review by Ronnie Soo
One thing you cannot accuse Carlton of is burying the ITC catalogue since they
bought the rights two years ago. “Prisoner” fans have been well served; we have
had a first-ever DVD release of the complete series, a special anniversary edition
DVD including the alternative “Arrival”, never released before of course, and the reprinting of the long out of print
novels based on the series. We also have this lavishly-produced A4 book by
Robert Fairclough, published by and written with full co-operation from
Carlton and including a brief, typically acerbic foreword from Kenneth
Griffith.
After even a cursory flick through its contents, anyone with an interest
in this series will be very tempted to buy the book. With many photos
taken on the set, publicity photos and full page stills both in colour and
B/W throughout the book, its picture content alone is a strong selling
point.
But this is far more than just a “Prisoner” picture book; before he even
gets to the episode guide the author sets the background through several
chapters: firstly asking “why” the programme remains popular after all
this time, then going on to profile the star Patrick McGoohan, detailing
his career up to that point which made him the highest-paid actor on
British TV (and which gave him the licence to make the Prisoner in the
first place), describing how the Prisoner became such an integral part of
the whole Sixties era, and lastly there is a profile of the television
company ITC and its colourful chairman Lew Grade, the man who gave us
“Danger Man”, “Department S”, “Randall and Hopkirk (Deceased)” and many
other memorable series of the time.
The in depth episode guide includes a brief outline of the two rejected
scripts: “Don’t Get Yourself Killed” and “The Outsider”. These are
presented in columns at the side of the main text, a style used to great
effect throughout the book; most notably to list the cast and production
team, and a brief spotlight on the guest stars of each episode in the
column “Pawns and Players”.
For the episode guide, the book follows a pretty straightforward format of
firstly setting the scene for each episode, a rundown on the character of
that episode’s Number 2, the ever changing Village Administrator, the
seemingly endless talents of Number 6, the central character, revealed as
the series progresses, background on the writing and production of the
episodes, and a summary of the story. It is here the author really earns
his corn; this section is extremely well presented and researched
accompanied by some startling production stills taken in the Borehamwood
studio – one in particular of the “beach” scene from “Chimes” is striking
because it makes apparent how little space was used to create a convincing
(for 1960s television) beach scene!
The following chapter describes how the series, and in particular the
bizarre conclusion “Fall Out”, was poorly received in the UK on its first
screening, and how during both its first repeat run and even the 1970s
run, critical response was at best, muted and at worst, downright hostile.
The author then goes on to outline the beginnings of the fan club “Six of
One” as a direct result of the 1970s repeat run, and finally covering the
various video versions released since the mid 80s. The irony of the
programme being sold on video, using its “bizarre” quality as an asset
rather than the liability the critics once saw it as, is not lost on the
author!
We are then introduced to the setting: Portmeirion itself and its creator,
Sir Clough Williams-Ellis. As well as describing the buildings that make
up this unique village, production on the series in Portmeirion is
discussed including the extensive use of locals as ‘extras’. The
interviews with the locals make clear many of those who got the chance to
be an extra on the series are proud to have done so; one in particular
even had his young daughter pose for a picture with PMcG, and that is
included in the book! The remaining chapters describe the series’ impact
on popular culture, from “The Laughing Prisoner” special featuring Jools
Holland to the late 80s comic book sequel, the inevitable use in
advertising - most memorably, of course in the Renault 21 car commercial -
and the use of Prisoner imagery on album covers like “Six” by the rock
band Mansun. Prisoner merchandising is well covered, from the Dinky Toys
Mini-Moke in the late 60s to the steady stream of books, T-shirts,
soundtrack albums and even some of the less obvious stuff like “Prisoner”
fruit drops (!) which could be bought from the Portmeirion shop in later
years. Some Six of One output including the magazine “In the Village” is
shown, and a cartoon by professional comic artist Lew Stringer is included
to illustrate Prisoner fans do have a sense of humour! The book closes
with a listing of original transmission dates for each episode, for each
ITV region, and what a surprise, we find that the local ITV region for
this area (Granada) was the last to transmit!
On reading this book, it is clear a lot of time and effort went into
getting the presentation and the facts right; some inevitably slip through
the net though, for example it is claimed that the missing sequence from
“A, B & C” shown on Channel 4 in 1983 was restored in the 1992
re-screening – not so, I recall the furore when it was realised the same
print was used again without the crucial footage - despite several
warnings to the television station! Such minor quibbles aside, the book
will appeal both to the committed fan and the more casual viewer, such is
its stylish presentation and easy to read text. You can pick it up at
almost any point and find something to enjoy.
I recommend this book highly, and congratulations must go to Robert
Fairclough and all at Carlton who provided assistance, for making this
book the definitive one on “The Prisoner”, and one no fan should be
without.
Carlton Books. ISBN: 1842224344
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