A NEW BREED OF HERO! ALAN PARTRIDGE BECOMES 'ALPHA PAPA'

Putting his best siege face on. Alan Partridge (Steve Coogan) in ALPHA PAPA. Images: STUDIO CANAL.

Roger Moore's greatest fan, yet unloved son of Radio Norfolk- the self-obssessed, self reliant, self-you-know-what iconic superstar of film, TV and airwaves, the developer of unfathomable shows for the UK CONQUEST channel and member of the Cadbury's Flake eating appreciation society (not just one at a time, but en masse!), Alan Partridge, as so well personified by Steve Coogan, is back. And this time he's taking us on the trip of a lifetime via digital 70mm- caught in the middle of a hostage crisis in the rave-reviewed ALAN PARTRIDGE-ALPHA PAPA, playing in cinemas across the UK and soon into cyberspace.

Crunch-time for Alan, alongside one of the hostages!

Bond had Blofeld, Luke Skywalker had Darth Vader, and Alan...well, he has a bloated, angry and disgruntled Irish radio personality, now put out to pasture as a fading star, Pat Farrell (brilliantly played by STAR TREK and HELL ON WHEELS' Colm Meaney), to lock comedy crisis horns with, of whom Alan has no choice but to be hostage negotiator to when his former colleagues, no matter how much he despises them, are taken gunpoint. The clock is ticking, and Alan has just 24 hours to succeed in his efforts to calm Farrell and stop his head being blown off with the rest of them. Trusty, faithful assistant Lynne (always brilliantly played with humiliated understatement by Felicity Montagu) and friend and former garage owner Michael (an impressive one step beyond comedy tour de force from Simon Greenall) are there to help, but will Alan's "medium-sized man in a small world" mindset ultimately prove his undoing?

Trailer: ▶ Alan Partridge Alpha Papa Trailer - YouTube

DANGER-MAKERS! RESURRECTING THE ORIGINAL 'THE AVENGERS'

The birth of THE AVENGERS. Patrick Macnee as Steed and Ian Hendry as David Keel. Images: STUDIOCANAL. 

Before Tara King, before Emma Peel, before Cathy Gale, and even before nightclub singer and occasional assistant Venus Smith, there was Doctor David Keel, played by Ian Hendry- the original and first "Avenger" of the hit sixties TV series THE AVENGERS, originally created in the atmospheric days of black and white by Sydney Newman (later creator of DOCTOR WHO for the BBC) - a show that became a phenomenon, whose firm and soon uniquely British institution roots would be immortalised via its bowler hatted, red carnation wearing co-star, Patrick Macnee, as the flamboyant but edgy secret agent, John Steed.

In these intriguing early days, this wasn't yet the fantasy action series it would transmogrify into- instead, it launched one dark and fog-filled night as a revenge thriller and vehicle for Hendry, whose character of Keel would be born into a baptism of fire to take on the scum of the London underworld, originally avenging the death of his beloved wife in the important set-up building pilot episode, Hot Snow. Though despite the fisticuffs, and dawn and dusk chases by the often antagonistic to each other, white trench-coated wearing duo through dark alleys and obscure run-down buildings, this serious and dark drama quickly began to lighten up and show the evergreen chutes of bigger and even better things to come, and the launch of true sexual liberation on TV with the emancipated, intelligent figure of leather wearing, judo throwing, deeply sexy heroine Cathy Gale, as personified by Honor Blackman, who, in her early scripted start in the shows second season, was, in fact, actually delivering lines originally written for the now series departed Hendry or other occasional guest star, Jon Rollason.

The Avengers Series 1 Opening Titles and Closing Credits 1961 - YouTube
The Avengers: First Ever Episode - Hot Snow! (Part One) - YouTube

Walking the dangerous path. Keel and Steed out on the London streets.

Sadly, of that 26 episode, filmed as live, first-year run for Keel and Steed (the latter, at first, a shadowy in and out figure for the Government, before becoming a more fleshed out presence later on), only a couple of episodes and a section of Hot Snow seemingly survived a videotape purging of the ABC/ITV archives in the sixties and seventies, but those clever fellows at the BIG FINISH audio drama company, with their continuing huge success with cult TV hits transferred to the format (like classic DOCTOR WHO, BLAKE'S 7, and the upcoming THE SURVIVORS), have got the rights to adapt the first thirteen episodes of THE AVENGERS much-missed lost run, bringing them to life anew as a fine tribute and testament to the shows continuing legacy, faithfully working from the original scripts and determined to keep that original and tough flavour as seen in its 1961 birth.

Sadly, Patrick Macnee will not be voicing Steed- and he will be greatly missed- but respected British TV veteran Julian Wadham looks set to do a very good job following in his footsteps, alongside FOYLE'S WAR veteran Anthony Howell as the determined and decent Doctor Keel. I have no doubts at all that this will be a big success for all concerned.

For more info on the old/new series, available from next January, head here:
The Avengers - Coming Soon - Ranges - Big Finish

KOOL TV REVIEW: THE SIXTIES 'DOCTOR WHO AND THE DALEKS' MOVIES - BLU-RAY SET

To conquer and destroy! The sixties DOCTOR WHO and the DALEKS movies are back in brand new HD restorations. All images: STUDIOCANAL.

