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‘Aelita, Queen of Mars’: Feed your Soviet sci- fi fixation with this wild 1924 silent film
10.01.2013
04:18 pm
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Aelita poster
German movie poster for Aelita
 
I’m always annoyed at how difficult it is to convince someone to check out a silent film. Why is it like pulling teeth to get folks to experience some of the most dynamic, expressive, and yes, entertaining movies of all time? Case in point, Aelita: Queen of Mars, the first Soviet science fiction film and an absolutely captivating watch from beginning to end.

Based on a novel by Alexei Tolstoy (writer, Nazi apprehender, and distant relative of that other Tolstoy ),Aelita: Queen of Mars is set primarily in post-war Moscow and (you guessed it) Mars. After receiving a mysterious message from outer space, Soviet Engineer Los builds a spaceship. Cut to Mars, where the Emperor Tuskub maintains absolute power, and keeps the Martian proletariat in cold storage when not using their labor. His daughter Aelita has been watching Los through a telescope. She’s fascinated with Earthly ways of life and infatuated with Los, but she’s forbidden from using the telescope, as Tuskub is suspicious of her fascination with the aliens.

When Los comes home one day to catch his wife Natasha friendly with their tenant, a black market criminal, he shoots her in a fit of rage. Disillusioned with his marriage, he sets off for Mars in his ship, taking with him the dynamic revolutionary adventurer, Gusev, who just so happened to be hanging around. When they arrive they’re immediately thrown in prison, along with Aelita as a conspirator. I don’t want to give anything away, but let’s just remember that Soviets were really into revolutionary uprisings. There’s even a scene where a hammer and sickle are smithed, though it’s actually the hammer and sickle being smashed out of shape, shot in reverse for a primitive (but impressive) special effect.
 
Aelita stills
The film boasted groundbreaking sets and costume designs.
 
The acting is beautiful and romantic, the plot is grandiose and ambitious, and visually, it’s completely epic. Far from two-dimensional propaganda, the film is complex and nuanced: Natasha and Los’ tenant actually acknowledges the shortages and rationing of the Soviet Union, which is probably why the film eventually fell out of favor with the Soviet government. I cannot recommend this movie enough, as I re-watch it every few months. It’s available on YouTube in its entirety, below.
 

Posted by Amber Frost
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10.01.2013
04:18 pm
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You’re NOT on ‘Candid Camera’: Allen Funt was on hijacked flight, passengers took it for a prank
10.01.2013
03:06 pm
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Allen Funt
 
In 1969 Allen Funt was one of the most famous men in America. His brainchild, Candid Camera, had been a CBS mainstay from 1960 to 1967, entertaining millions of Americans every week with its trademark hidden camera pranks—everyone knew Allen Funt, and everyone associated him with Candid Camera. “Smile! You’re on Candid Camera!” was a catchphrase known to just about everybody.

But fame has its curious effects. On February 2, 1969, Funt, his wife, and his two youngest children boarded Eastern Airlines Flight 7 in Newark with a destination of Miami. The plane never made it to Miami because two men hijacked the airplane and demanded passage to Cuba—but some of the passengers, having spotted Funt, took the whole thing to be a Candid Camera stunt. 

Allen Funt’s daughter Juliet Funt, who was 2 years old at the time, recently recalled the incident in front of a live audience. Her account is engaging, but she draws conclusions about the difficulty of breaking groups of people from a “trance” that, well, aren’t the conclusions I would have drawn. In addition she gets a couple of basic details wrong. The flight didn’t leave JFK Airport in 1968, it was a flight out of Newark Airport in February 1969.

According to the New York Times, 93 people were on the flight, and it was the twelfth hijacking incident of 1969—remember, this happened in early February. For reasons that are difficult to reconstruct today, hijacking planes and taking them to Cuba became a “thing” in the late 1960s. It was a common trope that people like Johnny Carson and the Monty Python guys used regularly. I guarantee that Laugh-In had jokes about it. I’ve added not one but two Monty Python hijacking sketches; they’re at the end of this post.
 
Hijack No Stunt By Allen Funt
 
Here’s the text of that article, which was written by Funt himself and appeared in many newspapers, including the Ocala Star-Banner, on February 4, 1969.
 

