Skip to main content

Someone began his Christmas celebrations early.

The Avengers
4.6: Too Many Christmas Trees

Festive celebrations take a sinister turn in this fourth season episode, as Steed is haunted by uncannily predictive dreams. It is, of course, a nefarious plot, but less lightweight than many a series’ seasonal indulgence, despite featuring its fare share of gags and meta-referencing.


Most celebrated is the Christmas card Steed receives from Cathy Gale, offering him best wishes for the future (“Oh, how nice of her to remember me”), followed by “What can she be doing in Fort Knox?” Albeit, Too Many Christmas Trees was broadcast 15 months after the release of Goldfinger, in which Honor Blackman’s Pussy Galore visited Fort Knox.


More pertinent to the story, in which a man suffers eerie premonitions of the surroundings and guests he is visiting, Mervyn Johns is cast as Brandon Storey, the publisher mastermind (and Santa) behind the scheme to plunder Steed’s brain for top secrets. Johns played the outwardly inconspicuous Walter Craig in horror classic Dead of Night 20 years earlier (spoilers for the film follow). Craig visits a weekend gathering in the country where the guest regale each other with spooky tales and a psychiatrist delivers rational explanations for anything odd. Ultimately, Craig is revealed as the shrink’s strangler, at which he awakes, and a cyclic narrative is shows him embarking for the retreat for the first time.


Slightly less essentially, Johns, here playing a Dickens obsessive, had also appeared in several Dickens adaptations, including A Tale of Two Cities (referenced by Steed’s fancy dress costume) and (the 1951, definitive) Yule tale of dreams and visitations Scrooge (as Bob Cratchit).


Dr Teasel: Clearly he’s on the verge of a complete nervous breakdown.

The mood of Steed’s dream, an expanse of white with Steed rocking his PJs, cardboard cut-out Christmas trees, sinister sleigh music and Santa sporting a grotesquely ill-fitting mask and announcing himself with an ominous “Ho-ho-ho”, vaguely recalls the unreality of another two decades old film, Hitchcock’s Spellbound, with its dream sequence designed by Salvador Dali (the only really good part of it, truth be told). 


Appropriately, Mrs Peel launches into an amusing cod-analysis of why Steed is dreaming the dreams he is dreaming (particularly so, since it is later revealed that she has also been manipulated). She considers it “a simple case of childhood regression, dating back to the time you realised there isn’t a Santa”. To which, a classically cheerful Steed ripostes; “Oh dear. Isn’t there?” Emma’s articles on psychoanalysis are remarked upon by Dr Felix Teasel as “Very good, for the lay public”.


The finale, set in a darkened room of distorting mirrors, in which the villain mistakenly shoots at Emma’s reflection, recalls Orson Welles’ The Lady from Shanghai (and presages The Man with the Golden Gun).


Emma: Wake up! You’ve been drugged.
Steed: I haven’t, you know. I poured it all down the sink. There’s enough there to knock out a herd of buffalo.

The general structure, in which scheming types manipulate our hero’s subconscious in an effort to elicit truths from him, would be used again two years later in The Prisoner episode A. B. & C. To better effect, it has to be said (not that Too Many Christmas Trees isn’t a worthy episode in itself). Tony Williamson wrote nine instalments of The Avengers and contributed to a number of ITC serials including The Champions, Jason King and The Persuaders (he also wrote half of Adam Adamant Lives!), but not the Patrick McGoohan series. Both plots feature the hero deducing the villains’ plan, and they are revealed a crucial moment as having faked a lack of control. Steed suspected as soon as entering the house and saw the Christmas trees. Too Many doesn’t have anything in its arsenal as satisfying as Six’s “reveal” of Number Two as the contact, however, resolving itself with a simple unveiling of Storey.


