' especially the bit where Ringo mimes one of George's lines to be sure he doesn't miss his own cue!
Anyway, as I said, the music takes second place in this televisual extravaganza, the real highlight comes part way through. The Beatles slip into the obligatory doublet and hose to take to the stage and perform an extract from one of the bard's finest works, 'A Midsummer Night's Dream,' in a play within the play, namely 'Pyramus And Thisbe,' as performed by a group of workmen for a royal wedding. It was a perfect piece to adapt to the Fabs' needs. The scene never fails to have me in stitches and not just because it is my favourite Shakespearean comedy. The Beatles really enter into the comedy of it all and make it their own. The image of John as the 'fair' lady Thisbe in a woollen wig and gappy teeth is one that may scar my psyche for the rest of my life!
Perhaps if we all cross our fingers and wish really hard, those smashing blokes at Apple will see that this footage gets an official release very soon!
Doctor Who - Remembrance Of The Daleks
by Anne-Marie Trace
When your favourite Doctor reigned on the small screen between 1987 and 1989 (or should that now be 1996?) then it makes it difficult to include him in your sixties fanzine. Luckily, for me anyway, the show's 25th anniversary season fell during Sylvester McCoy's tenure as the timelord, and this fact just begged for an adventure from 1963. The season's opening story, written by Ben Aaronovitch, provides us with just that and more. Not only is this story set in the same time that the show began, but in the same place as the first ever episode. This makes it even more strange that this story wasn't picked to mark the actual anniversary. That honour went to 'Silver Nemesis', a Cyberman adventure of dubious plot but still enjoyable all the same. [A Doctor Who story of dubious plot - surely not!!! - JMx] Anyway, back to the story in hand -
The first episode begins with famous speeches of the time, helping to set the mood for the period piece ahead. The whole thing is continuity laden from start to finish, but in an 'enjoyable romp through nostalgia' kind of way, with a plot that manages to retain an air of mystery without becoming too complicated (a fate which befell some other stories in these later seasons.)
As I stated earlier, Sylvester McCoy is my favourite Doctor, a bit of a controversial choice apparently, but he manages to bring the alien-ness of the Doctor to the fore, something that had dwindled previously in the series, (and indeed since, as the latest Who adventure featuring Paul McGann, brought us the somewhat incredible revelation that the Doctor is half human, on his mother's side!) Nobody ever stops to question the strangely dressed little man who seems to know more about the situation than anyone else. His reaction to the Earth military solution to the Dalek threat illustrates the rift even more, as he practically snarls, 'Humans!'
In direct opposition to the Doctor, who despite his odd appearance always seems to blend in, is his companion, Ace. Ace is so anachronistic that it's a wonder the timelines ever recovered! The characterisation of the other people involved in the plot is so convincing that it makes Ace seem even more out of place, especially in the scene in the cafe (a set pinched from Eastenders) where she first meets Mike, a military sergeant and misguided member of the Association, after she has a little trouble getting to grips with 'old' money. Ace's anachronistic tendencies highlight the differences in the two time zones. She is revolted to find a sign in the window of the boarding house (another Eastenders set, by the way) that says 'No Coloureds' and astonished at Mike's sexist attitude when he makes her stay behind, although this could be out of genuine concern and she doesn't stay put anyway! There is some kind of attraction between Mike and Ace that adds to the drama of his act of betrayal (although innocent from his point of view) and ultimate death at the hands of the Daleks' agent. This is the first real adventure for Ace and events help to shape her character development in future stories (and subsequently, the New Adventure books.)
The time at which the story is set means there is less techno-babble involved and what there is gets explained simply in some way or other, usually without a mini-skirted assistant blinking stupidly and saying 'What's happening Doctor?' There are two perfect examples of what I mean, both concerning the Doctor and characters from the 'past.' Explaining the Daleks' method of killing to the scientist, Rachel, the Doctor calls it a 'projected energy weapon' to which she responds, 'A death ray?' Also, around the same time the Doctor tries to convince Gilmore, from the military, that he is not dealing with an earthly creature. Incredulous, Gilmore inquires if the timelord is referring to 'little green men' to which the reply comes, 'no, little green blobs in bonded polycarbide armour!'
