Classic TV Themes: The Prisoner
Ronald Erle Grainer (11 August 1922 – 21 February 1981) was a prolific Australian composer who is best remembered for his work in the United Kingdom during the sixties and seventies. He wrote numerous notable scores and theme music for several iconic television shows such as Doctor Who, Steptoe and Son and Tales of the Unexpected. He also composed the soundtrack for several major motion pictures such as Some People (1962), The Assassination Bureau (1969) and The Omega Man (1971). Grainer relocated to London from Australia in 1952 but it was not until 1960 that he gained critical success after writing the music for the popular TV show Maigret. He subsequently received an Ivor Novello award for “Outstanding Composition for Film, TV or Radio”.
Ronald Erle Grainer (11 August 1922 – 21 February 1981) was a prolific Australian composer who is best remembered for his work in the United Kingdom during the sixties and seventies. He wrote numerous notable scores and theme music for several iconic television shows such as Doctor Who, Steptoe and Son and Tales of the Unexpected. He also composed the soundtrack for several major motion pictures such as Some People (1962), The Assassination Bureau (1969) and The Omega Man (1971). Grainer relocated to London from Australia in 1952 but it was not until 1960 that he gained critical success after writing the music for the popular TV show Maigret. He subsequently received an Ivor Novello award for “Outstanding Composition for Film, TV or Radio”.
By the mid-sixties Grainer was in demand and hence a logical choice to write the theme for a show such as The Prisoner. However, it was a competitive process and Grainer's theme was chosen after two other composers, Robert Farnon and Wilfred Josephs, had their material rejected by series executive producer and star, Patrick McGoohan. Farnon's theme was declined due to its similarity with the theme from The Big Country (1958) by Jerome Moross. However, Josephs' discordant and enigmatic theme was used in early edits of two episodes of The Prisoner before being replaced by Grainer’s material which was then used in all subsequent episodes. It should be noted that Grainer declined to score the incidental music for the entire series of 17 episodes, which was handled by Albert Elms.
Ron Grainer’s theme for The Prisoner is as iconic as the show mainly because it is such an integral part of the opening credits. These are a microcosm of themes and ideas that the show explores. Furthermore, the opening credits serve as visual summation of the plot of The Prisoner, with Patrick McGoohan resigning from his job as an agent for the UK security services, only to be gassed, kidnapped, and taken to a remote village where he is interrogated for “information”. Why did he resign? The brass, bass and timpani set the tone with a bombastic motif that reflects McGoohan’s volatile character. The music also reflects what is happening on screen with the drumbeats syncopated with McGoohan as he angrily walks down the concrete corridor into his superior’s office. This is a powerful piece reflecting the style of the time, with its bold brass and cool, electric guitar backing. It really sets the tone of the show.
Complex Lore and Enigmatic Themes
I recently watched the first trailer for the new Obi-Wan Kenobi television show that is premiering on Disney + in May. I am interested in this latest instalment in the Star Wars franchise and curious as to whether Liam Neeson will make an appearance. I also watched a 20 minute fan video in which they “analysed” the entire trailer. They discussed the content of this 2 minute preview and then did a great deal of speculating about potential themes and characters that may feature in the show. They were clearly enthusiastic about what they had seen and were very knowledgeable about the subject. This resonated with me, as I like to be well versed about the things I enjoy. However, it is worth remembering that fandom can tip into obsession and gatekeeping. Hence I feel there is a subject to explore here.
I recently watched the first trailer for the new Obi-Wan Kenobi television show that is premiering on Disney + in May. I am interested in this latest instalment in the Star Wars franchise and curious as to whether Liam Neeson will make an appearance. I also watched a 20 minute fan video in which they “analysed” the entire trailer. They discussed the content of this 2 minute preview and then did a great deal of speculating about potential themes and characters that may feature in the show. They were clearly enthusiastic about what they had seen and were very knowledgeable about the subject. This resonated with me, as I like to be well versed about the things I enjoy. However, it is worth remembering that fandom can tip into obsession and gatekeeping. Hence I feel there is a subject to explore here.
Fantasy, science fiction and similar hybrid genres thrive on world building and lore. These facets give them credibility and breathe life into fictional worlds and people. They also provide parallels with our own lives which provides a means for us to connect to them. Star Wars, despite all the technology, offers a universe that looks used and lived in. Middle-earth is steeped in history and complex societies. Again despite obvious differences there are commonalities in the hierarchies, rituals and personal aspirations of the protagonists. And as well as lore, there are also enigmas. Fantasy and science fiction are often rife with things that are strange and ill defined. Often these are mystical and symbolic. The Force, Tom Bombadil and Jason Voorhees are prime examples of this. Successful fantasy and science fiction find the right balance between detailed lore and enigmatic themes.
