7cb1d79195 Steed is invited to a party on an aeroplane with six other people who include a matador, a cowboy and a circus strong man. As the pilotless , remote-controlled craft takes off, a voice announces that they are bound for a desert island where one of them will be revealeda super-killer. Mrs. Peel has to work out how to get to her partnerthe bodies start to pile up.
I love that The Avengers can be watched totally at random and in any order, so that's basically what I've been doing. I estimate that at this point I've seen a little less than half the series. The show's a lot of fun and in many ways the coolest thing on TV in the 1960s, but I tend to take it slow because the episodes are so full of weird turns of events, double-crosses and totally off-the-wall twists that are hard to make sense of, and the seeming randomness of events paradoxically tends to make the episodes run together sometimes, from my perspective. Essentially, while there are obvious standout episodes, I have trouble following the train of the plot sometimes and so it all becomes a lot of zany, memorable set-pieces. This is particularly true of the later seasons when The Avengers stopped being a "crime" type show and turned into total chaos.<br/><br/>I must say the big surprise for me in this one was Donald Sutherland. The Avengers keeps throwing casting surprises at me, in fact, and it's pretty cool. Here, Donald's character is working alongside John Hollis's foreign agent (I don't think his name or country of origin is ever even mentiond, although I might have missed it) to test soldiers (or something). Yes, to be honest, I'm really not sure why any of this is happening, or who's responsible. But the setting was cool, the banter between the bemused partygoers hugely entertaining, the cast first-rate, the music cool-as-hell, and John Steed was a total bossusual. Everyone gets on a plane to attend a mysterious party, and even when they realise nobody knows what the hell is going on, they still keep drinking champagne and chatting and smoking like well-behaved gentlemen. Of course, the characters show a lot of eccentricities and that's one of the biggest charms of the show in general.<br/><br/>eventually it turns into a bizarre kind of And Then There Were None…. type scenariomany of the characters get bumped off by an unknown killer whom it's indefatigably stated is one of them! Interestingly, and again somewhat par for the course for this show, it's the women who kind of end up saving the day. Emma Peel isn't in this one much at all, so you know she's going to show up at the end to kick some arse, and she does. She's got Steed's back, always, justhe has hers when she has her few solo adventures, and Diana Rigg is just amazingly cool – just too cool for words in this role, really.<br/><br/>I like to watch this show late at night, sometimes after having had a few drinks. It works well and suits the mood, but sometimes I'm not so sure it helps me figure out exactly what the devil's going on. Then again, The Avengers is just the kind of show you have to "roll with" and just let all the suaveness and coolness happen around you. I'm sorry if that all sounds half-arsed or something, but it's really the best way I've found to go about it. It's not that you have to switch your brain off, exactly, but that the show's writers (and performers) were just totally on their own track and good luck trying to figure anything out before it happens. Even the endings of most episodes leave me wondering "wtf was all that about?!' some of the time. But there are usually clues in the dialogue, which are just really understated and not made a big deal of. The "big deal" is all about the style, the laid-back nature of the character interactions even when they're at odds, the drinks, nice cars, weird gadgets, sudden and sometimes hilarious death scenes and, in this season, the brilliant interplay between Rigg and Mcnee.
One of the all-time greatest AVENGERS features an early appearance by Donald Sutherlandthe villainous Jessop, promoting assassins who cannot be defeated, and hoping to earn the financial backing of Kanwitch (the always reliable John Hollis, previously seen in "The Cybernauts"), who requires one final test after his top man (Terry Plummer, "A Surfeit of H2O," "The Danger Makers") goes down in hand-to-hand combat. To that end, they gather together seven people on an airplane to be transported to an isolated island hideaway where, one by one, each will have to survive against Jessop's secret henchman, who happens to be among the SUPERLATIVE SEVEN. All seven happen to be outstanding in their chosen field of expertise- John Steed (who guesses that his expertise is the way he handles his umbrella), a female sharpshooter (Charlotte Rampling), an expert bullfighter (Gary Hope, "A Change of Bait," "November Five"), a swordsman (Hugh Manning, "The Thirteenth Hole," "Thingamujig"), a strongman (Leon Greene), a hunter who "tracks things down" (James Maxwell, "The Outside-In Man"), and an expert on unarmed combat (Brian Blessed, "The Morning After"). A rare solo adventure for Steed, whose very predictability only adds to the fun (if Mrs. Peel gets written out of a show, you can't go wrong with these results). Charlotte Rampling is just a tad too young to be believable, but the biggest disappointment is the limited screen time for the two superb villains. At this stage of his early career, Canadian actor Donald Sutherland was still working in Europe, having debuted in Italy's "The Castle of the Living Dead," then Britain's "Dr. Terror's House of Horrors" (both 1964, and both with Christopher Lee) for Amicus, and "Fanatic" (1965) for Hammer. By 1970's "MASH," he had achieved stardom, and has remained a busy character player for six decades (reuniting with Lee in 1979's "Bear Island").


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