It seems we have two Arthur Peevers. One dead, one learning to swing a dainty foot.

The Avengers

4.19: Quick-Quick Slow Death

Coming straight after The Girl from Auntie, it’s impossible to ignore the similar “villains cover their tracks by whacking wacky eccentrics” structure, but since I’m a sucker for such Avengers tales, it scarcely matters. Robert Banks Stewarts writes, but particular laurels are due James Hill for his deft touch during the musical climax.

The episode’s main thrust concerns a dance school “for infiltrating foreign agents into the country”, in which the students are offed and replaced with trained operatives. This eventually explains the dual Arthur Peevers, the one found dead in the teaser, in a pram in full evening dress, and the one who shows up at the dance school Terpsichorean Training Techniques Inc (James Belchamber).

The dead man’s inked arm leads to the first in a mounting series of dead bodies, as Emma visits tattooist Fintry (Alan Gerrard, Bovem in The Dominators). Diana Rigg seems genuinely amused during her scenes with Gerrard, as he recounts with gusto the most popular designs (“I love whoever it is” and “a mother’s loving touch”) and how a certain inscription needs sufficiently sizeable clients or the results can be undesirable (“So it ended up ‘What is home without a moth’”). When Fintry is shot in the head, he still has the wherewithal to tattoo his Italian sausage with vital information about the murderer before expiring (“Killer has tattoo on right wrist”).

Steed: You’ve seen pictures of those Russian diplomats?

Huggins: Hmm.

Steed: Well, where do you think they get those terrible clothes from?

Steed, posing as a representative of Baggy Pants Limited, who do “top secret work – Diplomatic Corps only”, visits Litchen & Co and attempts to mine information on Peever from Huggins (Graham Armitage, Barney in The Macra Terror), who is stabbed in the changing room, much to his colleague’s alarm (“Why, without us, Ascot would look like a nudist convention!”) He then finds his way to Mulberrys Bank, where the manager (Ronald Govey, Relf in Ultraworld) is most upset about losing a client (Manager: Bad. Steed: Very bad. Manager: Very, very bad”), and his next lead sends him – nowhere. Opening the door to Purbright & Co onto an empty space, he very nearly plummets to his doom.

Peidi: Such expressive feet. Look, ah they talk-a to me. You naughty little chatterboxes, you.

Diverting, undoubtedly, but Emma’s on the receiving end of the best encounters in this one, particularly as the Italian sausage isn’t the only dubious European in Quick-Quick Slow Death. At Peidi’s shoe repair, Peidi (David Kernan) feigns a continually slipping Italian accent as he obsesses over Mrs Peel’s feet (“So pale, so tender, so exquisitely elegant… Oh senora, they’re a poem, they sing and they soar”) and gets quite excited over what he might be able to make for her once he has cast them (“A pair of slippers for the boudoir? Wellington boots in the kinkiest black leather?”) Peidi doesn’t end up dead, but his assistant Bernard (Colin Ellis) does, drowned in plaster of Paris.

Steed: Now you, Mrs Peel, back to your pupils, and be quick-quick slow about it.

After this succession of curious characters, the main action at the dance school isn’t, initially, quite as scintillating, with Emma posing as an instructress and Steed brushing up on his technique. Eunice Gayson (Sylvia in the first two Bond films) scores as the head of the school, Lucille Banks, and has some particularly fine interaction with Macnee (she notes his good English name, and he replies “Came over with the Vikings. They were between raids and discovering America at the time”).

Lucille Banks: Are you attempting a reverse, double clip feet?

Steed: With you, Miss Banks, I reach for the rainbow.

Lucille Banks: You mad, impetuous man!

However, the grand finale at the gala dance contest, as Steed is targeted for elimination and Emma proves more than effective at turning the tables, is a delight. He shows off his acumen to Miss Banks as he and Emma warn each other of dangers (“You’re Number Nine”: “And you’re dancing with garlic sausage!”). Each time someone dances around the back of the dance floor, they mess up their adversaries’ plans. Emma changes Steed’s 9 to a 6, 9 being the identifying number of the intended target. Steed turns Ivor Bracewell’s (Maurice Kaufmann – the tattooed killer) 6 to 9. She dances with Ivor round the back so the spy coshes him, and Steed consequently coshes the spy, with Emma dispatching the drunken commander Chester Reed (Larry Cross): “Keep ‘em coming”.