Hijack No Stunt By Allen Funt

When the captain of our plane announced that we were going to Havana instead of Miami, at least four people who recognized me pounced on me, certain that it was a Candid Camera stunt.

But it was anything in the world but a stunt. There was a little fat man with a 10-inch knife held at the neck of a stewardess and he was not smiling.

It started out as a combination business and pleasure trip. My wife, Marilyn, and the youngest two of my five children, were coming with me as well as a complete camera crew.

For 11 hours we were the guests of Mr. Castro. They fed us, guided us and treated us with courtesy, with one exception.

If you wanted any information, everybody was suddenly deaf and dumb. There was no telephone, no way to send a wire, no one to talk to except Cubans and they wouldn’t say a word.

When they were good and ready and that means, when they ran up a bill for about $5,000, they found our airplane which I know was sitting there waiting for us for five hours. This was at Varadero, where we had been taken by bus from Havana airport.

Looking back at the experience, the unbelievable thing is the way everybody took it as one big joke. We saw the knife but everybody was cool and calm, just a little annoyed at the delay.

It is strange how you can be so close to danger and not feel it.

The biggest joke for me was how much the whole thing looked like a bad movie. Nobody looked the part. The hijackers were ridiculous in their business suits. The captain with super calm announced that we were going to Havana because two gentlemen seemed to want to go there.

On the bus to Varadero, we went through the heart of the formerly gay Havana. It was obvious that something had been allowed to go to pot. The guide makes sure you notice the new and rather imposing buildings which include the President’s Palace, the army headquarters and the Havana library.

The hero and heroine of the trip were my 1-year-old son William and my 2-year-old daughter Juliet. They spent the longest day in their young lives with hardly a whimper. We were planning to put the finishing touches on our feature film entitled “What Do You Say to a Naked Lady?” but the little fat man with the long knife changed all that.

The movie we are making is the only one in history which is done 100 per cent with a hidden camera. Now we are going home. There has been so much publicity that anything suspicious that occurs will make people watch. We’ll come back one day and film the scene.

 
Juliet Funt makes it seem like the passengers decided to make the whole thing a big party—Allen’s account doesn’t really support that. Juliet mentions that the passengers gave the hijackers a standing ovation—Allen mentions no such thing.

As Funt says, he was traveling in order to do some work on his “adult”-oriented movie version of Candid Camera—good idea!—a movie called What Do You Say to a Naked Lady? That movie was released in 1970 and was initially given an X rating; eventually an edited version received an R. The trailer is pretty darn diverting:
 

 
Here’s Juliet Funt’s presentation of the story:

 
After the jump, two Monty Python sketches about hijacking planes….
 
via reddit

READ ON
Posted by Martin Schneider
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10.01.2013
03:06 pm
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Revisiting ‘Sean,’ the four-year-old child of Haight-Ashbury hippies, 1970
10.01.2013
02:40 pm
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Sean
 
In 1970, amateur documentarian Ralph Arlyck made a short film on his downstairs neighbor’s four-year-old son, Sean. The eponymous 15 minute interview is one of the most stirring relics of hippie-era America. In the movie, a dirty child struggles to list off the days of the week, runs barefoot through the streets of San Francisco, and discusses smoking pot without a hint of discretion. Expressing anxiety at “getting busted,” Sean is unsure of the role or purpose of the police, and you can hear the stress in his voice as he parrots the anti-authoritarian rhetoric of the hippies. He’s too young to really understand “fuck the police,” and he’s left apprehensive about his own safety and security, and that of his parents, I’m sure.

When Sean (the documentary) made the rounds—even landing a screening at The White House—reactions were as strong as they were varied. Some saw Sean as the first in a new generation of children free of bourgeois values. Many others were (understandably) concerned. Sean’s purported drug use alone was enough to raise eyebrows, but even without a mention of pot, you see a dirty, somewhat nervous child that doesn’t appear to be receiving proper care. Predictions of his future ranged from stockbroker to drug dealer, but Sean quickly disappeared from the public eye.

In 2005 Ralph Arlyck made a follow-up to the film, called Following Sean, which is now streaming on Netflix. Hoping to sate his own curiosity about Sean’s adult life, Arlyck found Sean was neither a stock-broker, a freak, nor a name in an obituary, but a working class electrician with a confident industriousness and a quiet humor. The film filled in the gaps of Sean’s life; he and his siblings (at least one of which didn’t fare as well as he did in terms of life success) were split up and moved around during his younger years. Sean’s father practiced free love, and once brought Sean with him to meet a teenage girlfriend. Sean’s mother eventually took the children after separating from their father, and she began to follow a guru.