‘DOCTOR WHO AND THE DALEKS’ and ‘DALEKS’ INVASION EARTH: 2150 AD’

Starring Peter Cushing

Adapted for the screen by Milton Subotsky

Directed by Gordon Flemyng

Available from May 27th 2013, individually on re-mastered Blu-ray or DVD, or together in a special Limited Collector's Edition Blu-ray box-set, from STUDIOCANAL

Reviewed by Scott Weller

“You have invaded the world of the Daleks!"

The merits and chances of a big-screen, big-budget DOCTOR WHO movie being made in todays entertainment climate have been talked about a lot these past twenty years, but has so far proved elusive - merely big words becoming ultimately empty promises. But back in the sixties, at a more innocent time before movies and TV were ruled by internal politics and ego-powered stars/film-makers, there were no such problems, as exemplified by the two hugely enjoyable and reasonably large-scale DALEK movies, nicely realized by cult film icons Joe Vegoda, Milton Subotsky and Max J. Rosenberg of AMICUS/AARU FILMS, whose colourful adventures would touch the hearts and minds of generations of DOCTOR WHO for years to come, worthy of the shows early spirit. Family films deserving of celebration, especially in the overall fiftieth anniversary celebrations of the Time Lord this year and the centenary of their star, Peter Cushing.

Perennial favourites-long a mainstay of seventies UK summer theatrical re-releases and television repeats, Dalekmania gets a deserved new lease life in these essential digitally re-mastered Blu-ray/DVD releases from STUDIOCANAL.

 

The movie Doctor meets the Skaro monsters in their big-screen debut.

Making his cinematic debut in 1965, amidst a needed overriding of the TV series established beginnings, our first feature-film impression of “Doctor Who” in DOCTORWHO AND THE DALEKS is far removed, in the nicest possible way, from William Hartnell’s crotchety alien figure. Peter Cushing’s fun portrayal sees him as human and accessible as you or me, a mad scientist of the nicest and eccentric kind, enthusiastically reading the exciting and colourful adventure’s of Dan Dare in the Eagle comic in his opening moments whilst the rest of his family are reading heavy tomes on hard science! The late, great Cushing projects a strong family feeling with and to the cast (notably with then child star Roberta Tovey, playing his youngest granddaughter Susan), knowing when to be serious and humorous in equal measure. It’s clear that the actor, most well known for his horror films, likes making entertainment for the young just as much.

Peter Cushing as the first (so far) movie incarnation of DOCTOR WHO.

Working well on-screen with Cushing, and despite being a much younger actress than the version of Susan seen on monochrome TV screens, pony-tailed Roberta Tovey shows courage and intelligence that isn’t annoying, and often proves a more singular presence than Carole Ann Ford’s screamy interpretation- her role in BBC WHO being an early behind the scenes casualty during a changing format, toned down from original plans by the series producers. Adding grown-up glamour to the time explorers is full-figured actress/pin-up of the time Jennie Linden, as the other capable, if under-used, sexy older granddaughter, Barbara.

 

The Doctor with Ian (Roy Castle), Barbara (Jennie Linden) and Susan (Roberta Tovey) as they arrive on the planet Skaro.

Wanting another "name" star alongside Cushing in order to sell the film, actor/musician Roy Castle, a favourite of the AMICUS stable, is fun as the comedy hero and new boyfriend to Barbara, the accident prone Ian. It’s a lovably daft performance from Castle, who sometimes acts as if he's come straight out of a Carry On film- far removed from the confident, intelligent presence of William Russell’s TV series portrayal, but just as amiable.

 

In the TARDIS, Susan meets the Thal leader, Alydon (Barrie Ingham).

Ian, Barbara and the Thals are trapped in the Dalek city.

Taking Ian on an accidental trip in the TARDIS, the time vehicle deposits them all on the atrophied, radiation blighted world of Skaro, where two races struggle for survival- the humanoid “beautiful people”, the blonde haired, Egyptian make-up’d Thals (led by the heroic Barry Ingham as Alydon), and the hideous metal encased Daleks-the ultimate xenophobes. Discovering the true intents of the evil pepperpots, our Earth heroes are soon to ally themselves with the Thals in a valiant attempt to stop a doomsday bomb that will wipe out all non-Dalek life on the planet.

Trailer 1: https://www.youtube.com/watch?v=WA0zenI7_H8

 

On the big screen, in colour: the Daleks!

Fire extinguisher death: Dalek style!

Milton Subotsky’s adaptation of Terry Nation’s original seven-part scripts are streamlined and effective, cramming in all the vital action and humour on a bigger scale than anything then being done on smaller-budgeted TV – so much so that, if you’ve never seen those original B/W early-sixties DOCTOR WHO stories beforehand (starring William Hartnell), you maybe a little disappointed in comparison. But remember that the original series stands alone for its strong scripts and characters, and for carving out memorable adventures that stretched their then tiny production budgets as far as they could go.

The movie Daleks: truly a formidable force!

