⊕ Content notice for discussion and analysis of ableist themes and disabled-as-villain tropes
Here I am bouncing offcelluloidbroomcloset’s ideaabout a blocking of Steed and the Major with a statue of Wellington, and what that shows about their relative personalities.
Harold Long, aka “Apollo,” is an evil psychiatrist who has gathered around him a group of military men who feel that peacetime is bunk and that their lives are insufficiently action-packed. Long has discovered that these men have a kind of physical and mental addiction to danger and violence, so he gets the men to perform random stunts in order to satisfy their craving and to prove their bravery to themselves and to each other. Long also plans daring crimes for them to execute. And the penalty for cowardice or failure? Death.
But after a highly decorated, well-respected general plays chicken with a moving lorry and loses, another officer drowns trying to cross the Atlantic in a canoe, and the serious injury of yet another officer who falls while trying to climb the side of St Paul’s, Steed and Mrs Peel are brought in by the War Office to find out what the heck is going on and to put a stop to it if they can.
In an earlier post, I dealt with issues of gender and combat roles for Steed and Mrs Peel, including an extended discussion of how those things play out in “The Danger Makers” in particular. Here I want to discuss a different aspect of that episode, the depiction of the contrast between the true courage and moral virtue of Steed and Mrs Peel on the one hand, and the depravity of the Danger Makers on the other.
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.”