We don’t want to offend the effendi.

The Avengers

26: Honey for the Prince

The last of the season, and the last black-and-white episode, Honey for the Prince isn’t quite as strong as I’d remembered. It’s also a tad problematic in places. That said, Brian Clemens’ teleplay maximises the accompanying quirkiness, the guest cast includes a particularly memorable turn from Ron Moody as Ponsonby Hopkirk, the director of QQF (Quite, Quite Fantastic Incorporated), and there’s an even more memorable Dance of the Six Veils courtesy of Mrs Peel (it would have been seven, but she was “poorly educated”).

Who is also again memorably in early hours post-party form this episode (see previously The Girl from Auntie), only this time with Steed too, who has evidently been getting down with the younger generation, and with a teddy bear and balloon in tow. He even gets a pat on the posterior for his dawn treading.

Indeed, there’s much in the way of carnal considerations in Honey for the Prince, what with a masseuse (Carmen Dene) attending to villain Arkadi (George Pastell, Kleig in The Tomb of the Cybermen) by various methods, ranging from lighting his cigar, to massaging his chest with a well-oiled leg and stroking him with a bear claw glove.

Prince Ali: Ah, Number 33. Charming girl, cost me a bag of salt and four goats. I’ve got lots more out the back.

Steed: Goats?

Prince Ali: Wives. Got to have a lot of them. Matter of status, you see. What was it at last count?

Grand Vizier: 320, your Highness.

Then there’s the harem of Prince Ali of Barabia (Zia Mohyeddin, later of Gangsters), where Steed is impressed by his roster of 320 wives (“The Prince is renowned for his ardour”) until Ali offers the sobering qualifier that this also means he has 320 mothers-in-law (eat that, Terry Medford). When Steed has successfully saved Ali from certain death, the latter announces “Anything I have is yours. My horses, my jewels. My favourite wife”; Emma’s stern “Steed!” calls a halt to any further discussion of the matter. We also learn of the fantasy life persona of “One of the best undercover men in the business”, Ronny Westcott (Jon Laurimore, Count Frederico in The Masque of Mandragora): chief eunuch in a harem.

Steed: Tell me, Mrs Peel, what size do you take in Turkish trousers?

But the main selling point of Honey for the Prince is Emma’s dance, giving what is rightly hailed as a cracking display. In the manner of bedroom farce, this is followed by the lusty Prince’s intention to consummate with his 321^st wife (“Retarded, your majesty. Definitely what you’d call retarded” Steed explains of Emma’s earlier unresponsiveness to questioning; the Avengers HR department subsequently had words with him over his choice of language). Prior to setting eyes on Mrs Peel, Ali seems much more preoccupied with playing cricket (such that it vaguely recalls Denis Quilley's reluctant lothario in What the Butler Saw).

Mrs Peel: Good morning.

Mr Bumble: Good morning, dear lady. Oh, forgive me, I’ve just been attending to my little charges. Buzzing around the hive, so to speak. Bumble. B Bumble at your service.

The episode has its share of eccentric vignettes of course, most typically in the form of Mr Bumble (Ken Parry), seller of honey and outfitted in an appropriately-striped jumper (“Happy bees make bumper honey” he enthuses). Admittedly, there’s something of formula to the character, but Ken Parry’s effusive performance (and Rigg’s responding cheerfulness) make him irrepressible.

Hopkirk: Well, the QQF, the Quite, Quite Fantastic Incorporated, can help you, quite simply, to help you satisfy your most repressed desires. In a nutshell, Mr Reed, we will recreate your fantasies and let you live them.

Hopkirk’s business, “A million dreams made to order”, provides the setting for Arkadi and gay hit man Vincent (Ronald Curram: a comparable performance to Philip Locke’s in the same year’s Thunderball) to practice their various assassinations, Ali being the target of one of them, inevitably. Hopkirk nurses the illusion that it “helps him get something out of his system and no one gets hurt”, until he’s on the receiving end, that is, in a blackly comic scene where he coaxes Vincent to be more forcefully murderous (“Point it at me!”)

Hopkirk: Got it, you’re a secret agent. Yes indeed, ideal for you. Licensed to kill, pitting your wits against a diabolical mastermind. Make a change from your everyday humdrum existence, wouldn’t it?

Steed: Hah ha ha, yes. Certainly make a change.

Hopkirk’s most ambitious fantasy recreation was the sinking of Titanic (“Several of my staff had to be resuscitated afterwards”) and his most delightfully meta is Fantasy Number Four – “Escape of Arkadi from Pursuing Agents” – since Steed discovers it just as Arkadi has taken flight. Also self-reflexive is Hopkirk’s suggested fantasy for our hero, right down to another reference for diabolical masterminds.

Steed: I’m most terribly sorry, colonel. It’s another body entirely.

Earlier, there’s an amusing scene between Steed and the unseen Colonel Westcott, in which he calls to ask for a body to be removed from his apartment, only to learn it already has been; this is a different corpse, that of Bernie (Peter Diamond, stuntman extraordinaire), eliciting Steed’s profuse apologies.

The laugh-off has the appearance of a complete flight of fantasy (a magic carpet ride), until it’s revealed that Steed and Emma are on the back of van (“How do you stop it?”: “That’s a very good question”, making you wonder who’s driving).