Despite the welcome presence of Cushing and Castle, though, it’s ultimately the lure of seeing the Daleks on the big screen, rather than on the tiniest of TVs of the time, and in full colour, that gets the kids and parents down to their picture houses. And part of an overall production budget of £180,000 pounds, these newly designed and built Daleks certainly look bigger and more threatening than their B/W counterparts- moving well and effectively showing their sinister side, blasting out with their fire extinguisher guns at anything that gets in their way (originally planned as being flamethrowers-an idea scrapped for being too frightening for children), whilst their often ridiculed sink plungers are mostly abandoned for more impressive claws. Bigger in on-screen numbers, too, voiced once more by the inimitable talents of Peter Hawkins and David Graham, they’re finally a mass force to be reckoned with!

 

The Doctor and Ian take on a Dalek.

Guiding them in their mystical appeal of cunning and evil brutality, Scottish talent Gordon Flemyng, a popular figure in the face of visualing  environments (particularly on the ITV series THE AVENGERS (then entering its own unique and colourful groove)), proves a capable talent on this and the next Dalek film, nicely mixing drama, action and humour within well composed shots and camera angles perfect for the Techniscope and Technicolour formats used by the British movie industry of the period.

 

Atmospheric shot of the TARDIS in the Skaro jungle.

Our heroes are captured outside the Dalek city.

There are also some impressive production designs for the Daleks city interiors and exteriors, as well as an excellent outdoor set for the petrified jungle, all filmed at the huge scale Shepperton Studios (later home to several big scenes in the first STAR WARS movie in 1976). The only disappointment is the interior of Doctor Who’s TARDIS, which proves a real hodge-podge in its first big-screen appearance- a deliberate choice I presume by the behind the scenes team to reflect this Doctor being a human inventor, making the most of what’s available to him, rather than a Time Lords of Gallifrey with his supreme, higher power technology. The control room is far removed from Peter Brachaki’s excellent and iconic set for the BBC TV series. Fortunately, the eventual movie sequel would see in a better re-design.

The Doctor and Susan watch the Daleks countdown to destruction. 

The Thals attack the Daleks in the big finale.

Ending with some well-staged action (handled by veteran INDIANA JONES stuntman Martin Grace, who also plays one of the Thals), amidst some fine music from Malcolm Lockyer, DOCTOR WHO AND THE DALEKS makes for an impressive cinematic entrance for both our hero and his titular villains, of which plans were soon hot on the wheels for the inevitable and ultimately challenging sequel.

 

Battlefield Earth: The Doctor is caught in the events of DALEKS' INVASION EARTH: 2150 AD

Indeed, the Daleks return from the dead would see in this more somber second film during 1966: DALEKS' INVASION EARTH: 2150 AD, not quite so wondrous as the first, with a grittier edge and Cushing not quite so emersed into the films plot as we’d like, but it does retain the original’s epic scope, if not bigger this time round, and has some cool moments of action and drama.

Subotsky once again provides the story adapting chores from Terry Nation's original (though there’s a few plot holes here and there, mostly in its second half), with additional story/character input from former WHO series script editor David Whitaker, who originally helped bring the Daleks to reality on the TV screens.

 

The Doctor and Susan, with Tom (Bernard Cribbins) and Louise (Jill Curzon), explore ruined future London.

This time out, bumbling cop Tom Campbell rushes into the TARDIS after finding himself unwittingly caught up in a jewellery shop raid, and just as the Doctor’s vehicle is taking off, sending the time travellers into a future London, a shattered city, where humanity, and the world, has been enslaved in a sneak attack of incredible proportions by those pesky Daleks, not as extinct as the Doctor would like, existing anew in another part of the timeline and causing havoc across the galaxy.

 

A Roboman attacks!

Trailer: https://www.youtube.com/watch?v=aHSyoMPQibI

As part of the film’s overall tone, Cushing is certainly more serious here, the actor not having the greatest time during the making of the film, sadly dogged by illness, with production shutting down for a period, or scenes having to be filmed around him). Fortunately, Roberta Tovey is back to play thr comforting presence of Susan, though she doesn’t have as much screen-time alongside the actor/character as before. With Jennie Linden and Roy Castle not available for the sequel, they’re replaced by the Doctor’s niece, Louise, played by subtly sexy Jill Curzon, and by Bernard Cribbins as the aforementioned Tom Campbell, who, long before joining Tenth Doctor David Tennant for his final journies in time and space, takes over the duties of brave but comedic companion-the latter humorous moment being when he infiltrates a platoon of Robomen- PVC suited, brainwashed human servants of the Daleks.

 

Louise is stranded on the Dalek ship.

Joining the quartet is stalwart film and TV actor Andrew Keir as the adventure’s main supporting star, the grouchy hero, Wyler - the actor perhaps best known in the mid to late sixties as one of the big-screen actors to have played Professor Quatermass. Alongside Keir as a fellow Dalek fighter is Ray Brooks, described in one of the movie’s trailers as the boy “with the knack.”

 

Surrounded! The Doctor is betrayed by black marketeer Brockley (Philip Madoc).

Finally, a special mention to the late Welsh actor Philip Madoc, at his snidey best as an untrustworthy black marketer who sells people out to the Daleks.

As our separated heroes survive their first skirmishes with the Daleks in and out of the city, they eventually converge after a road trip across the English Countryside, in order to stop the Daleks ultimate and dastardly plans for the planet: to mine its core and turn it into a gigantic travelling spaceship!

 

Prisoners of the Daleks in Sloane Square!