Sean admits that he wasn’t keen on the guru, but at least his mother was more committed to providing him stability than his father. You can see how Sean’s childhood formed his adult values, which are at least somewhat of a reaction to his father’s erratic parenting. While he doesn’t complain much about his upbringing and appears to have a good relationship with his father (who is now financially dependent on his children), he’s clearly not a fan of the hippie lifestyle, especially not for families.

When you see Sean with his own son, he’s engaged and dedicated, determined to be maintain a consistency that he never had. Adult Sean values family and security above all else, and he truly seems happy. Still, the image of a young Sean has so much impact; while no one can predict the trajectory of a child, you get the impression he escaped a rough life by the skin of his teeth.
 

Posted by Amber Frost
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10.01.2013
02:40 pm
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Astounding gospel guitar form settles into a new home - Toledo, OH
10.01.2013
02:20 pm
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willie eason
 
A Pentecostal couple in Toledo (Ohio’s suburb of Detroit) have endeavored to make their city a hub for a hybrid style of Hawaiian and Blues guitar playing that hasn’t found significant footing outside of steel guitar interest groups and two very specific African-American Christian denominations. Del Ray and Kelli Grace founded Sacred Strings Recordings in 2009, with an aim to the preservation and awareness of “Sacred Steel,” a form of gospel music largely established by one Willie Eason (1921-2005). Check out this marvelous interview and performance by Eason, talking and singing about FDR.
 

 
Eason learned steel guitar from his older brother Troman, who had learned lap steel in the Hawaiian style. Willie’s innovation was to merge Hawaiian with Blues, intending to imitate gospel singing with single guitar notes. The Tomans introduced their guitars into church services in lieu of organs, after which the style took off. I quote Wikipedia here at perhaps greater length than necessary, but I simply had to include all those awesome church names:

The Church of the Living God, the Pillar and Ground of the Truth, was founded in 1903 by Mary Magdalena Lewis Tate. Following her death in 1930, the church divided into three branches, known as the Keith, Jewell and Lewis dominions. The steel guitar was embraced in the worship of two of these dominions, the Keith Dominion (officially, The House of God Which Is the Church of the Living God the Pillar and Ground of the Truth Without Controversy), headquartered in Nashville and the Jewell Dominion (Church of the Living God, Pillar and Ground of the Truth, Which He Purchased With His Own Blood, Inc.) headquartered in Indianapolis. Brothers Troman and Willie Eason introduced lap steel guitar to worship services in place of the traditional organ. This new instrument was met with great enthusiasm and taken up by others including the Bishop J.R. Lockley. The three toured together and later Willie put the new style down on record, recording a total of eighteen sides in the 1940s and 50s.

Since then, sacred steel has grown and flourished within the Keith and Jewell Dominions in churches in at least 22 states, including Alabama, Connecticut, Florida, Georgia, Indiana, Michigan, Mississippi, North Carolina, New Jersey, New York, South Carolina and Tennessee.

And Ohio, clearly. The Graces in Toledo have played host, for four years now, to an annual national gathering of Sacred Steel players, established a Hall Of Fame and a 501c3, and released recordings on their aforementioned label. But perhaps most importantly, they’ve established a YouTube channel chock full of performances. You have to forgive some sub-wedding caliber video production, but it’s worth it. When the guitarists kick in, shit gets all good and boisterous real quick.
 

 
Yeah, they’ve got TONS more like that. If this sort of thing is your bag, I wish you happy hunting. For more on the story of the music, I leave you with this generously long clip from the Arhoolie Records documentary Sacred Steel: The Steel Guitar Tradition of the House of God Churches.
 

Posted by Ron Kretsch
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10.01.2013
02:20 pm
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‘You get NOTHING!’ Jon Stewart rips the GOP shutdown with one of his most profound punchlines, ever


 
Since none of them probably watch The Daily Show, why not share this clip with every idiot Republican you know, work with or are related to? (Every single blood-relative of mine is a Republican and a Creationist, they don’t seek out Jon Stewart. This morning, he’s coming to them.)