Additionally, some of the elements are rather inelegant; Edwin Richfield’s doubting Thomas Dr Teasel turns out to be on the side of the angels (“Oh, oh the War Office won’t like that” comments Steed after Emma reveals she has knocked him out). So too Emma (who has been suspicious all along) being manipulated to bring Steed to the party, and Steed couldn’t let her know as “You might have given the game away”. When it’s really for the purposes of a neat Steed reveal (her concertedly joining in Steed’s hearty refrain at this point very nearly makes up for it, and is a lovely example of the chemistry between the two stars).


Mrs Peel: Do you believe in telepathy? Supposing a group of people, each of them telepathic, thought as one?
Dr Teasel: Nothing you’ve said to me so far is feasible.

While the whyfors of Steed’s dreams take a while to be laid out, the architects of the scheme are identified fairly early on (Storey aside), and one can’t help feel this might have been sustained for longer. Once we know there are several culprits, some with mixed feelings, there’s slightly less intrigue. Indeed, the explanation for how they engineered this, when it comes, is something of a cheat. Rather than with mirrors, or a pseudo-scientific explanation as in The Prisoner, the truth is extra-sensory. The diabolical masterminds telepathically were invading Steed’s mind, as illustrated by the round table and Janice Crane (Jeanette Sterke) predicting the cards held up by Steed (in what would typically be a magician’s sleight of hand).


Mrs Peel: What kind of nightmare?
Steed: A Christmas nightmare.

Film director Roy Ward Baker stages the proceedings with appropriate flair, from the tree and guillotine dream sequences to the overhead shots of the séance-esque sessions where the villains work on their subject (previously having picked on Steed’s friend Freddie Marshall, whom Steed knew had been giving away secrets; in a sign of the scientific slack granted this one, Freddie “died of a brainstorm”).


A fine supporting cast has been assembled, although the performers are generally rather more impressive than their characters. Edwin Richfield had previously appeared in The Girl on the Trapeze(and his notable appearances include two Doctor Whos, The Owl Service, and The Strange World of Gurney Slade). Robert James (as Jenkins) showed up in Hot Snow, the very first Avengers, as well as playing Lesterson in the first Patrick Troughton Doctor Who, The Power of the Daleks. On the Dickens front, he played Newman Noggs in Nicholas Nickelby a decade later. Alex Scott (Martin Trasker) has Our Mutual Friend and Martin Chuzzlewit on his Dickens score card while Barry Warren (Jeremy Wade) has none, although his fancy dress is – suitably, given his fate – Marley’s Ghost.


Steed: It’s a bit uncomfortable, isn’t it? Someone poking around in one’s innermost thoughts.(Looking up) Mmmm. And you can put that in your crystal ball.

Macnee had, of course, like Mervyn Johns, appeared in the Alastair Sim Scrooge, as young Jacob Marley. No A Tale of Two Cities, alas, as that would be a very tidy costuming reference. Rigg, who appears rather fetchingly as Oliver Twist (“My word, you have filled out!”), went on to appear as Lady Dedlock in the BBC’s acclaimed 1985 Bleak House


Amid the usual fighting and dodging skills, she has an artful little bit of business adjusting her bowtie, and the rapport between the two co-stars, complete with light innuendo, is a reminder of why theirs is the most-celebrated Avengers partnership. Reading out Christmas cards (“Who is ‘boofums’?”), to speculation of intent (“Is he still after your first editions?” Steed asks Emma of Jeremy Wade), to four poster beds (Emma has always fancied herself in one; “So have I” says Steed, before clarifying “I mean, I have, too”)


The send-off gag is set up earlier in the episode, as Emma ponders why Steed doesn’t get rid of the Bentley (I’m sure Macnee would have loved to), to which he replies “The quality of a lady’s performance is measured not by her years” In the final scene they have a horse and trap, complete with Prancer and some judiciously-placed mistletoe. A seasonal outing that doesn’t eschew plot for indulgence, Too Many Christmas Trees might not be top tier Avengers, although it was one of Macnee’s favourites, but it’s a fine example of Steed and Mrs Peel at play in what many regard as the best season of the show.














