After successfully adapting the three Quatermass television stories of the 1950s and with the box office tills ringing from the well-received cinema version of Quatermass and the Pit (1967), Hammer Films approached creator-writer Nigel 'Tom' Kneale for an original film script featuring the titular scientist with a view to continuing the franchise.

The studio announced another film but nothing developed beyond an outline and preliminary discussions with Kneale. Hammer had faced delays getting Quatermass and the Pit to the screen after their partnership with Columbia faltered and it was perhaps disinterest from distributors, Hammer's struggle to adapt to changing audience tastes and the slow decline of the industry as a whole that stalled their fourth Quatermass outing.

Kneale remained busy. His relationship with the BBC strengthened in the late 1960s and early 1970s and he succeeded in getting several key plays to the screen in this period. This was after he had refused overtures from the BBC to contribute a one-off drama to their Theatre 625 strand on BBC2. He felt he had never really been properly recompensed for the Quatermass serials he had made in the 1950s, something he made quite clear to the BBC's Director General Hugh Carleton Greene. A one off payment was duly agreed and Kneale undertook his new assignment. This would become 1968's celebrated play about television's Orwellian future potential, The Year of the Sex Olympics. (1)

He followed this with 1970's 'Wine of India' for The Wednesday Play, which centred on a 100-year old couple who must make plans for their funeral in a future where advances in medicine have resulted in a need for population control and where those reaching the age of 100 must submit to a government controlled euthanasia program. He contributed 'The Chopper' to Out of the Unknown in 1971, a ghost story about a dead motorcyclist haunting his wrecked machine, and followed this in 1972 with The Stone Tape, in which scientists researching new recording technologies at an old mansion investigate a haunting.

Coppers & Spies Revisited
This entry concludes the re-written versions of the original Coppers and Spies blog posts published on the MovieMail site in 2014. Each part contains additional research material and information on the various crime and spy adventure series the original blog series covered, timed to celebrate Network's highly-anticipated release of The Professionals in high-definition last March.

I hope you enjoy this final post.

6: Beyond the police - From The Professionals to Life on Mars

Creator of The Professionals, writer-producer-director Brian Clemens, boasted a six-decade career making iconic crime and adventure drama. In the 1950s, as staff writer, he scripted many half-hour crime series for the Danzigers production company. He wrote the pilot episode for Danger Man in 1960 and a year later provided the same for The Avengers, the series with which he is forever associated.

While he and producer Albert Fennell oversaw ABC television’s international success with John Steed and Emma Peel in The Avengers, Clemens also contributed to ITC’s The Baron, The Champions and Man in a Suitcase. He created ATV’s anthology series Thriller and, with Fennell, revived The Avengers in 1976 as The New Avengers.

As the second series of The New Avengers completed filming in October 1977 it was clear to Clemens that his co-production company The Avengers (Film and TV) Enterprises Ltd, formed with Fennell and composer Laurie Johnson, was running into financial difficulties. After French finance failed to materialise, the final three episodes of the series were cancelled and the prospect of making a third series evaporated. Four episodes, then being completed in Canada, provided an underwhelming coda to a troubled production.

Coppers & Spies Revisited
Continuing with the re-written versions of the original Coppers and Spies blog posts published on the MovieMail site in 2014. Each part contains additional research material and information on the various crime and spy adventure series the original blog series covered, timed to celebrate Network's highly-anticipated release of The Professionals in high-definition last March.

5: Jack or Knave - From Special Branch to The Sweeney

Euston Films, the subsidiary of Thames Television founded in 1971 by executives Lloyd Shirley (Controller of Drama), George Taylor (Head of Film Facilities) and Brian Tesler (Director of Programmes), set out to make television faster and cheaper. It swapped studio taping for lighter film cameras, ten-day turnarounds with minimal rehearsal, non-union crews, and all-location filming. Affectionately described by the crew of The Sweeney as the ‘kick, bollock and scramble’ approach, Euston’s operation transformed television drama in the 1970s.

