Danger Man to Prisoner: Patrick McGoohan

DATELINE: In His Mind 

Notorious Village at Portmerion, Wales

 

Portmerion is in Wales and was built in the 1960s to be an anomaly Italian resort by the sea. When actor Patrick McGoohan went there for an episode of his Danger Man series, he was struck by the rococo isolation—and it inspired him to create a seminal 1960s TV series, the cult-favorite The Prisoner.

McGoohan played the notorious #6 who is kidnapped as a secret agent and imprisoned by #2. It turned out to be 17 episodes, though he wanted only 7. And, the show, a marvel of modernity, became his Citizen Kane: a creation from top to bottom.

You may recall McGoohan chased on the beach by a giant white beach ball that returns him to the Village of imprisonment. Every episode he was bedeviled by a new #2. Number One was a mystery. He was #6. In My Mind is his story.

Under pseudonyms, he directed many episodes and wrote them. He was officially listed as executive producer, a man who was not a number. Imagine agent John Drake’s horror today when he would be even less than a number.

McGoohan created the props, the costumes, the settings, to be exactly what he wanted. It was a marvel that not even Orson Welles could critique.

McGoohan always played some kind of secret agent in so many films before he moved to Hollywood and did smaller character roles for the final 20 years of his career.

Director Steve Rodley was a superfan—and dug up a rare 1977 interview aobut The Prisoner, and he begged the reclusive McGoohan to talk with him in the 1990s in Los Angeles. To his surprise, the actor acceded. He also took over the interview, actually directing it. He was irascible and always quick to anger.

They once asked Lew Grade how he managed to get along with McGoohan—and he said he had no problems because he gave him whatever he wanted.

McGoohan’s daughter Catherine agreed to speak on behalf of her father, with reluctance, but knows his great series deserves an honor on its 50thanniversary in 2018.

The interspersing of McGoohan footage, on and off screen, at Portmerion and by amateur photogs, is amazing to behold. The actor manages to annotate his own great film role and project—and it was all in his mind from the start. After giving an interview about the Prisoner, McGoohan offered a blank check to buy back the video footage. it was refused.

Fans of the show cannot miss this documentary, and it may well bring more people to watch the original 1960s masterpiece.

Final Problems with the Series: Unhappy Ending

DATELINE:  Solution’s End

holmes-boys

Holmes boys—minus girl

There has always been a tendency to go overboard on flashbacks within hallucinations for the BBC update of Sherlock. And, trying to bring back Moriarty (wonderful over the top Andrew Scott), turned the final episode of Season 4 into a logistical pretzel.

The notion that Mycroft has locked up the homicidal sister of the Holmes boys is daring and ridiculous—and making her a girl with an interest in Jim Moriarty certainly allows for license. We fell into more plot holes during this episode than in the entire Holmes canon.

Alas, how the Holmes girl managed to escape her prisoner asylum island out in the middle of the nowhere ocean pushed the envelope and “note” clue from the Culverton Smith episode into a conflagration highlight of the last show.

Yes, she blows up 221b Baker Street and nearly kills all the stars. The residence will be rebuilt in a coda at episode’s end. However, overkill seems to have taken over, killing subtlety.

We really don’t want Sherlock to turn into the dreadful movie franchise with Robert Downey and Jude Law, utterly miscast lunacy. And, we are not amused to find the dreadful American TV series showing more intellect than this British counterpart.

Eurus is sister’s name.  It’s Greek for East Wind. Oh, we get it. Clever works, but pyrotechnics seem ready made for American TV ratings, not civilized British drama.

Mark Gatsiss finally has a big problem, not a solution.

The series likely will not return for two to three years, if ever. And it makes the “if ever” clause more attractive than anytime in the past four seasons.

The fourth season ends with conclusion that might suffice if production and stars never do another. It also sets a clean slate for future episodes with Holmes and Watson in Conan Doyle style again. Quien sabe?