Danger Man – The Traitor

Drake is tracking a traitor, Blatta (George A. Cooper), across Northern India. He knows that Blatta is passing secrets to the enemy, but he doesn’t know how. Then on their arrival in Karaz, Blatta makes contact with an Englishwoman called Louise Goddard (Barbara Shelley) …

Based on the episode title, I was expecting George A. Cooper to feature strongly. But in fact he never gets to utter a word and the traitor of the title turns out to be someone else completely.

Before this reveal, there’s some preamble to attend to. Drake’s contact in Karaz is Banarji (Warren Mitchell). He’s one of two actors browned up for the episode although Mitchell’s performance is a little subtler than it might first appear. Banarji, a marketplace hawker, begins by giving it the full Peter Sellers “goodness gracious me”, but once he’s happy that he and Drake can’t be overheard, this act is dropped and he becomes much more businesslike.

The Traitor is another largely studio-bound story, although the marketplace set is very effective thanks to a number of extras milling about and several convincing backdrops. Add in a few brief establishing shots via stock footage and overall the illusion that we’re in India is well done.

Jack Watling offers a decent cameo as Rollo Waters, an amiably alcoholic garage owner. Rollo’s connection to the plot is fairly tenuous – it’s at his garage that (by a remarkable coincidence) Drake first spots Louise Goddard.

Drake learns that Louise lives in the mountains with her husband. On arrival there he’s instantly befriended by Noel Goddard (Ronald Howard) who offers Drake the run of the house, telling him that due to their remote location they very rarely see anyone.

Goddard’s hysteria at the thought that Drake might not stay is the first chink in his character, as otherwise he radiates an aura of urbanity. Howard essays an excellent performance as does Barbara Shelley – the relationship between the Goddards and the way they deal with Drake the interloper is nicely teased out.

Although I’ve had some harsh words previously about Danger Man’s plotting, there’s little to complain about here. For example, the puzzle as to why Goddard stays isolated in the mountains and never ventures down to the city is eventually answered and proves to be the crux of the episode.

The confrontation between Drake and Goddard after both their identities are revealed – Drake the NATO agent, Goddard the spy – crackles with energy. Goddard’s reasons for spying are ideological, not money-based, so Drake finds it impossible to break his resolve. Louise Goddard stays more in the shadows, but it’s plain she was a devoted helper (but resumably because she wanted to help her husband rather than out of any strongly held convictions).

It’s interesting that Louise, despite her complicity, doesn’t seem to pique Drake’s interest – it’s only Goddard that he’s interested in. This is about the only plot niggle I can see, apart from wondering why Goddard’s servant Panah (Derek Sydney – the other actor browned up) later attempts to kill him. Maybe Panah was in the pay of the foreign power.

Goddard’s failing health is revealed to be the reason why he remains in the mountains – if he travels down into the heat of the city then his life expectancy will be short. Drake realises this, but is still determined to bring him to justice. This concludes the episode in a suitably downbeat way and, apart from the last melodramatic musical sting, it’s a very effective closer.

I’ve had a quick look at the two reviews on IMDb and was slightly surprised to see that both were quite negative. For me, The Traitor is a top-notch effort – thanks to McGoohan, Howard and Shelley. It’s possible to argue that there’s little tension in the episode as you never believe for a minute that Goddard will be able to fulfill his orders to eliminate Drake. But then Goddard isn’t that sort of traitor – he’s a detached, intellectual sort of spy, so it entirely fits his character for him to quietly accept his fate.

Danger Man – View from the Villa

Drake’s holiday in Rome is cut short after he’s asked to investigate the murder of a banker called Frank Delroy (Philip Latham). It appears that Delroy, a man of previously unimpeachable character, has somehow managed to steal five million dollars worth of gold bullion. The location of the gold is currently unknown and the only lead for Drake is Delroy’s mistress, a witness to the murder whose identity is a mystery ….

Philip Latham is the latest quality actor who doesn’t make it past the opening credits. He’s given one slap too many by Mego (Colin Douglas), which is unfortunate since he hasn’t yet told Mego’s employer – Tony Mayne (John Lee) – where the gold is hidden. Douglas, not gifted any dialogue throughout the episode, is suitably imposing although there’s something faintly comic about Mego (maybe it’s the hat – see the Doctor Who story City of Death for further evidence that it’s hard to be a convincing heavy when you wear a hat).