Once more filming on the expansive stages of Shepperton (and going out and about on several exterior filming locations), the Technicolour and Techniscope encapsulation often proves superior to the first film, with great cinematography from John Wilcox and impressive production design by George Provis showing a Dalek attacked London, primarily Sloane Square, which houses a landed Dalek craft. The realistic Blitz-like ruins must have brought back memories to many cinema audiences of the then not so long ago era of World War II.

 

A last stand for the Doctor and humanity.

As well as the sets there’s further ambitious special effects and pyrotechnics work from Ted Samuels and his team, including a well-filmed piece of model work showing a Dalek saucer flying over London- a visual creation that I wish we could see now in the modern series, plus an effective merging of film and model work showing the Dalek mine in Bedford!

 

Susan at the controls of the new-look TARDIS interior.

A different composer, Bill McGuffie, handles the films comedy and drama requirements, providing a stylistically different quality to the material from the first, this one more upbeat and in line with the kind of style that Laurie Johnson would bring to THE AVENGERS TV series in its filmic years, though there is some occasional menace- the Daleks and their mind-controlled Robomen get a notable and dread militaristic theme.

 

The Rebels attack the Robomen.

Backing the music, there’s some classic sound design once more emerging from the oscilators of Barry Grey, some of it sounding familiar as part of the many Gerry Anderson TV series he would be involved with during the late sixties.

Despite their sterling second efforts, DALEKS' INVASION EARTH was not a huge box-office hit in either the US or in its home territory of the UK, hurt by advance critics reviews and early word of mouth. With a format unlike anything they'd seen before, it would generally be quite a while before DOCTOR WHO finds an audience in the all-important realms of America, notably not until the seventies, with the TV incarnation starring Tom Baker.

A planned third Dalek film, to have been based on another Terry Nation TV adventure, The Chase, never got past the ideas stage, so we were ultimately robbed of seeing Skaro’s finest for one last big screen encore. A pity…

 

Some light comedy relief as Tom becomes a Roboman for the day!

Great family fun, this remastered movie pairing is sure to keep audiences of all ages delighted for years to come- the central performances of the Daleks and Peter Cushing remain timelessly appealing in their translation to celluloid.

They may not be seen as official WHO cannon, but they’re just as fondly regarded as the TV series, and a fine slice of sixties evocation linked to the series, at a time when the Daleks pop culture amazingly and deservedly ruled Britannia for several years.

 

Out of control! A Dalek goes over the edge.

With a lavish digital picture and sound restoration by DELUXE, STUDIOCANAL have given the films a bang-up restoration job. One little niggle, though: its seems a small piece of music has seemingly been lost in the remastering-perhaps because STUDIOCANAL were using a different print to the one I saw on UK TV as a child- the version used here apparently one that came from New York.

As well as some stills galleries and big voiced trailers (of which movie two, trying to sell the film in the US, incredulously goes out of its way to not promote the film as either a DOCTOR WHO or Dalek movie!), the warm-hearted Dalekmaniadocumentary (from a previous DVD release) goes behind the scenes on the two films with informative ease, talking to many of their cast and crew, weaved around some specially shot linking material that firmly captures the era where the Daleks invaded toy stores and children’s bedrooms across the land.

 

A past and future threat to the Doctor and Tom.

Additionally, there’s a short but sweet interview with Bernard Cribbins and Shepperton Studios archivist Gareth Owen, the latter talking in-depth about the background, making of and differencies between the two films, and the pressures and problems of making them, whilst film historian Marcus Hearn also add some new info snippets here and there.

Finally, there’s some short and sweet individual featurettes on each movies restorations, and the use of Techniscope in movies of the time, that’s worthy of a look.

KOOL TV RATING (overall films and extras): Finally available in the way they were meant to be seen, Peter Cushing’s Doctor and his battles against the cold-hearted nastiness of the Daleks live on as smashing and spirited examples of the power that is the DOCTOR WHO franchise. 4 out of 5

Get hold of the DALEK movie set here: http://www.amazon.co.uk/Dalek-Limited-Edition-Blu-ray-DVD/dp/B00BMMHIMI/ref=sr_1_6?ie=UTF8&qid=1369041167&sr=8-6&keywords=doctor+who+and+the+daleks+blu+ray

DOCTOR WHO AND THE DALEKS' CELLULOID NOSTALGIA - BACK ON THE BIG SCREEN!

Anybody home? Peter Cushing's kindly eccentric Doctor Who examines a Dalek in the first DOCTOR WHO AND THE DALEKS feature film.

Back to thrill family audiences on the big screen all over again after their splendidly colourful, original mid-sixties British success, the kindly family man eccentric time traveller known only as Doctor Who, so warmly personified by the late, terrific Peter Cushing, returns to take on the planet Skaro's fiercest and diabolically evil metal cased warriors, The Daleks, in a much welcome celluloid digital make-over summer re-release across the UK of the phenomenally enduring DALEK movies, made by cult favourite film-makers Milton Subotsky and director Gordon Flemyng for AMICUS FILMS.