Stewart lays out what’s at stake in the current crisis in Washington so clearly that even a Republican could understand it.

His punchline at the very end is pretty profound. This isn’t necessarily Jon Stewart at his funniest, but this is a must-see segment nonetheless.
 

Posted by Richard Metzger
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10.01.2013
01:12 pm
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The snottiest, snoggiest Jesus and Mary Chain interview ever, 1986
10.01.2013
11:29 am
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I’m of the opinion that The Jesus and Mary Chain created some of the most beautiful, lulling, sometimes jarring sounds in all of rock ‘n’ roll. But they also gave some of the sourest, most testy interviews of the MTV generation. They were famous for deflecting questions, contradicting interviewers, and refusing to acknowledge any peers or comparable groups. They also lacked no ego when asserting the value and innovation of their own work, describing themselves as one of the few good bands at an overwhelmingly unimpressive moment in music history. Perhaps true, but still, guys!

But I found the best one. I found the best Jesus and Mary Chain interview of all. It’s not because their carefully feigned trademark annoyance and boredom is at a fever pitch. It’s not because they undermine every band compared to them, including The Sex Pistols, who Jim Reid later credited with inspiring he and his brother to start a band. It’s not even because Reid is totally screwing with the interviewer, making snide comments on the band’s commercial ambitions to compete with Duran Duran and Culture Club.

No, this is the best/worst Jesus and Mary Chain interview ever, because in the middle of a question, apropos of nothing, then-drummer Bobby Gillespie just starts making out with an unidentified woman on the couch. It is never explained, announced, or acknowledged, but Gillespie just keeps on macking away. The poor cameraman attempts to focus on Reid, who does most of the talking, and appears oblivious, but after a while the close-up feels awkward, and the shot has to include Gillespie’s stunt. While I find the whole thing amusing, I hope everyone on set got a raise for going with the mighty weird flow here…
 

 

Posted by Amber Frost
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10.01.2013
11:29 am
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Kansai Yamamoto’s fantastic outfits for David Bowie’s ‘Aladdin Sane’ tour
10.01.2013
11:11 am
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Bowie Yamamoto
 
Kansai Yamamoto was one of the most important “Japanese Contemporary” fashion designers who arrived on the scene in the 1970s, His primary accomplishment as a young designer was to appropriate the traditional Japanese garb of the past—kimonos, samurai armor, and so forth—and from them create enchanting modern variations.

Bowie has said that Yamamoto was “100 per cent responsible for the Ziggy haircut and colour,” saying, according to Peter Doggett’s book The Man Who Sold the World: David Bowie and the 1970s, “He had just unleashed all the Kabuki- and Noh-inspired clothes on London, and one of his models had the Kanuki lion’s mane on her head, this bright red thing.” 

According to Cameron Silve’s Decades: A Century of Fashion, Yamamoto said of Bowie, “He has an unusual face, don’t you think? He’s neither man nor woman, if you see what I mean, which suited me as a designer because most of my clothes are for either sex.”

For his Aladdin Sane tour, Bowie sought Yamamoto out for some wacked-out space-age costumery, and Yamamoto produced the following looks:
 
Bowie Yamamoto
 
Bowie Yamamoto
 
Bowie Yamamoto
 
Bowie Yamamoto
 
Bowie Yamamoto
 
Bowie Yamamoto
 
Here’s Bowie with the designer:
Bowie Yamamoto
 

Previously on Dangerous Minds:
‘Who will live Aladdin Sane?’: Bowie building set for 2012 construction
A lad in Hanes: David Bowie in his skivvies, 1973

Posted by Martin Schneider
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10.01.2013
11:11 am
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‘House of Turds’: The most instantly iconic New York Daily News cover in history?


 
One for the ages, here. One John Boehner will never, ever live down.

Superb! It certainly beats the previous winner by a longshot.

Posted by Richard Metzger
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10.01.2013
10:53 am
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If you thought CBGB’s bathrooms were full of shit check out the movie
10.01.2013
02:20 am
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If you think these are The Ramones, man do I have a movie for you.
 