Talking of the little green blobs, the first appearance of a Dalek in episode one is nowhere near as scary as some of the initial sightings in the sixties, maybe its struggle with the cobblestones in the junkyard has something to do with it. However, the cliffhanger at the end of this particular episode provides us with perhaps one of the most menacing Dalek moments in history. Fans, especially members of the behind the sofa fraternity, have always taken comfort in the fact that Daleks couldn't get up and downstairs, indeed this has made the metal menaces the butt of many a joke. But, here we have the Doctor trapped by a locked door at the top of a flight of steps, as a Daleks slowly begins to hover and make its way up towards him. I know I didn't sleep well that night!
The plot revolves around two Dalek factions at war. Ace puts it best when she explains, 'Renegade Daleks are blobs, Imperial Daleks are bionic blobs with bits added. You can tell that Daleks are into racial purity, so one lot of Daleks reckon that the other lot of blobs are too different. Well, they're mutants, not pure in their blobiness,' and the result? - ' They hate each other's chromosomes, war to the death!' The factions have come to Earth to gain the Hand Of Omega, a stellar manipulator, last seen in the possession of a certain timelord, each hoping to get the upper hand. In the middle of this is Group Captain 'Chunky' Gilmore and his men, and Mr. Ratcliffe and his Association. It all sounds very complex on paper, but it flows very well on the screen.
This adventure brings us two of the greatest moments in Sylvester McCoy's tenure as the Doctor. The first is one of those magic moments that has nothing to do with the advancement of the plot, but provides an insight into the character of the timelord. The Doc goes into the cafe and talks to the guy behind the counter, John, about decisions. One decision is whether to take sugar in his tea of not. The pair discuss this and John says that if the whole sugar thing hadn't started his grandfather wouldn't have been sold as a slave in Kingston and he himself would have been an African now. The scene illustrates the ripples that can be caused in time by just one little event, a problem with which the Doctor constantly battles. The second magic moment is when the Doctor confronts a lone Dalek, the last one left on Earth at this time. He tells it of its failure and the destruction of its homeworld and points out how alone it is. This causes the Dalek to freak out and self-destruct. [How to depress a Dalek in one easy lesson! - JMx]
The final episode of this story is unusual, in that the Doctor tends to do whatever is needed and then leaves. This time he and Ace stay until Mike's funeral, but they do not attend. Ace ponders over whether everything that had been done was for the best, and the Doctor replies that only time will tell, it always does.
The Essential 60s Concert Tour (New Amen Corner, Animals, Manfreds)
Swansea Grand Theatre - Sunday 2nd June 1996
by Janina McCarthy
Okay, the ticket said 7.30 but we were still on the M4! Got into the auditorium about 20 minutes late. New Amen Corner were in full flow and the place was rocking. Old men they may be, but the sight of five geezers in leather pants (the lead singer gets a special award for services to stitching - I mean how tight can one pair of trousers be) stills whips a crowd into a frenzy, okay, a semi-frenzy, alright, a bit of toe-tapping! With a fabulous rendition of "If Paradise..." New Amen Corner left us waiting in anticipation for The Animals.
-- Pulp being played during the interval, someone must have known I was coming --
I can't say that I actually recognised anyone in The Animals, but the rhythm guitarist looked like he should have his hand stuck up Orville's bum, and the lead singer had a passing resemblance to an anorexic Mick Jagger (yes - that skinny and with bone structure I would die for) and I promise not to jest anymore because believe me it makes no difference what you look like when you sound as good as they did. Impressed? - not half mate! I must apologise for not knowing the name of the lead singer (I think he was later introduced as Robert Kane) but he has one of the finest voices I had heard for a long time, singing the blues like his wife had left him and his dog had died just minutes before walking on stage. We even got treated to some decent new material. Something tells me the Manfreds have just been blown out of the water before even playing a note!!
The 'who's your favourite' argument rages on! Forget John or Paul, forget Mick or Keith, we're talking Mike or Paul! Admission time here, I know Paul was the original and the 'cute' one, but I've always had a soft spot for Mr. D'abo. But the great thing about this gig is nobody feels left out. I know I could no more stand hearing Paul sing 'Just Like A Woman' as I could hear Mike sing 'The One In The Middle' (have you guessed what my favourite Manfred song are yet?!) I'm not sure who had the most fun, us or the band.
The Manfreds survived right from the pop explosion of the early sixties until the transition to rock at it's end. I certainly haven't sung along to so many good songs in such a short space of time, and after a night like that who am I to complain about a 40 mile drive home? I've been a lot further for a lot less. The words McCartney, Paul and Earls Court spring to mind, but that's another long, boring story!