Prior to Euston’s formation, directors Jim Goddard and Terry Green and writer Trevor Preston had already proposed to ABC the creation of a small group to produce work on 16mm film, a gauge normally used to film inserts on location for video taped drama but not considered as a format for an entire drama's production.

Coppers & Spies Revisited
Continuing with the re-written versions of the original Coppers and Spies blog posts published on the MovieMail site in 2014. Each part contains additional research material and information on the various crime and spy adventure series the original blog series covered, timed to celebrate Network's highly-anticipated release of The Professionals in high-definition last March.

4: A Man Alone - Callan and Public Eye

In February 1967 ABC transmitted an Armchair Theatre play entitled ‘A Magnum For Schneider’ and introduced viewers to writer James Mitchell’s volatile, ill-natured and cynical spy David Callan. Disgraced from the Section, an anonymous branch of the British security services run by a boss code-named Hunter, he was recruited again to eliminate Schneider, a gunrunner posing as a German businessman.

Mitchell embarked late on a successful career as a novelist in 1957. Previously a teacher, actor, civil servant, shipyard worker, barman, officer cadet and travel courier, he claimed, “Even the idea of writing fiction didn’t occur to me till I was over 30.” In 1960 Sydney Newman, Head of Drama at ABC, asked him to adapt his novel A Way Back, about a former Communist blackmailed to steal the blueprints of a new bomb, into a play ‘A Flight From Treason’ for Armchair Mystery Theatre.

Birth of an existential hero

Mitchell, a full-time writer in 1965, sold the script for Callan’s debut, ‘A Magnum For Schneider’, to BBC’s Detective but it languished unproduced. He bought the play back and offered it to Armchair Theatre story editor Terence Feely. Feely saw its potential and, with producer Leonard White and casting director Dodo Watts, considered actors for the key roles of reluctant spy Callan, his antagonistic boss Hunter and the informant with the personal hygiene problem, Lonely.

White’s casting suggestion for Callan was Edward Woodward. Woodward was impressed with the script, personally delivered to him by Watts, and cancelled his family holiday to play the role. He drove his wife and children to Devon but then immediately returned to London by train to attend his first rehearsal in the part.

Watts also admired actor, former shipyard worker and stand up comedian Russell Hunter for his Shakespearian talents and recommended him for Lonely. Played by a series of actors, like the ever-changing Number 2 in The Prisoner, the character of Hunter was first realised by White’s choice Ronald Radd and joining him in the play was Peter Bowles as his bright but sadistic young acolyte Toby Meres.

Sensing ABC was looking for a replacement for Redcap, the series about military police starring John Thaw, Feely worked with Mitchell and paid him £150 to develop a series pitch for Brian Tesler, Director of Programmes, and Lloyd Shirley, Controller of Drama, at ABC. In December 1966, on the strength of ‘Schneider’ and the pitch, they commissioned six episodes of what would become Callan before the play’s transmission.

In Callan’s world, the pitch offered, ‘the reality doesn’t come from atomic fountain pens or poisoned wall-paper: it comes from people. And some of them are very ordinary people, caught up in extraordinary situations.’ This was the antithesis of the onscreen escapades of James Bond and John Steed. Callan was a killer vulnerable to mixing the personal with the professional in a series that embraced the gritty, unglamorous twilight world of Len Deighton and John le Carre’s spy fiction.

Speaking to the TV Times in 1972, Mitchell indicated Callan possibly originated in a Spaniard, Paco, he encountered while teaching English in Spain during the 1950s: "He spied, I learned later, against the regime in Spain. There was no doubt in his mind that the revolution would come, and when it did, everyone had to be ready, with weapons, training, information. And information meant spies like Paco. He had contacts everywhere, even in the police."

If you're expecting some huge revelations about Verity Lambert's tenure as producer of Doctor Who in Richard Marson's new book Drama and Delight - The Life and Times of Verity Lambert then you'll probably be disappointed.