CBGB is a dreadful film. Dramatically inert and ridiculously inauthentic, the whole thing has about as much punk credibility as an off-the-rack $30 Ramones t-shirt from Hot Topic. From its stupendously inept chronological fuck-ups (walls are covered with band stickers before any bands have played there) to its unintentionally hilarious depictions of rockers like Stiv Bators, Richard Hell and Iggy Pop, CBGB belongs in a very special place, a hideously horrible hellish place, reserved for films like Oliver Stone’s hateful The Doors and the Tom Cruise does Axl Rose crapfest Rock of Ages. CBGB really really sucks shit.

The film fails in almost every way as a history of the legendary rock venue. But seeing as it’s ultimately not really about CBGB but its founder, Hilly Kristal, one might be tempted to forgive its failures in its depiction of the club, the bands and the downtown New York scene of the 1970s. If the movie somehow had managed to enter the head of Kristal and made him the compelling oddball the writers and director seems to think he is (and history suggests he must have been), then maybe CBGB might have succeeded as a character study of a ramshackle visionary. After all, it has the benefit of a charismatic actor, Alan Rickman, playing Kristal. But no, the so-called godfather of punk, comes off as a likable but totally uninteresting schlub. He walks through the movie with a detached and slightly bewildered expression on his face that might kindly be described as Zen-like or less kindly as clueless. This is not a man who created history but had history thrust upon him and at no point seemed to quite comprehend what the fuck was going on. In reality, Hilly may have been hard to get a handle on but he was far shrewder and savvy than the malleable lump in the movie. The appearance of detachment was in part the result of having to counter the intensity of his ex-wife and daughter, both of whom became legendary for their high-strung presence at the door and throughout the club. Someone had to keep the broads from harshing the mellow. Just talking to them on the phone was enough to turn your nuts to mothballs.

As to the films hilariously amateurish recreation of CBGB during its heyday, the characterizations of the punk rock pioneers in the film would be character assassination if they weren’t so fucking ludicrous. Some of this shit has to be seen to be believed. From a hectoring, shrewish Patti Smith (uncharacteristically calling her fans “motherfuckers” and singing “Because The Night” two years before Springsteen wrote it) to a pathetically sexless Iggy Pop or Lou Reed, looking like a cross between Eminem and the Pillsbury Doughboy, or the tight-ass actress playing Debbie Harry with absolutely no feel for the delightfully clunky, self-aware, sex-kitten charm of the Bowery’s platinum blondie, this movie manages to suck all of the rock ‘n’ roll magic out of every single performer it supposedly celebrates. But it really hits bottom in the way The Ramones are treated. The boys from Queens were four extraordinarily interesting human beings. They were smart, they knew what they were doing and their sense of rock history was deep and profound. The movie treats them like losers, takes them at face value and totally misses out on the passion and brilliance of their concept. Time has proven their immortality. The movie diminishes them in a way that I find obscene.

In fact, the movie diminishes everything it touches. The bands that made CBGB the center of the rock ‘n’ roll universe for several remarkable years are given zero credit for their art. The movie is more interested in the cockroaches, junkies and rats that rattled around CBGB than the extraordinary music that was forged within its decaying walls. CBGB, the movie, is an insult to every band that played there. It is particularly infuriating that the film insinuates that it took The Police performing at the club to legitimize it. I was at the Police gig. The joint was half empty and while the band was terrific there was no sense of history being made. It didn’t come close to those nights that The Cramps, X Ray Spex, Bad Brains or Willie Loco Alexander obliterated the molecular structure of the joint and instantaneously remade it in a higher form of architectural bliss. Or one of the many nights Suicide or James Chance terrorized their fans, reminding us that art ain’t necessarily pretty.

Despite artists like Bad Brains, The Planets, Living Colour, Poly Styrene, The Voidoids, my band (The Nails), James “Blood” Ulmer, The Dead Kennedys, Fishbone and countless other groups featuring Black musicians that played CBGB, there’s not a single black face in CBGB . Not one. The only dark skin in the all-white mix are some stereotypical, knife-wielding, Puerto Rican street creeps stabbing Dead Boy Johnny Blitz. While historically accurate, it’s a shame that this is the only scene in which the viewer is made aware of the rich cultural diversity of the Lower East Side in the years before Starbucks and John Varvatos. 