Seeing them on the small screen isn't enough. Now, in this great and fitting Fiftieth Anniversary year for DOCTOR WHO, witness the lively big action and Technicolour scope of DOCTOR WHO AND THE DALEKS and DALEKS' INVASION EARTH 2150AD in the format they were made to be seen in, here: Dr Who and the Daleks - Independent Cinema Office and Daleks - Invasion Earth 2150 A.D. - Independent Cinema Office. And don't forget to bring your biggest bag of popcorn!

The lovely Frank Bellamy-esque cover to the Peter Cushing/Daleks Blu-ray set. Image: STUDIOCANAL

The classic films are also being released in separate and box-set Blu-ray and DVD form this May 27th, lovingly restored with picture and sound heightened to the newest quality standards possible, alongside stills galleries and original trailers, plus new extras taking a look at the films restoration, and some brand new cast interviews. Look out for KOOL TV's detailed review soon.

Get them here: Dalek Limited Edition (Blu-ray + DVD): Amazon.co.uk: Peter Cushing, Roberta Tovey, Roy Castle, Jennie Linden, Barrie Ingham, Bernard Cribbins, Ray Brooks, Jill Curzon, Andrew Keir, Gordon Flemyng, Milton Subotsky, Max Rosenberg: Film & TV

RULE BRITANNIA! 'THE NEW AVENGERS' - BACK ON UK TV

Seventies British heroes: Purdey (Joanna Lumley), Gambit (Gareth Hunt) and Steed (Patrick Macnee): THE NEW AVENGERS. Images: Lumiere/Studio Canal.

In the closing scenes of their final sixties adventure, those stylish British super spies- THE AVENGERS- the debonair John Steed (Patrick Macnee) and his loyal and loving young partner Tara King (the lovely Linda Thorson)-had decided to have a little celebratory drink in a space rocket, which swiftly sent them into Earth’s orbit! How they ever got down from there I don’t know, but I’m jolly glad they did, otherwise we would never have had the enjoyable seventies successor series: THE NEW AVENGERS, now back on the UK’s ITV 4 channel in weekday afternoon screenings.

British Lion! Patrick Macnee returns as John Steed.

Masterminded and produced by British film and TV series legends Albert Fennell and Brian Clemens, good friends and strong talents in their field, adding their inimitable quality mark to the franchise since it went into its mid-sixties made on film era, and creatively making it the beloved and enduring institution it would become over the next forty-five years, THE NEW AVENGERS launched into series action in 1976, after a brief but hugely successful revival of the Steed and King characters, reuniting actors Macnee and Thorson, had taken place in 1975, for a lively French champagne commercial, filmed at London’s Elstree Studios, funded by film entrepreneur Rudolph Roffi

(http://www.youtube.com/watch?v=V-NLN3SJKhgand http://www.youtube.com/watch?v=yzRyw4NGzRQ). Thus the seeds were born, as well as major financing (£2,000,000) from an enthusiastic Roffi (utilising French and Canadian partners, always great supporters of THE AVENGERS and so many of the sophisticated and iconic elements that appealed to its countrymen and women (on the negative side, though, the money men would try to have a say, often wrongly, in the direction the series should take: decisions often resisted or wisely avoided by the producers). Sounded out by Fennell and Clemens, their friend Macnee quickly signed up for a new set of daring adventures as the older but never bettered, bowler hated English gent spy with the occasional ruthless streak: John Steed.

The outlandish villains would continue to be a part of THE AVENGERS universe.

Gearing up for what would be a two-year production period, Clemens created the new series bible outlining how the show’s format would be tweaked for the seventies series, but still maintaining many of the fantasy elements and charm of the original, alongside some tougher edged characteristics that hadn’t been present before. This time around there would be Nazi villains living in Scotland, a villain with the Midas Touch, killer birds, and even a giant rat!

Joanna Lumley says hello to the press as Charly.

Always striving to bring the series that new edge in both storytelling and marketing/publicity, the producers decided that the next AVENGERS girl hero, though following the fine traditions of previous female icons like Cathy Gale, Emma Peel and Tara King, would be an even more independent and sexy woman than ever before. Welcome aboard Charly, a glamorous brunette, sophisticated and with a very unique style to her. She would later be described as “a male chauvinist pigs dream”, with lots of hints of thigh and stocking tops. The nationwide hunt for the actress – a top role that would be a definite career launcher- involved Fennell and Clemens interviewing hundreds of talented actresses, of which a shortlist was soon drawn (including DR WHO companion-to-be Louise Jameson and UFO’s former purple wigged Moonbase commander, the glamorous Gabrielle Drake). Ultimately, and correctly, it was the very glamorous and spirited actress/model Joanna Lumley who won the day and the part.

Gareth Hunt as newcomer Mike Gambit.

Worried that Macnee, then 54, might look a little too old for the action scenes alongside the sprightly Charly, and not wanting their lead to have any possible injuries linked to stunt work, it was decided to add an additional new Avenger to the mix. A younger Alpha Male in the form of ex-solider/mercenary, ladies man and all round top-agent, Mike Gambit, who would also prove to be a potential love interest to Charly in what the producers hoped would be a fun will they or won’t they? running plot for audiences, showing some old style charm and witty banter. Royal Shakespeare Company trained actor and all-round nice guy Gareth Hunt would be cast for the role and soon got on famously as part of the new trio, especially with Lumley. And Macnee liked his talented new co-stars so much, he wondered if the show really needed Steed in the series anymore. Regardless of his early worries, no AVENGERS series would ever be the same without him, and everybody knew it. Macnee quite rightly engineered affection, respect and loyalty, and in THE NEW AVENGERS Steed’s experience and sometime underhand devious but charming nature and charismatic slyness would continue to make the character ever popular.