As the author emphatically declares, Verity Lambert was so much more than the first producer of the legendary science fiction series, a fitting accolade in and of itself. Marson therefore traces her early upbringing, schooling and employment as a secretary at ITV before her move to the BBC and her continuing success as a producer and executive with London Weekend and Thames Television, Euston Films, Thorn-EMI and finally her own production company Cinema Verity.

Just as the book essays her professional triumphs and disasters in the entertainment industry, producing a wonderful boardroom drama about the comings and goings of working at the BBC or ITV with plenty of anecdotes from friends and colleagues, so it also charts the choppy waters of her personal life and both the delight and disappointment she found in her friendships and relationships. You certainly get the sense that Verity enjoyed a challenge, dealing with rival producers or difficult writers or juggling a career with marriage, Great Danes and volatile friendships.

As the television industry changed, from the technical and production developments at BBC and ITV to the launch of Channel Four and to the impact of John Birt's much criticised 'producer choice' at the BBC that ushered in the rise of the independent sector, Marson shows Verity taking on these upheavals with determination. The climate for making good drama radically alters between the 1960s and the 1990s but this woman always seemed to be in the thick of it, maintaining the quality of her productions until her demise.

Coppers & Spies Revisited
Continuing with the re-written versions of the original Coppers and Spies blog posts published on the MovieMail site in 2014. Each part contains additional research material and information on the various crime and spy adventure series the original blog series covered, timed to celebrate Network's highly-anticipated release of The Professionals in high-definition last March.

3: We Want Information - ITC and The Prisoner

Mention the acronym ITC to a certain generation and it conjures up memorable images: Gerry Anderson’s Thunderbirds machines, Roger Moore and his saintly halo, Number Six being menaced by a huge white balloon and Jason King’s outré wardrobe. Formed in 1954 by Charleston champion and talent agent Lew Grade, Incorporated Television Company was a subsidiary of ITV franchise ATV and first made an impact in the 1950s with filmed period adventure series featuring Robin Hood, William Tell and Sir Lancelot.

Grade was ‘a shrewd judge of public taste’ and financed dramas and light entertainment series with an emphasis on mass popular appeal. 1955’s The Adventures of Robin Hood demonstrated his prowess for securing co-production deals and ensuring sales of British made television to the major US networks. It paved the way for the international success of Gerry Anderson’s puppet and live action series and ITC’s cult spy and crime adventure dramas of the 1960s.

ITC’s major advantage was to shoot on film rather than record on tape, the industry standard adopted at the time by the BBC and other ITV commercial franchises. High quality, export-ready filmed productions shot on location and in technically sophisticated British film studios were more appealing to the lucrative US television market. ITC eventually generated $100 million for the UK economy and received a Queen’s Award for Export.

The company became synonymous with its crime adventure series, beginning in the 1960s with Danger Man, The Saint, The Baron, Man In A Suitcase, The Prisoner, The Champions, Department S, Randall and Hopkirk (Deceased) and ending in the 1970s with The Persuaders! and Jason King.

All predominantly featured male secret agents, freelance troubleshooters, private investigators and amateur sleuths and embellished this male dominance with an emphasis on style, production values and Britishness. Each series also had an iconic title sequence, often designed by Chambers and Partners, and memorable theme music composed by the likes of Edwin Astley, Tony Hatch, Ron Grainer or John Barry.

Beneath the surface of what could now be viewed as conservative, misogynist and sexist male stereotypes lay Grade’s willingness to support the ‘questioning of taken-for-granted assumptions.’ This is perhaps best showcased by The Prisoner’s unique perspective on the genre, as a disquieting alter ego to the equally playful The Avengers, and the fantasy elements that delineated the formats of The Champions and Randall and Hopkirk. Jason King was itself, perhaps unintentionally, a satirical view of the format and one constructed entirely from the clichés of the ITC back catalogue.

These programmes consolidated ITC’s export drive in the 1960s and on the back of this it promoted a wide range of male heroic types. Although they offered various performances of masculinity, which expressed certain changes in attitudes and values during the explosion of British popular culture in that decade, these series globalised the crime and action genre and created heroes with transnational appeal.