Other amusing moments include the opening sequence, in which Steed, who has been shooting empty beer cans, hits a full one Emma has let fly (“That was my lunchtime refreshment”). John Woodnutt (Terror of the Zygons, The Keeper of Traken, Jeeves and Wooster) is on top form as Captain Noble; having survived an attempted choking to death, he can only croak at Steed (and, we are informed, phone Emma via whistling Morse Code at her).

The laugh off is also particularly good, with the duo dancing into the darkness as Emma delivers a breathless sentence:

Mrs Peel: Steed.

Steed: Mrs Peel.

Mrs Peel: Did you know they’ve just arrested a band leader for being drunk in charge of a pram containing a man in full evening dress with a plaster cast on his dead, tattooed on his right wrist, clutching a dance diploma in one hand and a garlic sausage in the other?

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

You were this amazing occidental samurai.

Ricochet (1991) (SPOILERS) You have to wonder at Denzel Washington’s agent at this point in the actor’s career. He’d recently won his first Oscar for Glory , yet followed it with less-than-glorious heart-transplant ghost comedy Heart Condition (Bob Hoskins’ racist cop receives Washington’s dead lawyer’s ticker; a recipe for hijinks!) Not long after, he dipped his tentative toe in the action arena with this Joel Silver production; Denzel has made his share of action fare since, of course, most of it serviceable if unremarkable, but none of it comes near to delivering the schlocky excesses of Ricochet , a movie at once ingenious and risible in its plot permutations, performances and production profligacy.

He’ll regret it to his dying day, if ever he lives that long.

The Quiet Man (1952) (SPOILERS) The John Wayne & John Ford film for those who don’t like John Wayne & John Ford films? The Quiet Man takes its cues from Ford’s earlier How Green Was My Valley in terms of, well less Anglophile and Hibernophile and Cambrophile nostalgia respectively for past times, climes and heritage, as Wayne’s pugilist returns to his family seat and stirs up a hot bed of emotions, not least with Maureen O’Hara’s red-headed hothead. The result is a very likeable movie, for all its inculcated Oirishness and studied eccentricity.

No one can be told what the Matrix is. You have to see it for yourself.

The Matrix (1999) (SPOILERS) Twenty years on, and the articles are on the defining nature of The Matrix are piling up, most of them touching on how its world has become a reality, or maybe always was one. At the time, its premise was engaging enough, but it was the sum total of the package that cast a spell – the bullet time, the fashions, the soundtrack, the comic book-as-live-action framing and styling – not to mention it being probably the first movie to embrace and reflect the burgeoning Internet ( Hackers doesn’t really count), and subsequently to really ride the crest of the DVD boom wave. And now? Now it’s still really, really good.

Well, something’s broke on your daddy’s spaceship.

Apollo 13 (1995) (SPOILERS) The NASA propaganda movie to end all NASA propaganda movies. Their original conception of the perilous Apollo 13 mission deserves due credit in itself; what better way to bolster waning interest in slightly naff perambulations around a TV studio than to manufacture a crisis event, one emphasising the absurd fragility of the alleged non-terrestrial excursions and the indomitable force that is “science” in achieving them? Apollo 13 the lunar mission was tailor made for Apollo 13 the movie version – make believe the make-believe – and who could have been better to lead this fantasy ride than Guantanamo Hanks at his all-American popularity peak?

Haven’t you ever heard of the healing power of laughter?

Batman (1989) (SPOILERS) There’s Jaws , there’s Star Wars , and then there’s Batman in terms of defining the modern blockbuster. Jaws ’ success was so profound, it changed the way movies were made and marketed. Batman’s marketing was so profound, it changed the way tentpoles would be perceived: as cash cows. Disney tried to reproduce the effect the following year with Dick Tracy , to markedly less enthusiastic response. None of this places Batman in the company of Jaws as a classic movie sold well, far from it. It just so happened to hit the spot. As Tim Burton put it, it was “ more of a cultural phenomenon than a great movie ”. It’s difficult to disagree with his verdict that the finished product (for that is what it is) is “ mainly boring ”. Now, of course, the Burton bat has been usurped by the Nolan incarnation (and soon the Snyder). They have some things in common. Both take the character seriously and favour a sombre tone, which was much more of shock to the

You think a monkey knows he’s sitting on top of a rocket that might explode?