Honey for the Prince is less than sensitive in its trading on Middle Eastern stereotypes; it’s said the Hyucks studied the episode when researching offensive ethnic tropes for Indiana Jones and the Temple of Doom. What just about saves it, however, is its prevailing self-awareness and undercutting of assumptions (a magic lamp yields a machine gun killer, the exotic prince, who offers Steed the left eye of a mountain rat – “A very rare delicacy” – is revealed as an anglophile – well, it is The Avengers – female objectification, the value of a wife counted in goats, is taken to ridiculous, even banal extremes; a duty roster is necessary for the week) via the same general irreverence exhibited by the rest of the series at this point. Nevertheless, it occupies similar ground to How to Succeed… at Murder; where many episodes of the season transcend their era, the prevailing sensibility means this one is very much confined by it.

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.

Poor Easy Breezy.

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.

So you want me to be half-monk, half-hitman.

Casino Royale (2006)
(SPOILERS) Despite the doubts and trepidation from devotees (too blonde, uncouth etc.) that greeted Daniel Craig’s casting as Bond, and the highly cynical and low-inspiration route taken by Eon in looking to Jason Bourne's example to reboot a series that had reached a nadir with Die Another Day, Casino Royale ends up getting an enormous amount right. If anything, its failure is that it doesn’t push far enough, so successful is it in disarming itself of the overblown set pieces and perfunctory plotting that characterise the series (even at its best), elements that would resurge with unabated gusto in subsequent Craig excursions.

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…

Welcome to the future. Life is good. But it can be better.

20 to See in 2020
Not all of these movies may find a release date in 2020, given Hollywood’s propensity for shunting around in the schedules along with the vagaries of post-production. Of my 21 to See in 2019, there’s still Fonzo, Benedetta, You Should Have Left, Boss Level and the scared-from-its-alloted-date The Hunt yet to see the light of day. I’ve re-included The French Dispatch here, however. I've yet to see Serenity and The Dead Don’t Die. Of the rest, none were wholly rewarding. Netflix gave us some disappointments, both low profile (Velvet Buzzsaw, In the Shadow of the Moon) and high (The Irishman), and a number of blockbusters underwhelmed to a greater or lesser extent (Captain Marvel, Spider-Man: Far From Home, Terminator: Dark Fate, Gemini Man, Star Wars: The Rise of the Skywalker). Others (Knives Out, Once Upon a Time in… Hollywood, John Wick: Chapter 3 – Parabellum) were interesting but flawed. Even the more potentially out there (Joker, Us, Glass, Rocketman) couldn…

It’s like an angry white man’s basement in here.

Bad Boys for Life (2020)
(SPOILERS) The reviews for Bad Boys for Life have, perhaps surprisingly, skewed positive, given that it seemed exactly the kind of beleaguered sequel to get slaughtered by critics. Particularly so since, while it’s a pleasure to see Will Smith and Martin Lawrence back together as Mike and Marcus, the attempts to validate this third outing as a more mature, reflective take on their buddy cops is somewhat overstated. Indeed, those moments of reflection or taking stock arguably tend to make the movie as a whole that much glibber, swiftly succeeded as they are by lashings of gleeful ultra-violence or humorous shtick. Under Michael Bay, who didn’t know the definition of a lull, these pictures scorned any opportunity to pause long enough to assess the damage, and were healthier, so to speak, for that. Without him, Bad Boys for Life’s beats often skew closer to standard 90s action fare.

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…

To defeat the darkness out there, you must defeat the darkness inside yourself.

The Chronicles of Narnia: The Voyage of the Dawn Treader (2010)
Easily the best of the Narnia films, which is maybe damning it with faint praise.

Michael Apted does a competent job directing (certainly compared to his Bond film - maybe he talked to his second unit this time), Dante Spinotti's cinematography is stunning and the CGI mostly well-integrated with the action.

Performance-wise, Will Poulter is a stand-out as a tremendously obnoxious little toff, so charismatic you're almost rooting for him. Simon Pegg replaces Eddie Izzard as the voice of Reepicheep and delivers a touching performance.
***

How many galoshes died to make that little number?

Looney Tunes: Back in Action (2003)
(SPOILERS) Looney Tunes: Back in Action proved a far from joyful experience for director Joe Dante, who referred to the production as the longest year-and-a-half of his life. He had to deal with a studio that – insanely – didn’t know their most beloved characters and didn’t know what they wanted, except that they didn’t like what they saw. Nevertheless, despite Dante’s personal dissatisfaction with the finished picture, there’s much to enjoy in his “anti-Space Jam”. Undoubtedly, at times his criticism that it’s “the kind of movie that I don’t like” is valid, moving as it does so hyperactively that its already gone on to the next thing by the time you’ve realised you don’t like what you’re seeing at any given moment. But the flipside of this downside is, there’s more than enough of the movie Dante was trying to make, where you do like what you’re seeing.

Dante commented of Larry Doyle’s screenplay (as interviewed in Joe Dante, edited by Nil Baskar and G…

Our lives are not our own. From womb to tomb, we are bound to others. Past and present. And by each crime and every kindness, we birth our future.

I think World War II was my favourite war.

Small Soldiers (1998)
An off-peak Joe Dante movie is still one chock-a-block full of satirical nuggets and comic inspiration, far beyond the facility of most filmmakers. Small Soldiers finds him back after a six-year big screen absence, taking delirious swipes at the veneration of the military, war movies, the toy industry, conglomerates and privatised defence forces. Dante’s take is so gleefully skewed, he even has big business win! The only problem with the picture (aside from an indistinct lead, surprising from a director with a strong track record for casting juveniles) is that this is all very familiar.

Dante acknowledged Small Soldiers was basically a riff on Gremlins, and it is. Something innocuous and playful turns mad, bad and dangerous. On one level it has something in common with Gremlins 2: The New Batch, in that the asides carry the picture. But Gremlins 2 was all about the asides, happy to wander off in any direction that suited it oblivious to whether the audience was on …

Now In Full Color, with a Happier Ending

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