Live Review by Janina McCarthy
Okay, itís Saturday, itís 7.30 am - what the hell am I doing out of bed?!!?!! Looking out of my window I see nothing but clouds and grey skies - forget the floaty summer dresses - thick leggings and long cardies are the order of the day. One uneventful train journey later, I end up being stood up on the concourse at Paddington Station (mentioning no names, A-M!) I eventually find people and after a quick sprint to the hotel itís a short tube ride to Hyde Park, getting off the tube at Lancaster Gate to avoid congestion at Marble Arch only to walk straight into congestion there. I guess when 150,000 people are all headed in the same direction congestion is going to happen.
I start to get into the ëhappy gig feelingí whilst walking (with a few thousand other people) around the perimeter of the arena desperately trying to find the entrance. I was amazed at how many young people were around. Now, I'm only 24 but I've always considered myself a bit of a 'boring old fart' and I didn't think a bill featuring Dylan, Clapton and The Who would be your average young groover's cup of tea - but what do I know!?
After spending a massive amount of time choosing a T-shirt, (why are there always 3 that you want and only enough money for one) we got into the arena just as Jools Holland was finishing his set, a bit of a shame because I do like Jools. We found our little spot and proceeded to 'mellow.' There was a beautiful atmosphere, pity about the grey weather but no rain thankfully.
Alanis Morrisette took to the stage and started my day off brilliantly doing a set made up of songs from 'Jagged Little Pill' and everyone a classic. She has such a powerful voice and the 'not yet' capacity crowd were right behind her. The change overs between acts were thankfully short but with 4 giant screens playing videos and various groovy adverts [are you referring to the one with le grande Eric per chance? - A-Mx] there was constant noise. Before Dylan we were treated to a short set by a musician called Leighton Jones (a Cardiffian like myself.) His musical career has been helped by the Prince's Trust and his easy style of jazz-type funk had me tapping my feet the whole time - let's hope he does well.
I don't think bounded is the best way to describe Sir Bob's entrance but he was certainly very happy!! Looking rather natty in black and sounding better than he has in a long time he treated us to a great set. Personal highlights include, 'Don't Think Twice It's Alright' and a sublime acoustic version of 'Tangled Up In Blue' [Hear, hear! - A-Mx] and his backing group included Ronnie Wood.
I had a bit of a wander around the ground before what was for me the main event - The Who and an all star cast which included Phil Daniels, Ade Edmundson, Stephen Fry and Trevor McDonald!! Phil Daniels took on the roll of narrator and by cleverly intermixing pre-recorded images and the band's live set, the story of Jimmy the Mod was told. Ade Edmundson took on the role of Bell Boy and much to my disappointment Stephen Fry's only contribution was to shout 'Bell Boy' as part of the song's chorus and point a lot. A very glammed up Gary Glitter gave a helping hand with the vocals and the Who themselves were in fine form with Daltrey's voice as powerful as ever. A quick mention about Zak Starkey - nothing to do with his drumming, but his new haircut makes him look like a Vulcan (sorry Zak!!) After The Who had finished a glorious set, erm, a lot of people, and I mean a lot, started to leave, but we hung on in there and I'm glad we did because at about 8 o'clock the clouds parted and the sun came out for the first time that day. I felt quite warm (in a contented glowing sort of a way.) I must admit to not being Eric Clapton's biggest fan but rumours were rife that he may appear with several special guests and as Keith Richards and George Harrison had both been spotted at the side of the stage during Bob Dylan, my appetite had been whetted. Unfortunately no-one materialised but, much to my surprise, I enjoyed the set nonetheless. I even had a bit of a bop at one point (with a blanket, but that's another story!) My only criticisms are (a) that bloody awful acoustic version of Layla and (b) far too much self indulgent guitar playing - but I guess if I could play as well as Eric I'd get a bit carried away too. All in all it was well worth £8 of anyone's hard earned, but I still came away thinking - two words for Eric Clapton - JIMMY PAGE!!!!