Achieving this balance is very difficult. The original Star Wars trilogy handled the arcane and esoteric nature of the Force well. It was broadly defined as an energy field created by all life that connected everything in the universe. However, the specifics of this were vague and nebulous which played well with the concept that the Jedi were more of a religious and philosophical order than a paramilitary organisation. However, when the prequels introduced the concept of Midi-chlorians it somewhat diminished the enigma surrounding the Force and it suddenly just became yet more technobabble. It is interesting to note that this addition to the franchise’s lore was not well received by fans. It was subsequently not alluded to in later films and television shows, indicating that the producers and writers felt it was a mistake.
Another genre example of lore versus enigma is the difference in Klingon anatomy between the original series and the revival shows. The main reason is simple. There wasn’t a budget for complex prosthetics in the sixties show. However, from Star Trek: The Motion Picture onwards, Klingons acquired their forehead ridges as a way to make them more alien. This however left a lore contradiction, which was beautifully alluded to in the episode “Trials and Tribble-ations” of Star Trek: Deep Space Nine. Several crew members from the 24th century including Worf, find themselves on Deep Space Station K7 in the 23rd century, during the events of “Trouble with Tribbles”. Upon seeing the Klingons from the previous era, one of the crew asks Worf why there’s a physical difference. He enigmatically replies “We do not discuss it with outsiders”. This beautifully vague but droll answer works perfectly. Sadly it was ruined a few years later when an episode of Star Trek: Enterprise explained away the difference as a genetic experiment that went wrong.
However, it is not always an excess of lore that can quash the soul from a popular show or film. Sometimes being deliberately too vague, refusing to expedite the plot and simply replacing one mystery with two others can be very frustrating. It may also be due to the writers being out of their depth or making things up as they go along. Lost encapsulated this for me and the show’s manipulative narrative quickly killed my interest. Don’t get me wrong, I don’t like to be spoon fed stories and explanations and I don’t mind thinking when watching. The ending of John Carpenter’s The Thing is enigmatic and quite bleak but I consider it a perfect conclusion to the film. However, perhaps the television show that really stepped over the line for not making any real effort to explain itself and turning the enigma “up to 11” is The Prisoner. It’s still a great show to watch and is very thought provoking but the final episode doesn’t deliver a stone cold conclusion. Something that people who watched it originally still seethe over.
We live in a culture of binge watching TV shows which some viewers dissect and analyse. The interconnected nature of the Marvel Cinematic Universe is a prime example of this and it does it extremely well. But not all television shows and films are like this and do not require such scrutiny. I worry that some viewers are so invested in searching for what they think may be hidden or trying to pre-empt an unfolding narrative, that they miss being in the moment and simply enjoying the show as it happens. Excessive analysis often leads to disappointment. It is important to remember that what you’re watching is a writer(s) thoughts on how a narrative should move forward. They are not obliged to try to make what’s in your or my head. Therefore I see both lore and enigmatic themes as an embellishment to a good fantasy or science fiction show or film. Things to be enjoyed but not the “be-all and end-all” of the production. If either becomes the major focus of either the writers or fans then it will end up undermining the central narrative and themes.
The Idiot Box
Thoughts on TV shows and my current viewing habits.
Things have not returned to normal here in the UK. The first lockdown ended last July but restrictions remained in place. Then we had lockdown 2.0 in November and are currently enduring a third which started in December. Hence I have watched a great deal more TV than usual and not at the expense of any other leisure activity. Mrs P even went so far as to catch up with 11 seasons of NCIS: Los Angeles. A prodigious feat. As ever there is a great deal of quality TV available to choose from. Thankfully, I am now perfectly comfortable in abandoning any show that doesn't keep me engaged. Hence what I’ve listed are shows that I’ve enjoyed and found entertaining. Furthermore, the extra viewing time I’ve had available has also allowed me to give a few shows a second chance.
Thoughts on TV shows and my current viewing habits.