Comments

Popular posts from this blog

I added sixty on, and now you’re a genius.

The Avengers 4.3: The Master Minds
The Master Minds hitches its wagon to the not uncommon Avengers trope of dark deeds done under the veil of night. We previously encountered it in The Town of No Return, but Robert Banks Stewart (best known for Bergerac, but best known genre-wise for his two Tom Baker Doctor Who stories; likewise, he also penned only two teleplays for The Avengers) makes this episode more distinctive, with its mind control and spycraft, while Peter Graham Scott, in his third contribution to the show on the trot, pulls out all the stops, particularly with a highly creative climactic fight sequence that avoids the usual issue of overly-evident stunt doubles.

Exit bear, pursued by an actor.

Paddington 2 (2017)
(SPOILERS) Paddington 2 is every bit as upbeat and well-meaning as its predecessor. It also has more money thrown at it, a much better villain (an infinitely better villain) and, in terms of plotting, is more developed, offering greater variety and a more satisfying structure. Additionally, crucially, it succeeds in offering continued emotional heft and heart to the Peruvian bear’s further adventures. It isn’t, however, quite as funny.

Even suggesting such a thing sounds curmudgeonly, given the universal applause greeting the movie, but I say that having revisited the original a couple of days prior and found myself enjoying it even more than on first viewing. Writer-director Paul King and co-writer Simon Farnaby introduce a highly impressive array of set-ups with huge potential to milk their absurdity to comic ends, but don’t so much squander as frequently leave them undertapped.

Paddington’s succession of odd jobs don’t quite escalate as uproariously as they migh…

She writes Twilight fan fiction.

Vampire Academy (2014)
My willingness to give writer Daniel Waters some slack on the grounds of early glories sometimes pays off (Sex and Death 101) and sometimes, as with this messy and indistinct Young Adult adaptation, it doesn’t. If Vampire Academy plods along as a less than innovative smart-mouthed Buffy rip-off that might be because, if you added vampires to Heathers, you would probably get something not so far from the world of Joss Whedon. Unfortunately inspiration is a low ebb throughout, not helped any by tepid direction from Daniel’s sometimes-reliable brother Mark and a couple of hopelessly plankish leads who do their best to dampen down any wit that occasionally attempts to surface.

I can only presume there’s a never-ending pile of Young Adult fiction poised for big screen failure, all of it comprising multi-novel storylines just begging for a moment in the Sun. Every time an adaptation crashes and burns (and the odds are that they will) another one rises, hydra-like, hoping…

Where is the voice that said altered carbon would free us from the cells of our flesh?

Altered Carbon Season One
(SPOILERS) Well, it looks good, even if the visuals are absurdly indebted to Blade Runner. Ultimately, though, Altered Carbon is a disappointment. The adaption of Richard Morgan’s novel comes armed with a string of well-packaged concepts and futuristic vernacular (sleeves, stacks, cross-sleeves, slagged stacks, Neo-Cs), but there’s a void at its core. It singularly fails use the dependable detective story framework to explore the philosophical ramifications of its universe – except in lip service – a future where death is impermanent, and even botches the essential goal of creating interesting lead characters (the peripheral ones, however, are at least more fortunate).

He mobilised the English language and sent it into battle.

Darkest Hour (2017)
(SPOILERS) Watching Joe Wright’s return to the rarefied plane of prestige – and heritage to boot – filmmaking following the execrable folly of the panned Pan, I was struck by the difference an engaged director, one who cares about his characters, makes to material. Only last week, Ridley Scott’s serviceable All the Money in the World made for a pointed illustration of strong material in the hands of someone with no such investment, unless they’re androids. Wright’s dedication to a relatable Winston Churchill ensures that, for the first hour-plus, Darkest Hour is a first-rate affair, a piece of myth-making that barely puts a foot wrong. It has that much in common with Wright’s earlier Word War II tale, Atonement. But then, like Atonement, it comes unstuck.