Plot-wise, this script by Ralph Smart and Brian Clemens is a little lacking. We never learn why the whiter-than-white Delroy decides to suddenly risk everything by stealing the gold (nor how he did it). Also, Mayne’s connection with Delroy isn’t made clear. We do later discover that Mayne is in cahoots with Delroy’s estranged wife Stella (a wonderfully acid performance from Delphi Lawrence) although as she clearly loathes her husband with a passion, it’s unlikely he would have confided his nefarious plans to her.

The flat where Delroy was murdered contains several items of women’s clothing. Drake takes them to the shop where they came from and speaks to the proprietor, Gina Scarlotti (Barbara Shelley). She seems to do her best to help him, but every clue Drake is given turns out to be a frustrating dead end. Shelley’s performance has an appealing touch of vulnerability (it shouldn’t come as a shock to learn that Gina was Delroy’s mistress) although the fact Shelley is dubbed throughout is a bit of a problem.

In addition to the usual stock footage shots, there’s some nice work with a backcloth during a restaurant scene which helps to sell the illusion that we’re in Rome. That’s strengthened thanks to several minutes of location filming at Portmeirion. Clearly this location was filed away for later use ….

The episode climaxes with an entertaining punch up – Drake takes on Mayne and Mego and wins (although he has a helping hand from Gina, who shoots Mayne before he can do Drake any serious harm). The mystery of the missing gold is also resolved, although it’s best not to dwell on this part of the story too much.

Gina is insistent that she knows nothing about the gold, but it’s found remarkably easily in her holiday home. Delroy hid it in a packing case under a pile of books. Hmm. Given that this amount of bullion would be rather heavy (to put it mildly) just how did he get it all the way from Rome and inside her villa without anyone noticing?

The Saint – The Covetous Headsman

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The ever-optimistic Simon is hopeful that his travelling companion on the flight from America to France will be a beautiful young woman.  And his wishes are answered after Valerie North (Barbara Shelley) takes the place next to him.  With seven hours to fill they have plenty of time to chat, so she tells him that she’s making the trip to Paris in order to be reunited with her brother, Charles, who she hasn’t seen since they were separated as children during the strife of WW2.

But there will be no happy reunion as Valerie arrives to receive the terrible news that her brother is dead, his body recently fished out of the Seine.  And when her life also appears to be in danger, things look even bleaker.  Luckily for her, she has a Knight Errant – the ever resourceful Simon Templar ….

This week we’re in Paris, which is inevitably represented by stock footage.  It’s sadly rather grainy and therefore stands out somewhat from the sharp picture elsewhere (as so often during ITC series of this vintage, suspension of disbelief is required).

There are some interesting French accents on offer here, although some actors – such as Eugene Deckers, playing Inspector Quercy – were born a little closer to France (Belgium) so he’s pretty credible.  The veteran American actress Josephine Brown seemed an odd choice to play a French crone, Madame Duras, but she’s splendidly entertaining during her scenes.  Madame Duras was Charles’ landlady and her quick tongue manages to infuriate the police (who unchivalrously refer to her as an old bag!).

After a few average episodes, this feels more like classic Saint.  Simon has a beautiful damsel in distress – Valerie – to protect and a collection of ungodly ruffians to beat up.  Chief amongst the ungodly is the ever watchable George Pastell as Georges Ollivant.  Ollivant was a collaborator during WW2 and it quickly becomes clear that the mystery of Charles’ death is connected to buried secrets from the war.

Although it initially seems unlikely that the youthful Simon could have been a member of the resistance during WW2, it’s just about credible.  Roger Moore was born in 1927, so if Simon’s the same age then the Saint would have been eighteen in 1945.  And when Simon later runs into an old colleague from his war days, Antoine Louvois (Esmond Knight), Antoine does comment that Simon was “so brave, and so very, very young”.

