It could have been an accident. He decided to sip a surreptitious sup and slipped. Splash!

4.10 A Surfeit of H₂0

A great episode title (definitely one of the series’ top ten) with a storyline boasting all the necessary ingredients (strange deaths in a small village, eccentric supporting characters, Emma even utters the immortal “You diabolical mastermind, you!”), yet A Surfeit of H₂0 is unable to quite pull itself above the run of the mill.

Of course, in the such glorious days as these of HAARP and – alleged – weather control, an evil corporation (Granny Gregson’s Glorious Grogs Incorporated, its factory engaged in the fermentation of intoxicating liquors; selling various invidious varieties of vino, basically – this is a fine episode for alliteration) indulging a localised downpour “for about a year” seems almost innocuous. Although, they have the right general idea for their nefarious scheme; providing “relentless, never-ceasing rain” to order: “It’s the biggest military weapon since the nuclear bomb” (and we had one of those a few episodes back).

Steed mentions cloud seeding in passing (but not Wilhelm Reich), but isn’t clear quite how the diabolical types are supposed to have achieved this in Colin Finbow’s sole teleplay for the show. Sidney Hayers, in his second spin in the director’s chair following The Cybernauts, delivers inventively, particularly when it comes to finding such unlikely elements as a manhole in the middle of field. My favourite visual signature, however, is the Naked Gun-style cartoon body print puddle left by a drowning victim (John Kidd’s Sir Arnold Kelly).

Part of the problem with this one is that the villains aren’t remotely interesting, even given the estimable presence of Geoffrey Palmer in his fourth and final appearance in the series. Dr Sturm (Albert Lieven) – geddit? – at least has a suitably despicable torture technique, though, possibly inspired by the previous year’s Goldfinger, strapping Emma down on a vegetable press (“Well, I will just have to squeeze this information out of you”).

Steed: What is it?

Joyce: Old bark.

Steed: Must have put the dog in it, too.

More memorable is Steed’s obligatory object of flirtation (“Can I help you?”: “Anytime”), Joyce Jason (Sue Lloyd, for whom Michael Caine memorably made an omelette in the same year’s The Ipcress File), particularly his pestering her for wine purchases (vegetable wines, hence the press: “Have you ever tried to tread potatoes?”) before settling on Buttercup (“Now, that’s more my cup of tea”). Macnee’s on great form as an infernal nuisance (“See he gets what he wants and get the idiot out of here”).

Jonah Barnard: The flood cometh!

Mrs Peel: Yes, well I’ve put a down payment on a canoe.

The supporting eccentrics don’t quite attain classic form, alas, although Noel Purcell is memorably boisterous as prophet of doom Jonah Barnard, mocked by villagers and preaching to a congregation of a boy and dog, transforming into highly pugilistic mode (“Mr Steed, I’m not a violent man by nature, but when faced with the problem of survival…”) and strangling a villain with gusto (“Hallelujah!”), the latter possibly a wry commentary on religious extremism.

There’s also Mr Cheeseman himself, Talfryn Thomas, in typically scene-hogging mode as Eli Barker, with the occasional memorable line (“Poaching isn’t like stealing, is it?” he comments of his drowned brother’s career path).

Mrs Peel: Gentlemen should knock before entering.

Steed: What are you, a sparkle in a seaweed soda?

Mrs Peel: No, I’m a kick in the nettle noggin.

The highlight, as it often is, is the interplay between Steed and Emma, from his casual rescue of her (above), to a discussion of Eli’s demise (“It could have been an accident. He decided to sip a surreptitious sup and slipped. Splash!”), to Steed expressing surprise at Jonah’s accusation of Emma entering a pit of iniquity (“Is she a very sinful woman?”) to the flattening of Steed’s bowler (“It was over very quickly. I don’t think it suffered”).

Indeed, there’s nigh on a torrent of good lines (“Lovely weather we’re not having” and the titular “There seems to be surfeit of H2O in this vicinity”), the bare bones are promising, it’s fun seeing Steed hopping in and out of different costumes according to location rather than design, and Emma’s always dressed to impress, but this one never quite gets beyond an arresting premise.

Agree? Disagree? Mildly or vehemently? Let me know in the comments below.

Comments

I just hope my death makes more cents than my life.

Joker (2019)
(SPOILERS) So the murder sprees didn’t happen, and a thousand puff pieces desperate to fan the flames of such events and then told-ya-so have fallen flat on their faces. The biggest takeaway from Joker is not that the movie is an event, when once that seemed plausible but not a given, but that any mainstream press perspective on the picture appears unable to divorce its quality from its alleged or actual politics. Joker may be zeitgeisty, but isn’t another Taxi Driver in terms of cultural import, in the sense that Taxi Driver didn’t have a Taxi Driver in mind when Paul Schrader wrote it. It is, if you like, faux-incendiary, and can only ever play out on that level. It might be more accurately described as a grubbier, grimier (but still polished and glossy) The Talented Ripley, the tale of developing psychopathy, only tailored for a cinemagoing audience with few options left outside of comic book fare.

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Once Upon a Time… in Hollywood (2019)
(SPOILERS) My initial reaction to Once Upon a Time… in Hollywood was mild disbelief that Tarantino managed to hoodwink studios into coming begging to make it, so wilfully perverse is it in disregarding any standard expectations of narrative or plotting. Then I remembered that studios, or studios that aren’t Disney, are desperate for product, and more especially, product that might guarantee them a hit. Quentin’s latest appears to be that, but whether it’s a sufficient one to justify the expense of his absurd vanity project remains to be seen.

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The Irishman aka I Heard You Paint Houses (2019)
(SPOILERS) Perhaps, if Martin Scorsese hadn’t been so opposed to the idea of Marvel movies constituting cinema, The Irishman would have been a better film. It’s a decent film, assuredly. A respectable film, definitely. But it’s very far from being classic. And a significant part of that is down to the usually assured director fumbling the execution. Or rather, the realisation. I don’t know what kind of crazy pills the ranks of revered critics have been taking so as to recite as one the mantra that you quickly get used to the de-aging effects so intrinsic to its telling – as Empire magazine put it, “you soon… fuggadaboutit” – but you don’t. There was no point during The Irishman that I was other than entirely, regrettably conscious that a 75-year-old man was playing the title character. Except when he was playing a 75-year-old man.

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Casino Royale (2006)
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For the majority of its first two hours, Casino Royale is top-flight entertainment, with returning director Martin Campbell managing to exceed his excellent work reformatting Bond for the ‘90s. That the weakest sequence (still good, mind) prior to the finale is a traditional “big” (but not too big) action set piece involving an attempt to…

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The Two Popes (2019)
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Star Trek II: The Wrath of Khan
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(SPOILERS) I don’t love Star Trek, but I do love Star Trek II: The Wrath of Khan. That probably isn’t just me, but a common refrain of many a non-devotee of the series. Although, it used to apply to The Voyage Home (the funny one, with the whales, the Star Trek even the target audience for Three Men and a Baby could enjoy). Unfortunately, its high regard has also become the desperate, self-destructive, song-and-verse, be-all-and-end-all of the overlords of the franchise itself, in whichever iteration, it seems. This is understandable to an extent, as Khan is that rare movie sequel made to transcendent effect on almost every level, and one that stands the test of time every bit as well (better, even) as when it was first unveiled.

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1917 (2019)
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