He's a wild creature. We can't ask him to be anything else.

The Shape of Water (2017)
(SPOILERS) The faithful would have you believe it never went away, but it’s been a good decade since Guillermo del Toro’s mojo was in full effect, and his output since (or lack thereof: see the torturous wilderness years of At the Mountains of Madness and The Hobbit), reflected through the prism of his peak work Pan’s Labyrinth, bears the hallmarks of a serious qualitative tumble. He put his name to stinker TV show The Strain, returned to movies with the soulless Pacific Rim and fashioned flashy but empty gothic romance Crimson Peak (together his weakest pictures, and I’m not forgetting Mimic). The Shape of Water only seems to underline what everyone has been saying for years, albeit previously confined to his Spanish language pictures: that the smaller and more personal they are, the better. If his latest is at times a little too wilfully idiosyncratic, it’s also a movie where you can nevertheless witness it’s creator’s creativity flowing untrammelled once mo…

The aliens are not coming, just so you know.

The X-Files 11.1: My Struggle III
(SPOILERS) Good grief. Have things become so terminal for Chris Carter that he has to retcon his own crap from the previous season, rather than the (what he perceived as) crap written by others? Carter, of course, infamously pretended the apocalyptic ending of Millennium Season Two never happened, upset by the path Glen Morgan and James Wong, left to their own devices, took with his baby. Their episode was one of the greats of that often-ho-hum series, so the comedown was all the unkinder as a result. In My Struggle III, at least, Carter’s rewriting something that wasn’t very good in the first place. Only, he replaces it with something that is even worse in the second.

I'm going to open an X-file on this bran muffin.

The X-Files 11.2: This
(SPOILERS) Glen Morgan returns with a really good idea, certainly one with much more potential than his homelessness tract Home Again in Season 10, but seems to give up on its eerier implications, and worse has to bash it round the head to fit the season’s “arc”. Nevertheless, he’s on very comfortable ground with the Mulder-Scully dynamic in This, who get to spend almost the entire episode in each other’s company and might be on the best form here since the show came back, give or take a Darin.

Rejoice! The broken are the more evolved. Rejoice.

Split (2016)
(SPOILERS) M Night Shyamalan went from the toast of twist-based filmmaking to a one-trick pony to the object of abject ridicule in the space of only a couple of pictures: quite a feat. Along the way, I’ve managed to miss several of his pictures, including his last, The Visit, regarded as something of a re-locating of his footing in the low budget horror arena. Split continues that genre readjustment, another Blumhouse production, one that also manages to bridge the gap with the fare that made him famous. But it’s a thematically uneasy film, marrying shlock and serious subject matter in ways that don’t always quite gel.

Shyamalan has seized on a horror staple – nubile teenage girls in peril, prey to a psychotic antagonist – and, no doubt with the best intentions, attempted to warp it. But, in so doing, he has dragged in themes and threads from other, more meritable fare, with the consequence that, in the end, the conflicting positions rather subvert his attempts at subversion…

You’re never the same man twice.

The Man Who Haunted Himself (1970)
(SPOILERS) Roger Moore playing dual roles? It sounds like an unintentionally amusing prospect for audiences accustomed to the actor’s “Raise an eyebrow” method of acting. Consequently, this post-Saint pre-Bond role (in which he does offer some notable eyebrow acting) is more of a curiosity for the quality of Sir Rog’s performance than the out-there premise that can’t quite sustain the picture’s running time. It is telling that the same story was adapted for an episode of Alfred Hitchcock Presents 15 years earlier, since the uncanny idea at its core feels like a much better fit for a trim 50 minute anthology series.

Basil Dearden directs, and co-adapted the screenplay from Anthony Armstrong’s novel The Strange Case of Mr Pelham. Dearden started out with Ealing, helming several Will Hay pictures and a segment of Dead of Night (one might imagine a shortened version of this tale ending up there, or in any of the portmanteau horrors that arrived in the year…