The GLG Reports
Page 3 of 67

By Grant L. Goggans

"Here's to Intercrime — system, organization and continental good will!" Elements of this story have aged very poorly indeed, as the world really no longer fears jewel thieves, safecrackers and fur snatchers. Nevertheless, viewing this in its context as a highbrow early '60s crime melodrama is a real treat, and possibly the high point of season two. There's a real feeling of danger here as Cathy, who is extremely reluctant to go along with Steed's latest wild plan, gets embroiled with a truly vicious bunch of well-dressed, immaculate murderers. The brutal fight between Blackman and Arnall is a pretty predictable development, but a real eye-opener, especially as their two characters have been sneering at each other every time they meet. Another surprise is the presence of nude paintings hanging on Steed's staircase wall, but the thing that will make any contemporary audience gasp is the surprise visit by a studio camera on screen as a door opened by Arnall fails to close all the way. You've gotta love the no-frills production of the era. Happily, that's about the only aberration in what's otherwise a solid script, a tense and fast-moving hour full of good performances. "Intercrime" is notable as being the only other recurring Avengers foe besides the Cybernauts. Dicks and Hulke resurrected them in an episode, filmed and scrapped in 1967, called "The Great Great Britain Crime." In early 1969, that story was reworked, given new framing material and turned into the much-hated "Homicide and Old Lace." Sadly, that color epitaph is a totally unacceptable sequel to this solid, enjoyable hour.

All materials copyrighted per their respective copyright holders.
This website Copyright 1996-2017 David K. Smith. All Rights Reserved.
Page last modified: 5 May 2017.

Top of page
Table of Contents