Early screen test image of Hunt as Gambit and Lumley as Purdey.

Prior to filming, Hunt and Lumley would undergo a rigorous and punishing fight and stunt training regime-at one point going on a military assault course that almost killed them physically, especially the ultimately gutsy Lumley, who proved a trooper throughout the stunts and action filming that lay ahead. Soon the actress would develop her own unique fighting style- her shapely legs combining ballerina dance and deadly high kicks, alongside Judo and Karate. She’d also have the regular, dedicated help and support from long-time AVENGERS series stuntwoman and actress Cyd Child, who previously doubled Diana Rigg and Linda Thorson so effectively in the sixties era, whilst Syd Wragg taught her and Gareth Hunt the art of Karate. Soon legendary STAR WARS stuntman Colin Skeaping would often don the dresses and the blonde wig doubling Lumley in certain motorbike driving sequences.

Many of the classic behind the scenes talents that had helped Fennell and Clemens make the show such a critical and artistic success the first time around would return for THE NEW AVENGERS, including top directors like Sidney Hayers, Ray Austin (who had become a very respected visualist and had previously helmed some of the previous classic stuntwork for Rigg and Thorson) and Robert Fuest, all making vital contributions once again in creating the shows new visual stamp and fast paced storytelling. On the writing side, Clemens old writing pal Dennis Spooner would bring his considerable skills to bear in crafting suspenseful and humorously inventive stories to the series, later to become acknowledge classics, alongside another experienced TV veteran Terence Feely. But no AVENGERS series would ever be complete or feel the same without the musical charm of composer Laurie Johnson, giving Steed and co. the familiar series motif against a more upbeat and patriotic style, whilst his incidental scores would add some snazzy, if now slightly dated, disco beat. Alongside the also filming and equally ambitious Gerry Anderson sci-fi epic SPACE: 1999, THE NEW AVENGERS was one of the few big league in-production series helping to keep the hard-pressed British film industry and its talented people in employment.

The stunning metamorphosis of Purdey.

Just before series principal photography began, Lumley decided that a complete overhaul of her character was required (early test footage of which can be seen in the first title sequence for the series). Apparently pretty much without Fennell or Clemens knowledge or consent, she would have her brown haired curly locks cut into a more severe and attractive bob style, her hair now a distinct fairer tint. She also wanted to change her characters name from Charly to Purdey, thinking it more stylish and distinctive to the series, named after the equally unique and expensive type of British shotgun. Though at first wary of her new style, the producers ultimately liked Lumley’s ideas for the character and went with them (her unique hairstyle soon becoming much desired by women across the country when the series eventually made its debut). Sadly, as the episodes went on, the stockings and suspenders element to the character would be abandoned due to impracticalities whilst filming action sequences.

A lovely cast publicity shot for the series.

With those first few episodes completed, the series was quickly finding it’s footing and carving a unique identity for itself, with enjoyable stories blending action, fantasy and distinctly British quirkiness. Patrick Macnee was truly back into his groove as Steed and rapidly lost the weight he had gained in the interim years between series. The chemistry between him and his younger leads was noticeable and highly enjoyable, with Steed becoming the father figure to both of them, especially Purdey, who I always thought when watching the series had a definite crush on him. Lumley too impresses as Purdey, bringing gung-ho enthusiasm, tomboy charm and vital sex appeal. Hunt is underrated in a difficult role opposite such a powerful presence as Macnee. His good looks and ability to handle action confidently carry him through the series, whilst also enjoying some clichéd bed-hopping medallion man antics with beautiful women the likes of Lindsay Duncan and Sue Holderness.

Steed takes on a new type of Cybernaut in Last of the Cybernauts...?

Though striving to be fresh, the new series never failed to pay tribute or capitalise on its origins, either, including the noteworthy return of old enemies, the robotic Cybernauts, who had proved so popular in the Steed/Peel era, making a distinctive comeback that would be just as dangerous and exciting as before, accompanied by the memorable whip-cracking noise of their metal killing hands. Further nice referencing to the past and the heroines in Steed’s life subtly occurs throughout the series. Cathy Gale and Tara King are mentioned as one point, and Diana Rigg’s Emma Peel even makes a comeback via specially chosen stock footage, during the opening scenes of the French set two-parter K is for Kill.

Hunt and Lumley got along famously during filming.

Keeping further continuity, Steed still drove his beloved Bentley (as well as modern cars like a Range Rover and a Jaguar), though he no longer resided in his charming London mews apartment, instead relocated to a grand house and stables out in the British countryside (another visual element that THE NEW AVENGERS would showcase so well throughout its run). Thankfully, his gregarious nature remains intact, as do the constant beautiful women seen coming in and out of his property in various episodes. Thankfully, too, there would be no more of the Thorson era’s Mother character around to send him and his team into their missions, but the spy service with whom they worked would be realised in some detail through the series, grounded more in the grittier traditions of shows like CALLAN than what had been seen in the more fantastical eras of the Rigg/Thorson adventures. Despite the reshuffle and new look, the organization continues to lose its agents at an incredible rate-surely as high a body count as the shows sixties incarnation!