Fortunately, I can’t imagine CBGB finding an audience willing to spend a dime on this glob of pustulating spit. The film’s clueless director Randall Miller has taken a stage dive into the arms of nothingness and somewhere Stiv Bators is quietly snickering at the goofiness of it all.

For the record, I knew many of the musicians portrayed in this movie. I knew how they moved, how they talked and how they looked on and offstage. CBGB gets it wrong in almost every way in how the actors portray these musicians. In some cases it goes so far as to be insulting. My friend Terry Ork is particularly done an injustice. He comes off as some small-time hustler with visions of grandeur. In reality, Terry was a guy who worked a day job (one he quite enjoyed) in order to finance his indie label, Ork Records. He believed in the music, the art of it, money wasn’t his driving force. Stiv Bators was a sweet and gracious cat who in no way resembles the dim-witted thug depicted in the movie. And I can assure you that Iggy Pop was not hanging out at CBGB, lonely and half-naked, looking to get his cock sucked. As to the guys who were there and participated in the creation of this flick, Cheetah Chrome and John Holmstrom, I can’t imagine you’re too proud of the outcome. I hope you were paid well because the movie makes you look like fools.
 

Posted by Marc Campbell
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10.01.2013
02:20 am
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‘We are all prisoners’: Patrick McGoohan explains his cult series ‘The Prisoner’
09.30.2013
08:09 pm
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renosirpehtnahoogcmkcirtap.jpg
 
A rare interview with Patrick McGoohan, in which he discusses, with Warner Troyer, the ideas, themes and meaning behind his cult series, The Prisoner.

“How free are we?” asks Patrick McGoohan, the creator and star of the series, “I think we’re being imprisoned and engulfed by…” here it almost seems unfair to continue in words, which cannot express his concerns as fully as the series does, but…“we’re being imprisoned and engulfed by a scientific and materialistic world. The Prisoner not only shows you why McGoohan is concerned, but offers alternative ways of looking at those concerns. For The Prisoner is an allegory that sets a man in unexplained captivity, depriving him of his liberty, privacy, and name. The series then tells of his successful efforts against all imaginable odds to regain his freedom. But he is struggling to gain his freedom from a world that strongly resembles our own world; only he sees it as a prison while we do not.

McGoohan’s series hooked a mass TV audience with its intelligent, clever, thrilling and entertaining scripts. Each episode was an event that left the audience either bewildered and angered, or enthralled and inspired. This was part of McGoohan’s intention, to create debate, have the viewers question their own reality. As McGoohan put it in this interview:

“Your village may be different from other people’s villages but we are all prisoners.”

The Prisoner was not some indulgent flight of fancy, McGoohan had written and planned the whole concept for the show long before a single frame was shot:

“There were these pages, don’t forget, at the very beginning, which laid out the whole concept; these forty-odd pages laid out the whole concept. That was no accident….

“...I was fortunate to have two or three creative people working with me, like my friend that I said saw the meteorological balloon. And wherever one could find these little touched, one put them in. But the design of the “Prisoner” thing, that was all clearly laid out from the outset…

“...And the style was also clearly laid out and the designs of the sets, those were all clearly laid out from the inception of it. There was no accident in that area, you know, the blazers, and the numbers and all that stuff, and the stupid little bicycles and all that….

“...You see, one of the things that is frustrating about making a piece of entertainment is trying to make it appeal to everybody. I think this is fatal. I don’t think you can do that. It’s done a great deal, you know. We have our horror movies and we have our science-fiction things. The best works are those that say…somebody says, ‘We want to do something this way,’ and do it, not because they’re aiming at a particular audience. They’re doing it because it’s a story they think is important, and is a statement that they want to make. And they do it and then whoever want to watch it, that’s their privilege. I mean, the painting in an art gallery, you know, you have a choice whether you go and look at this one or that one or the other one. You have a choice not even to go in.”

Recorded in Toronto in front of an invited audience in 1977, The Prisoner Puzzle is a wonderful treat for fans of Mr. McGoohan and his superb cult series.

Transcript for this interview is available here. Download the accompanying book The Prisoner Puzzle here.
 

 
Previously on Dangerous Minds

Patrick McGoohan: Behind-the-scenes photographs of ‘The Prisoner’ from 1967


 
With thanks to Joe Kilmartin!

Posted by Paul Gallagher
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09.30.2013
08:09 pm
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