Simon later entertains the beautiful nightclub singer Josie Clavel (it’s a tough job, but somebody’s got to do it).  Although to be fair to the Saint, it’s strictly business, as he’s hopeful that Josie – a close friend of Charles – might be able to shine some light on the mystery of why Charles was robbed of a medallion (the fact that Valerie – who owns an almost identical medallion – was also targeted, suggests that it’s key to solving the mystery).

The Covetous Headsman ticks along nicely.  Pastell, a vision in his smoking jacket, oozes menace as he confides to his parrot that they’ll soon be rich again.  Barbara Shelley is luminously beautiful, although Valerie is rather a passive character, content to be rescued rather than striking out on her own.  Carole Gray, as Josie, has less to do but she’s rather gorgeous (and Josie’s character is given an extra bit of spice when it’s revealed she’s in cahoots with Ollivant).  Esmond Knight may be a touch hammy, but Louvios helps to articulate the argument that traitors such as Ollivant should face the justice of their peers.  Simon disagrees (although the literary Saint probably would have had fewer scruples).

The climatic scene between Simon and Ollivant is more than decent and it’s a neat touch that Ollivant does receive justice from the hands of the law, although not in the way you might expect.

Roger Moore continues to impress.  I love the scene where he confronts several thugs – first there’s a bout of fisticuffs and then he threatens to shoot one of them (his first shot goes wide – just – which is enough to convince the quaking baddy that Simon means business).  Always a pleasure to see the Saint get his hands dirty.

The more violent or grisly aspects of Leslie Charteris’ original stories tended to get watered down before they hit the screen, and this one is no different. In Charteris’ story, Valerie’s brother is beheaded (which makes you view the title in a different light).

The plot may be slightly flaky, but the performances alone are enough to make me rate this four halos out of five.

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H.G. Wells’ Invisible Man – The Big Plot

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When a crashed foreign airliner is found to contain parts which could form an atomic bomb, the authorities fear that further attempts might be made to smuggle parts into the UK.  So Peter Brady is put on the case ….

This is a rum old story and no mistake. Thanks to a very unconvincing piece of stock footage we see Helen Peversham (Barbara Shelley) triumph in a big golf tournament in France. Helen’s heading back to Britain, but by the shifty way her chauffeur – Hanstra (Terence Cooper) – is behaving, it’s obvious that he’s stashed something inside her golf bag.

The authorities have clearly moved at lightning speed since the custom points have now been fitted with Geiger counters, thereby allowing all luggage to be scanned. Hmm, okay then. When MacBane (Edward Hardwicke) checks Helens golf bag the counter goes crazy.  He doesn’t say anything to her, but quickly gets on the phone to Sir Charles (Ewan McDuff) at the Ministry.  Sir Charles then tells Peter that Helen was carrying a canister of Uranium 235. Sorry? How exactly did he work that one out?

Helen’s husband, Lord Larry Peversham (John Arnatt), is an ardent peace campaigner, but he’s been duped into helping the baddies. They’ve told him that atomic bombs will be placed in the capital cities of all the major powers (in order to create an atmosphere of stalemate) but they’re obviously lying and he was remarkably trusting to believe them ….

Rather wonderfully, the bomb is installed in the basement of the Peversham’s house, which allows a shocked Helen to discover it. By now I have to confess that nothing in this loopy story could possibly surprise me.

Barbara Shelly and John Arnatt help to paper over the cracks as does William Squire. He plays Waring, the Peversham’s valet, who – like Hanstra – is also involved in the plot. Is every person on Peversham’s payroll a baddy? It would be a remarkable coincidence if so, but this story has something of an “end of term” feel, so maybe logical thought had taken a slight holiday. Squire’s good fun as the glowering Waring anyway – he was always an actor you could depend upon to provide a spot of top-class villainy.

Brady is, ahem, rather invisible in this one and does little which the authorities couldn’t have done themselves. Which in a way rather sums the series up. By not concentrating on Brady’s invisible plight, the show instead tended to shoehorn him into generic crime/thriller plots where he didn’t always fit.

Few of the stories are valueless – the guest casts are always worth watching at least – although it’s fair comment that the show does sometimes settle into a rut.  But whilst it can be a little samey and predictable, it’s also well-made and entertaining. It’s certainly one that I’ve enjoyed revisiting and no doubt I’ll come back to it again in the future.

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