Memorable guest stars to the show, many of whom had appeared in the original sixties incarnation, would include Jon Finch, Clive Revell, John Carson, Peter Cushing, Ian Hendry, Peter Jeffries, Roy Marsden, Caroline Munroe, and Keith Barron.

The French funders wanted an altogether different looking Purdey for the series...

Though the character became even sexier as the first season went on.

Halfway into the first batch of episodes, the French backers were unhappy with certain aspects of the series and asked for changes, especially wanting Lumley to have more of a French style wardrobe and general added sexiness. Once again, the Producers stood their ground, though the slightly unhappy actress did get some revised costume changes that proved more welcoming to our continental cousins. Preparations were also underway to make episodes in France then Canada going into late 1976, though Kismet would soon unfortunately see to it that these episodes would turn out to be the least successful of the entire series.

In danger once more: Steed and Purdey in Season Two's Hostage.

By the time of the 1977 screened Series Two, the fantasy elements of the previous year were also starting to be toned down, with episodes regrettably losing some their impetus and vitality, despite a memorable start with and a return to the classic Macnee portrayal of Steed with Brian Clemens opener Dead Men Are Dangerous. International sales of the shows had been solid, especially in Europe, but THE NEW AVENGERS had failed to make the grade in the all-important US territory, despite some elements of the show being specifically tailored to their tastes (the episodes even had US-style pre-credits teasers to hook their viewing customs). Steed and co. did not resonate with audiences in the same way that the Diana Rigg era had done, and many episodes were shown late at night there as it was deemed too violent in the backlash following the success of STARSKY AND HUTCH. The series was coming to the end of its natural life, with the seeds of a new and far grittier action series for UK TV gathering momentum in the producer’s minds: a further thrust into the more realistic and violent eighties with what was to become THE PROFESSIONALS…

Much enjoyed by most critics and loved by audiences, the 26 episode run of THE NEW AVENGERS, to its detriment, was sadly not fully networked in one set day and timeslot by ITV and its regional offspring: a situation that proved very disappointing and disheartening to cast and crew. The series would eventually get a full repeat airing in the London area in the early and mid-eighties and has since been a continuing success on all kinds of satellite and digital TV platforms, and a lasting commercial success on VHS and DVD.

Another memorable publicity shot for the series.

Very much of the seventies, this high quality escapist series remains fondly remembered and one of the best made British shows of the period, notably for its earlier episodes, and particularly for the vital contribution made to the show by Joanna Lumley.

First titles for the American and international prints of the series: The New Avengers Series 1 Opening Titles and Closing Credits - YouTube

French version title:

http://www.youtube.com/watch?v=eX1cbmmEvzY

Second title sequence with animated graphics (UK): The New Avengers Series 1A and 2 Opening Titles and Closing Credits - YouTube

Here's a look at our favourite episodes from the series:

Steed and Purdey face the Nazi's in series opener  The Eagle's Nest.

Peter Cushing (left) makes a fine guest appearance in the opening episode.

THE EAGLE’S NEST

Brian Clemens rousing fast paced comic book adventure launches the series with style, backed with fine direction from Desmond Davis. THE NEW AVENGERS, on the search for a kidnapped scientist (Peter Cushing), travel to the remote Scottish isle of St. Dorca and discover a hideous plot to resurrect the Third Reich and bring back from cryogenic sleep their fearsome leader: Adolf Hitler.

HOUSE OF CARDS

Successfully rescuing a Russian defector, Steed's lethal old-time adversary Perov (the always excellent AVENGERS series regular guest star Peter Jeffries) launches a unique revenge plan against our heroes using sleeper agents, known as his House of Cards.

Birdman! Zarcadi (Vladek Sheybal) and one of his pets, in Cat Amongst the Pigeons.

CAT AMONGST THE PIGEONS

Wanting to eradicate humanity, a deadly maniac known as Zarcardi (the creepy but brilliant Vladek Sheybal), possessing the unique communications talents to controls aviate life, begins to make his mark, of which Purdey is soon trapped in his decaying and deadly estate!

Purdey delivers a leggy blow to Zarcardi!

A winning Dennis Spooner script-Daphne Du Maurier meets THE AVENGERS!, with atmospheric direction from John Hough.

Purdey is attacked by the Cybernised Felix Kane (Robert Lang)...

...whilst Gambit fights a Cybernaut in Last of the Cybernauts...?

LAST OF THE CYBERNAUTS…?

Almost killed in a car accident, and left brutally disfigured, ex-spy Felix Kane (an intensely hateful performance by Robert Lang) plans his revenge against TNA by re-activating the dreaded Cybernauts. A fine script from Clemens with some great character and action moments for our heroes, plus those nostalgic and excellent baddies.

Purdey and Gambit enter the test range in Target!

TARGET!

British agents are dropping dead like flies once again, and the only connection is a special training course used by the ministry.

Dennis Spooner's fun and exciting script has some excellent baddies with Keith Barron and Deep Roy, whilst Purdey has a memorable sequence climbing rooftops and fighting against machine gun toting waxwork opponents. One the series best, Spooner even has a mini-homage to his work on the sixties DOCTOR WHO series- at one point blowing up a Police Telephone Box!