The Right Stuff (1983) (SPOILERS) While it certainly more than fulfils the function of a NASA-propaganda picture – as in, it affirms the legitimacy of their activities – The Right Stuff escapes the designation of rote testament reserved for Ron Howard’s later Apollo 13 . Partly because it has such a distinctive personality and attitude. Partly too because of the way it has found its through line, which isn’t so much the “wow” of the Space Race and those picked to be a part of it as it is the personification of that titular quality in someone who wasn’t even in the Mercury programme: Chuck Yaeger (Sam Shephard). I was captivated by The Right Stuff when I first saw it, and even now, with the benefit of knowing-NASA-better – not that the movie is exactly extolling its virtues from the rooftops anyway – I consider it something of a masterpiece, an interrogation of legends that both builds them and tears them down. The latter aspect doubtless not NASA approved.

We’ve got the best ball and chain in the world. Your ass.

Wedlock (1991) (SPOILERS) The futuristic prison movie seemed possessed of a particular cachet around this time, quite possibly sparked by the grisly possibilities of hi-tech disincentives to escape. On that front, HBO TV movie Wedlock more than delivers its FX money shot. Elsewhere, it’s less sure of itself, rather fumbling when it exchanges prison tropes for fugitives-on-the-run ones.

Drank the red. Good for you.

Morbius (2022) (SPOILERS) Generic isn’t necessarily a slur. Not if, by implication, it’s suggestive of the kind of movie made twenty years ago, when the alternative is the kind of super-woke content Disney currently prioritises. Unfortunately, after a reasonable first hour, Morbius descends so resignedly into such unmoderated formula that you’re left with a too-clear image of Sony’s Spider-Verse when it lacks a larger-than-life performer (Tom Hardy, for example) at the centre of any given vehicle.

So, you’re telling me that NASA is going to kill the President of the United States with an earthquake?

Conspiracy Theory (1997) (SPOILERS) Mel Gibson’s official rehabilitation occurred with the announcement of 2016’s Oscar nominations, when Hacksaw Ridge garnered six nods, including Mel as director. Obviously, many refuse to be persuaded that there’s any legitimate atonement for the things someone says. They probably weren’t even convinced by Mel’s appearance in Daddy’s Home 2 , an act of abject obeisance if ever there was one. In other circles, though, Gibbo, or Mad Mel, is venerated as a saviour unsullied by the depraved Hollywood machine, one of the brave few who would not allow them to take his freedom. Or at least, his values. Of course, that’s frequently based on alleged comments he made, ones it’s highly likely he didn’t. But doesn’t that rather appeal to the premise of his 23-year-old star vehicle Conspiracy Theory , in which “ A good conspiracy theory is an unproveable one ”?

He doesn’t want to lead you. He just wants you to follow.

Fantastic Beasts: The Secrets of Dumbledore (2022) (SPOILERS) The general failing of the prequel concept is a fairly self-evident one; it’s spurred by the desire to cash in, rather than to tell a story. This is why so few prequels, in any form, are worth the viewer/reader/listener’s time, in and of themselves. At best, they tend to be something of a well-rehearsed fait accompli. In the movie medium, even when there is material that withstands closer inspection (the Star Wars prequels; The Hobbit , if you like), the execution ends up botched. With Fantastic Beasts , there was never a whiff of such lofty purpose, and each subsequent sequel to the first prequel has succeeded only in drawing attention to its prosaic function: keeping franchise flag flying, even at half-mast. Hence Fantastic Beasts: The Secrets of Dumbledore , belatedly arriving after twice the envisaged gap between instalments and course-correcting none of the problems present in The Crimes of Grindelwald .

Now In Full Color, with a Happier Ending

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