This was originally posted on my tumblr in response to celluloidbroomcloset.tumblr.com’sexcellent work on the use of color in this episode.I haven’t had much time or energy for non-fictional Avenging lately, so I figured I’d resurrect some of my old stuff for a new audience here on WordPress.
The clothing and ties worn by Steed and Beresford (Peter Cushing!), and the ties worn by a few other characters, seem to work as sartorial commentary on the plot in the Season 5 episode, “Return of the Cybernauts”.
When Beresford is interacting with Emma, he always wears the same suit with the same black late-19th-century-style black tie, but Steed’s ties and suits change throughout the episode, and with one exception (grey suit, gold tie), Steed doesn’t wear the same suit twice with Emma.
Steed’s ties change color throughout, but the last one he wears is black. The colors of Steed’s suits also change throughout the episode, ending with the black suit and light-colored shirt at the end.
The use of black and white for the men’s clothing in these situations has symbolic significance with respect to their relationship to one another and the trajectory of the plot, and also harkens back to the original “Cybernauts” episode, which was shot in black and white.
One of the hallmarks of Season 6 is the occasional use of color schemes and interior set designs that have the feel of a dreamscape or even hallucination. Although The Avengers overall deservedly has the reputation of being a “quirky” series that frequently bends reality to its own purposes, this move to a more stylized approach to color, set design, and set dressing is taken to its furthest point in the Tara King era. This use of what I am calling “dreamscape sets” usually focuses on public or commercial spaces that Steed and/or Tara must visit in the course of their work. Another locus for dreamscape sets are Mother’s hideouts, which can be literally anywhere from atop a double-decker bus to an underwater tank to a cow pasture, and which often are furnished and decorated in truly bizarre ways. I also see Tara’s flat as a kind of dreamscape set all its own.
In a career spanning over thirty years of television directing, Peter Hammond frequently made creative — and even groundbreaking — uses of camera angle and props. Among the signatures of his style are shots requiring sometimes complicated alignment of the actors, innovative camera placement, and the incorporation of props and set furnishings into shots and scenes in ways that often have significance to plot or characterization or both.
According to imdb.com, Hammond directed a total of nineteen episodes of The Avengers, nine of which were from the first season and thus have unfortunately been lost, with the exception of “The Frighteners.” The other ten were from Seasons 2 and 3, all of which are extant, and elsewhere I have discussed how Hammond uses props and the alignment and placement of the actors’ bodies to help tell the story in the Season 3 episode “The Golden Fleece.” Here, though, I’d like to discuss a different element of Hammond’s directorial style: the use of animal symbolism as commentary on plot and character in another Season 3 story: “Build a Better Mousetrap.”
“The Golden Fleece” is one of the better episodes of the Gale Era, not only because of its relatively strong story and fine performances, but also because of the skillfulness of the direction. Throughout the episode, director Peter Hammond creates artful effects by using symmetry and mirror image in the blocking of the Steed/Gale two-shots. Shifts in which character is foregrounded along with the positions of the actors’ bodies relative to one another and to the space they occupy and, occasionally, shot length all contribute to the overall effect, and sometimes have significant interactions with the motions of the plot and the character arcs within it.