Spectrum Music 552 375-2
by Bethany Carstairs
Whenever the word 'sale' appears in a shop window I find myself drawn towards the store, so it wasn't surprising that I found myself in HMV recently browsing the '3 for £15' section. In amongst all the potential bargains and would be birthday presents for various members of the family, I came across 'The World Of....' series, more importantly 'The World Of Manfred Mann', causing me to replace a Herman Hermits CD on the shelf, well you've got to get your priorities right haven't you! Besides when I saw how many tracks I didn't have already I just had to pick it up. That and the fact that Klaus was on the front! [So you're serious about your music then! - JMx]
The CD runs for approximately 55 minutes, covering 18 tracks, all from the Mike D'abo era. As well as the hits from this time there are various B-sides and lesser hits on the disc. The highlights are 'The Vicar's Daughter' a whimsical piece penned by D'abo, 'A "B" Side' practically an instrumental piece written by Mann and Hugg and the Hugg composition 'Up The Junction Theme' These tracks point out the songwriting talents of members of the group, which makes it strange that they were continuously consigned to B-sides and album tracks! It is these kinds of songs that better illustrate the diversity of the band.
The only real let downs on this collection are two A-sides that provided very minor hits in '67 and '68, 'So Long Dad' written by Randy Newman and 'Sweet Pea' an instrumental. When you hear them you know why they performed so poorly. Despite this the CD is excellently compiled, with a brief history of this particular era of the band inside the cover.
at Liverpool Philharmonic Hall (22/10/96)
With already having Janina's review from Swansea all typed up and raring to go after being held over due to our 1966 special, I wasn't going to put very much about this gig, but having seen it, I've had to write something because it was the best Manfreds Concert I've attended so far!
Stephen had bought the tickets weeks in advance and from our experience at the Joan Baez concert (almost exactly a year ago) I was aware that the row B seats we had were, in fact, on the front row. The seats were amazing! I still can't believe that I was so close to Paul Jones as he stood on the edge of the stage encouraging us to participate in 'Do Wah Diddy Diddy.' Being on the front row meant high visibility so best behaviour, even though I had an almost uncontrollable urge to go and tug on his trousers during 'Come Tomorrow.'
The show began with the now customary 'The One In The Middle' but with a new twist. Paul began singing unaccompanied from the wings and ambled on to the stage. The other band members arrived as their names were mentioned (no sign of Manfred Mann of course). Finally Mike D'abo bounded on stage, as only Mike D'abo can, stole one of Paul's lines then suggested that the honoury Manfreds in the rhythm section be introduced.
As per usual all the old favourites were included - 'Just Like a Woman', 'Fox On The Run', 'Ragamuffin Man', 'My Name is Jack', '54321' sandwiched in with Dizzy Gillespie's 'Night In Tunisia', 'Water Melon Man' still neatly wrapped around Paul's 'I've Been A Bad, Bad Boy.' Party hats were suggested for 'Ha! Ha! Said The Clown' and 'Pretty Flamingo' included Paul's habitual Flamingo impression. Audience participation was compulsory for 'Do Wah Diddy Diddy' although I'm not too sure the division of the audience into Everton supporters and Liverpool supporters quite worked, especially as I was sat with a Tranmere Rovers fan!
The 'non-Manfreds' selection included the D'abo penned 'Build Me Up Buttercup' ("...I'll be the Xylophone waiting for you...") and a welcome rendition of 'Handbags And Gladrags' which I love! Benny Gallagher charmed us all with 'Heart On My Sleeve' and the added bonus of 'I Wanna Stay With You' and the McGuinness Flint combination brought us not only 'When I'm Dead And Gone' but also - wait for it! - 'Malt And Barley Blues!' I was so happy that I felt I could have burst! In fact I almost did when the added 'solo' Paul song was 'High Time.'
Between the songs was plenty of the usual Manfreds banter, including Paul occasionally drifting into DJ mode to tell stories and give background information for some of the songs. One the best moments was just before the intermission when Paul was relating a tale about roadies on the Stranglers Australian tour and an incident with a kangaroo. Unable to figure out why the band and the audience were having fits of hysterics long before he got to the punchline, he turned around to discover Mike D'abo hopping around the stage! Mike didn't stop at animal impressions either, I'm pleased to say that we even got some of his groovy dancing - albeit half hidden behind his keyboards.
Song-wise, the highlights had to be those taken from the new compilation CD 'Groovin' With The Manfreds.' These included the title track, 'Groovin'' during which Paul seemed to 'de-age' and look just like he did back in the 60s, I think it was something to do with the way he was standing, and an amazing blues number, once again belted out by Paul, entitled 'Driver Man.' Paul seemed to enjoy plugging the album as he thought the sound of the word 'groovin'' made him appear hip and young - like Jarvis Cocker or something! (His words not mine!) Actually my over-active imagination can just about see Mr. Jones giving a fair rendition of 'Bar Italia' [Go on Jan - add something pithy! - A-Mx]
The ultimate stunning moment of the entire show was, for me, the slower version of 'Come Tomorrow.' I'm positive that I ascended to a higher plane at one point! There are insufficient superlatives to describe how fantastic Paul's voice sounded in the Hall - it just took my breath away!
