The Avengers Forever: Guest Essays

	Guest Essays Page 4 of 14

THE CHARMERS versus THE CORRECT WAY TO KILL

The Cathy Gale and Emma Peel eras of the show have always been distinct entities with noticeable differences. This goes beyond the issue that the Gale episodes were on videotape and the Peel series was on film with much bigger production cost. The two series had very different approaches. This can be best observed with "The Charmers" and "The Correct Way to Kill."

It is known that the two episodes are the same story adapted for the different eras. Both versions are good and enjoyable to watch, with the Peel version having the better overall look and feel. It was produced on the necessary scale the story requires with larger and more elaborate sets and the cast size appropriately expanded to present the villains in their full formidability. However, it can be observed that small things were done to produce two very different episodes.

The Gale show maintains a nice air of realism throughout. While the script creates fanciful situations with the charm school and the dentist installing equipment in the bowlers, it does not strain disbelief. The stark layout and design of Keller's HQ effectively contrasts Steed's flat and nicely underscores the difference of the two men's lifestyles and employers. This is particularly evident with the cramped passageway to Keller's office.

A number of characters are given real depth. Attention is given to Keller's motivations. The audience clearly understands the frustrations that lead up to his betrayal. There is also some interesting characterization for the Soviet agent Martin. His admission for his affection for Cathy is a nice extra touch to the short-lived character. It is odd though that the main killer is written so flatly and it is not helped by the actor's delivery. Sadly, he comes across as very common.

The script is not without some questionable elements in the plot. The main one is making Kim Lawrence an innocent dupe. Under the circumstances, it would seem more logical and better to have a trained agent work with and keep an eye on Steed. And then there's the issue how Cathy so easily comes across the deception. However, despite this, Finella Fielding is an absolute gem as Kim, and is the episode's biggest asset. Fielding exudes a great deal of charm and presence, and is responsible for much of the humor in this episode. She has a wonderful chemistry with Macnee and one can see how she could have been cast against on a more permanent basis.

The Peel version projects the feeling of light fantasy typical of the series. The situations in the original script have been adjusted to add a little absurdity and a sense of artificiality. We have an umbrella shop that has its own quality testing with a shower. This is a little silly, since the shop would distribute the product and not manufacture it. The charm school name has the title of SNOB. Steed, Nutsky and Ivan have a very Russian celebratory drink after Nutsky unlocks the bottle. Olga reveals a huge arsenal of equipment beneath her fur coat. The violence throughout is highly stylized, albeit elegant, and of course done "correctly." Even the final fight is synchronized.

This version has much more sexual innuendo as well as running jokes. Lines in the previous story that were played straight are altered slightly in content or delivery to provide double entendres. The "cheek by jowl" and "Dardenelles" conversations exemplify this. The "but a little bit of cheating" line is turned into a bigger joke as is the "like someone who's been tied up and dumped in a box" line. Olga's commentary on Steed's subtle approaches is also a recurring bit of humor.

The script plays down specific characterizations in favor of two-dimensional characterizations. With Nutsky, we are left to assume he's just power hungry. There is no profession of desire on Ivan's part. Although Percival and Algernon have much better-written scenes and come across much more polished than their '64 counterpart, they have no depth and merely used to add to the atmosphere.

Ironically, the one realistic element in the script this time is the woman joining Steed is a real agent. Of course, her persona is an over-the-top stereotype of a Russian. Like the character of Kim, Olga is full of broad humor in this episode. It is interesting to note that the roles are very different, as are the actresses, yet they are both are a central source of humor. Fielding plays Kim with a vivacious whimsy that at times unnerves Steed. Anna Quayle plays Olga very serious and is at times straight man to Macnee. However, her character is hysterical at times, especially with her "stare directly into the camera" reactions.

With thanks to Jonathan Woods for the banner logo.