Things have not returned to normal here in the UK. The first lockdown ended last July but restrictions remained in place. Then we had lockdown 2.0 in November and are currently enduring a third which started in December. Hence I have watched a great deal more TV than usual and not at the expense of any other leisure activity. Mrs P even went so far as to catch up with 11 seasons of NCIS: Los Angeles. A prodigious feat. As ever there is a great deal of quality TV available to choose from. Thankfully, I am now perfectly comfortable in abandoning any show that doesn't keep me engaged. Hence what I’ve listed are shows that I’ve enjoyed and found entertaining. Furthermore, the extra viewing time I’ve had available has also allowed me to give a few shows a second chance.
Evil: I briefly touched on this show in September 2019. I watched the first episode which I found intriguing but then waited too long to continue and so it got kicked into the proverbial long grass. However, we resumed watching the show and found it to be quirky, different, genuinely unsettling and absorbing. It touches on many contemporary social concerns such as social media, “incels” and spree killings. All viewed through the prism of an investigative team that works for the Catholic Church. It’s also great to see Michael Emerson playing a bad guy once again.
Des: This drama about the UK serial killer Dennis Nilsen, based on Killing for Company by Brian Masters, eschews the graphic and the grisly, choosing to focus on character and dialogue. The lead performances by David Tennant as Dennis Nilsen, Daniel Mays as Detective Chief Inspector Peter Jay and Jason Watkins as biographer Brian Masters are exemplary. This is another TV show that highlights the administrative nature of old school detective work and the time involved in conducting interviews. There are some interesting facts regarding a political dimension that was brought to bear upon the case, when a foreign national was killed. Des is compelling viewing especially when Tennant quietly recounts his abhorrent crimes and motives.
The Haunting of Bly Manor: I think a lot of people were expecting a comparable experience to The Haunting of Hill House and were therefore somewhat nonplussed by the pace and scope of The Haunting of Bly Manor. Essentially a modern retelling of The Turn of the Screw by Henry James, this character driven drama focuses more upon the uncanny, rather than jumps cares. Set in England during the 1980s the story follows a young American governess who moves into a stately home to care for two orphaned children. The ensemble cast deliver a slow burn, dialogue driven drama which makes a few concessions to modern sensibilities and social politics. I enjoyed its leisurely pace and delighted in the characters but not everyone felt the same way.
Ghosts: I am not a major fan of sitcoms anymore as I believe they have had their heyday (which is a blog post in itself). However, I’ve made an exception with Ghosts as it manages to achieve many things. Not only is it gently funny, it is also genuinely touching at times and handles pathos with maturity. The story centres around a young couple, Alison and Mike Cooper, who inherit a dilapidated property from a distant relative. Alison soon discovers that only she can see the ghostly former residents and hence finds herself as a go-between. It is greater than the sum of its parts, which on paper seem very formulaic, and it’s all very British (in the nicest possible way). Simon Farnaby is especially good as deceased Conservative MP Julian Fawcett. Destined to forever walk the earth without trousers as he died during a sex scandal.
The Crown Season 4: The longer The Crown runs, the more it drops the pretense that it’s docudrama and in fact just a big budget soap opera. Season 4 was especially relevant to me and Mrs P as it covered a period of history that we lived through as adults and have vivid memories of. Covering the election of Margaret Thatcher in 1979 to the end of her Prime Ministership in 1990, The Crown focuses upon her relationship with the Queen and also revels in the tumultuous marriage between Prince Charles and Diana Spencer. It’s all very glossy, stylised and at times melodramatic. If you want historical authority and accuracy, look elsewhere. If your after entertainment and eighties nostalgia, then The Crown Season 4 has it in spades.
TV To Do List:
Star Trek: Discovery Season 3: Frankly, the departure of Captain Pike and Spock from this iteration of Star Trek, greatly diminished my interest in the show. There are some great characters that help sustain my interest, such as Saru and Georgiou, but frankly Michael Burnham is exceedingly wearing. There’s a fine line between passionate and self indulgent and sadly the Discovery’s First Officer is on the wrong side of it. I’ve always liked the strong sense of equality and the tackling of social issues that is inherent in the Trek franchise but it’s becoming so contrived in ST:D that it’s almost becoming a caricature of itself. Star Trek? More like Hug Trek. However, there are still some good ideas to keep me engaged with the remaining 8 episodes I need to watch, plus David Cronenberg turning up in a rare acting role was a welcome surprise.
The Prisoner: There is a growing consensus that this classic TV show from the sixties has become relevant again. Something about how both sides of the tedious but ongoing culture war are fostering a “group think” mentality at the expense of the individual. Irrespective of whether that is the case or not, this is still a great show that makes you think. McGoohan pounds tables and declares he’s a “free man” etc. Superb score as well. The newly remastered prints also look damn good.