I'm sure that at least two members of the audience had other ideas as to the highlight of the show, especially as it was their birthdays and they were serenaded with 'Happy Birthday.' Bless!
The show ended with 'If You Gotta Go, Go Now / The Likely Lads.' Indeed the audience were left chanting along with the latter as the Manfreds left the stage. Yet another fine performance by the band and all that remains is the dash for a cab home clutching my programme and my mug (thankyou Stephen) and post concert blues over a cup of coffee at the train station in the morning!
by Anne-Marie Trace
Regular Cast- Number Six Patrick McGoohan
Butler Angelo Muscat
Supervisor Peter Swanwick
Voice of Village Announcer Fenella Fielding
Devised by Patrick McGoohan
Executive Producer - Patrick McGoohan
Producer - David Tomblin
Script Editor - George Markstein
Theme Music - Ron Grainer
As I settle down to write this article surrounded by various programme guides and all the wonderful information kindly provided by the Six Of One Fan Club, I am still in a quandary as to how to even begin to cover this enigma of a series. So, please excuse any ramblings and any time I may go off at a tangent!
Everyone who has ever watched The Prisoner has a differing opinion on its themes, concepts and underlying plots, but most agree that there was nothing like it on television at the time and precious little like it since.
After spending four days viewing all 17 episodes of the series, I can understand how it can be interpreted on various levels. Basically the show is entertainment, with wonderful imagery and excellently constructed and witty scripts, but lurking under the surface is a darker theme. Whether you interpret The Village as a prison in which 'the enemy' seek to extract information from top agents, or as an analogy for man's self-imposed imprisonment within the conformity of society, the methods used the try and break Number Six and make him fit in are frightening and at times dramatically Orwellian. At the same time , the stylistic designs and settings have kept the look of the show fresh, unlike some other shows which have become dated over the years.
The basic premise behind the show is of a top British secret agent who has handed in his resignation without any explanation. Later that day he is kidnapped and transported to The Village, a sinister internment camp at an unknown location. There he is given a number, Six, and a constant stream of interrogators, known only as Number Two, attempt to discover the reasons behind his sudden departure from his job, 'by hook or by crook.' The fact there is a different Number Two every week indicates that failure is not tolerated! As Six resists disclosing his precious information and conforming to the social patterns of The Village, he faces the ever-present question of the identity of Number One and which side is in control.
Part of the enigma of the programme is the fact that while Six wonders about Number One, the audience are wondering about his identity. Many people, including the show's script editor George Markstein, are adamant that the character is John Drake and the show is a continuation of Dangerman. However Patrick McGoohan denies this. Even in the closing moments of the final episodes, as the names of the participating actors appear on the screen, the protagonist is billed simply as Prisoner.
Questions play an important part in the series. Most of Number Six's dialogue is questions. Then there is the famous opening exchange ('What do you want?'), the omnipresent question of the identities of Number One, Six, and the people who run The Village, the reason for the resignation, the list is endless. However, there are no direct answers. In a way The Prisoner is an early form of interactive TV. The viewers are left to interpret events and decide on their own perceptions of the outcome. When you look at it in this way, the programme truly becomes a pioneering piece, striking a blow for independent thought by not handing the audience all the answers on a plate.
You may think that a show set in a mysterious, but aesthetically pleasing prison camp has the potential to become stale very rapidly, however The Prisoner (as a programme) used various methods to 'escape' the confines of The Village. Dream sequences, fabricated escapes and even a children's bedtime story are used in imaginative ways to keep the series ticking over without familiarity setting in.
After my mammoth video session, there are a few episodes that stand out as shining examples of Cult TV, at least in my opinion anyway. 'The Schizoid Man' is a doppelganger tale with a clever twist. It's obvious which Number Six is the real one, but because it's so obvious you become doubtful of your own perceptions. The episode leaves you sure that whoever is running The Village has a devious mind, and more than capable of breaking lesser men than Number Six in an instant. 'Hammer Into Anvil' is truly a classic. As an act of revenge Number Six uses every psychological trick he can to make Number Two (played superbly by the late Patrick Cargill) so paranoid that his authority is undermined, and he is pushed over the edge. The role reversal, although an oft used plot device, is here used to great effect, as Number Two slowly degenerates into complete paranoia. 'Living In Harmony' takes us away from The Village. Number Six is subjected to a hallucinogenic drug and acts out a Western scenario in which he is a retired sheriff who refused to carry a gun. The best thing about this episode is the opening sequence, a cowboy film style remake of the original resignation scene used since the first episode.