TO CATCH A RAT

An intriguing opportunity to reference the very first season of the series sadly ignored, Ian Hendry, who previously played Doctor Keel-the original AVENGER from 1962- returns to the series, playing a rogue agent with amnesiac restored knowledge of a traitor in British spy-dom. Steed and co. are on the case, but who to trust?

Purdey goes undercover in Faces. First off as a Salvation Army officer...

...then as a good time girl.

FACES

They say we all have a double out there, and Steed and co. find that out for real when key government officials have been replaced by imposters pulled from various sources, manipulated by a higher power. A fun idea for our main cast to enjoy, as our on-screen heroes, especially Purdey, have to become other people who then become themselves! Dennis Spooner juggles action and humour within a solid central idea, with input from Brian Clemens.

Our heroes about to take to the skies in Sleeper.

SLEEPER

Terrorists after London's financial resources bring the city’s population to a sleepy standstill via a new chemical weapon, and only our three heroes, fighting in and out of the deserted streets, stand in their way. Lots of great action, humour and inventiveness on display here.

GNAWS

Ignore the awful homage/spoof title to JAWS, and you’ll delight to Dennis Spooner's excellent tongue-in-cheek episode, well-made by Ray Austin, as our heroes enter the London sewers in search of a rat turned lethally super sized and carnivorous for human flesh after a lab experiment gone wrong! Giant rats were then starting to make a comeback in British TV fantasy- a year later one would terrorise Tom Baker’s DOCTOR WHO, and companion Louise Jameson as Leela, in The Talons of Weng Chiang!

Sergeant Bowden (Shaun Curry) and Colonel "Mad Jack" Miller (John Castle) in Dirtier by the Dozen.

DIRTIER BY THE DOZEN

Our heroes tackle a gang of lethal army men who moonlight as world travelling mercenaries, led by Colonel “Mad Jack” Miller (John Castle). Purdey and Gambit get the military blues as they’re caught in enemy territory.

Steed has to save a captured Purdey in Dead Men Are Dangerous.

DEAD MEN ARE DANGEROUS (Season Two opener)

Purdey is captured by one of Steed's vengeance fuelled old friends and rivals (Clive Revill), believed dead after an incident in East Germany years before. Patrick Macnee has lots to do as a threatened Steed, in a shining Brian Clemens start to Season Two.

Reresby (Michael Latimer) is after Steed in Angels of Death.

ANGELS OF DEATH

British agents are killing one another then succumbing to stress-related heart attacks. The only clue is a health resort that all of them had visited at varying points. Gambit and Purdey infiltrate, whilst Steed is soon caught in a deadly maze trap. A fun idea well executed by Terence Feely and Brian Clements, though the story does seem to wrap itself up a little too quickly. The episode is memorable for sexy appearances from sci-fi/fantasy legend Caroline Munro, and Aussie actress on the rise, Pamela Stephenson, playing two lethal spa nurses who give Purdey a fighting challenge.

Purdey's past life is shown in Obsession.

OBSESSION

An old flame of Purdey’s come back into her life- Larry (Martin Shaw)- and her vulnerabilities and affection for him are rekindled. Unfortunately, he’s on course for an explosive vendetta against a Middle Eastern emissary, and has to be stopped at all costs.

Lewis Collins and Martin Shaw in their pre-THE PROFESSIONALS days.

A great character vehicle for Purdey (whose pre-spy life as a ballerina is shown in flashback), and Lumley as an actress. The episode also note worthily sees the first on-screen pairing of Martin Sheen and Lewis Collins, eventually making their mark together on another hit Brian Clemens series, THE PROFESSIONALS, a year or so later.

Purdey and Steed assist the French military in K Is For Kill.

K IS FOR KILL (TWO PARTER)

Having discovered the secret of suspended animation, an army of hidden Russian soldiers emerges in Seventies France to cause mayhem, part of a master plan from their also restored and hidden tactician mastermind.

Perhaps a little stretched out over two episodes, this is nonetheless one of the few standouts of the series made in France, with some excellent ideas from Brian Clemens, and well-staged action sequences. A memorable militaristic and serious score from Laurie Johnson, too.

Gambit and Purdey get ready for a holiday.

THE GLADIATORS

On holiday in Canada, the team take on a lethal trio of KGB agents versed with super-human strength martial-arts skills.

A spot of fishing time for our heroes in Canada!

FORWARD BASE

Still in the wilds of Canada, all is not well in Lake Ontario, as Purdey goes underwater to discover a hidden-in-plain sight Russian facility. One of the better international set episodes of the final season, which closes the series run on an enjoyable, if hardly definitive, note.

A dedicated FACEBOOK page for the series can be found here: http://www.facebook.com/purdeysandgambit

THE NEW AVENGERS is available on DVD here: http://www.amazon.co.uk/New-Avengers-Disc-Collectors-Box/dp/B000HEVTKE/ref=sr_1_1?s=dvd&ie=UTF8&qid=1361355584&sr=1-1

Additional images on the KOOL TV FACEBOOK page: THE NEW AVENGERS 1976-1977

KOOL TV hopes that an eventual digitally re-mastered and restored release of the series will one day happen via Blu-ray.