The final two episodes are often quoted as televisual classics. Of the two, the penultimate, 'Once Upon A Time', is the one I prefer. The massively ad-libbed dialogue between Six and Two is so fast paced it's breathtaking. I watched this episode late one night with only my sister and myself in the room. She was busy working on something else, but didn't mind me watching a video. At the end of a particularly dramatic exchange between the two leads, I suddenly heard my sister exhale. She was so sucked into the scene she had been holding her breath! From then on she stopped what she was doing and finished watching it with me. Imagine our parents confusion when their usually squabbling offspring spent the next day re-enacting parts of that particular episode. Even now we occasionally punctuate silences with the odd 'pop', which is guaranteed to confound most company.
The series has continued to have an influence on television, mainly due to its memorable imagery. Even now, occasionally a TV show will tip its hat to The Prisoner, or an advert will purloin the familiar themes and visuals to sell anything from cars to insurance. Most television homages are spoofs on the series ( or perhaps that should be 'humourous tributes') ranging from a couple of Tube shows including a special titled 'The Laughing Prisoner' to popular sit-coms such as 'Sorry' and '2.4 Children.' Even other Cult TV shows have gotten in on the act, most notably Babylon 5. The show's creator is a big fan of The Prisoner and hopes to persuade Patrick McGoohan to appear in the series before the end of its five year story arc. Babylon 5 has contained various Prisoner references including coded messages on display screens and more noticeably Bester (the dastardly Psi-Cop played by Walter Koenig of Star Trek) and a traitorous security officer's used of the greeting 'Be Seeing You' to indicate hidden conspiracies. Apparently there have also been Prisoner references in The X Files.
With plans under way for a Prisoner movie, penned by Patrick McGoohan, it's highly unlikely that this is a Cult TV show that will ever be forgotten about.
Guest Stars - Paul Eddington, Patsy Smart, Peter Bowles, Donald Sinden, Patrick Cargill, Duncan Macrae, Victor Maddern, Annette Andre, Mark Eden, Wanda Ventham, Nigel Stock, Alexis Kanner
Number Twos - Guy Doleman, George Baker, Leo McKern, Colin Gordon, Eric Portman, Anton Rodgers, Georgina Cookson, Mary Morris, Peter Wyngarde, Patrick Cargill, Derren Nesbitt, Andre Van Gysegham, John Sharp, Clifford Evans, David Bauer, Kenneth Griffith.
FACTS
Film Review by Janina McCarthy
CAST LIST
Rupert Burkin - Alan Bates
Hermione Roddice - Eleanor Bron
Gudrun Brangwen - Glenda Jackson
Ursula Brangwen - Jennie Linden
Gerald Crich - Oliver Reed
Now you people out there in punterland are going to think I'm a right perv [what do you mean think, we know! - A-Mx] but if I got hormonal over Alan Bates in Georgy Girl then this film does things to me that I can't even begin to describe!!
Released in 1969 this Ken Russell directed adaptation of what has to be DH Lawrence's greatest novel (forget Lady Chatterley's Lover or The Rainbow) is a wonderful exploration of a man's desire for woman, with touches of the 'lad' factor. Gerald and Rupert obviously have very strong feelings towards each other and the best way to express that is to vye for domination by wrestling naked in front of a log fire (obviously!)
To go into perfect detail about the plots, for there are several, would mean me re-writing the book, which is a bit pointless, for the beauty of this film isn't the plotlines or the script or even the nude wrestling scene (Alan Bates starkers - oh - there I go getting all basic again!) The beauty of this film is its intensity from the very first frame, and the passion of the characters, not just for each other but their beliefs, their hopes and fears. You will Rupert to free himself of the dreadful Hermione and give into the feeling that he and Ursula obviously share. Gudrun, self-willed and single-minded, an almost mirror image of Gerald, and the timebomb under their relationship which finally explodes with the most tragic of consequences. I felt emotionally dead the first time I saw this film, I'd never experienced anything as remotely intense as I was being shown, but with age and experience you begin to understand why human beings put themselves through such emotional torture in the name of true love. Watch the film, read the book and be awakened.