Chapeau melon et bottes de cuir

An absolute masterpiece in British television, The Avengers is a timeless, witty, fantastical series which is as, if not more, popular today than it was more than 40 years ago.

This series has something for everybody - gangsters, diabolical masterminds, glamorous girls, car chases, fights and endless glasses of champagne.

It is interesting to see how the series developed from its humble beginnings in 1961. Playing it straight in the early days it gradually became more and more way-out with wackier and wackier plots and characters. The Cathy Gale and Emma Peel eras are regarded by many to be the high point of the series although there are high spots in virtually every point in the show's history.

Only one episode exists from Series 1 with the mysterious, shadowy Steed being a much more sinister character to Ian Hendry's open Doctor Keel. Then we have much verbal sparring and innuendo between Steed and the delicious Cathy Gale and her kinky boots. Film and eventually colour were introduced with the feline Emma Peel and her high kicks and the show closed the 60s in gaudy, cartoonish style with the naive Tara King and her snazzy Lotus Europa.

This is British television at its best and a true legend in broadcasting. The 1970s version, The New Avengers, has it's own charm in a way but is best regarded as a totally separate entity as this original series was...well...original!

One of my all-time favourite series, which hits its peak with the colour Emma Peel episodes. Style, humour, character and a wonderful hitchcockian macabre atmosphere.

Macnee is one of the greatest, most charismatic, leading men to ever grace Television. Rigg has become iconic in TV history, also appreciated was the groundwork set by Honor Blackman for strong females roles.

Great show. Great music. Great production values once it hit it's fifth series. Great atmosphere all round.

Bowler hat and leather boots, that's the French title for this series which has been very successful here and and the 140 episodes or so are available on DVD !! I remember seeing some of the episodes when I was a boy in England during the 60's. I was stunned by Emma Peel's physical beauty and "childish" humour. Watching some of the Dvd's today, my view hasn't changed and I was just as pleased ! The best episodes were those made with Peel, both in colour and black and white. Not only were the scripts and stories well thought out and very mysterious, the picture quality was absolutely amazing and I liked the opening sequence and music with the two wine glasses on the screen. The episodes made with Gambit and Purdey were of LESS good quality than those with Diana Rigg despite being made almost ten years later ! I remember very well an episode with an empty milk float running across an airport runway - God knows what the story was called.

In France, this series has a cult status and everyone has their favourite lady ( Honor "Pussy" Blackman, Linda Thorson, Joanna Lumley, or Diana Rigg ). Steed comes over as the typical English gentleman with the bowler hat. Highly recommendable on an entertainment level and much better than most of the rubbish on our screens today !

Definitely 60's and it is obvious. Yet this is still one of the most fun shows ever made. John Steed is the epitome of British class, right down to the Bentley in British Racing Green (notwithstanding the Tara King years).

Then there is Emma Peel, mmmmm Emma Peel. Aside from Diana Rigg's obvious physical charms her real appeal is the strength of her character. Totally confident, cool, classy, and capable (driving a Lotus Elan was also a big plus) Diana Rigg created a female character (which was resisted by the producers tooth and nail I understand) that surprised me even though I first saw the show over 20 years after it went off the air. Emma Peel was devoid of the traditional female stereotypes that permeate the airwaves always in need of rescue and if not are total cartoons. She could kick ass and frequently saved Steed's butt in the process. Mass media still has a major allergy to original, tough female characters which is a testament to the originality of the character.

Something was lost after Tara King took over. It was a return to the stereotypes and the show lost something for me, that and I didn't like Steed's new car, just didn't have the same class as his former Bentley.

Still I highly recommend watching it, fun plots, wry humor, over the top villains, great characters, and an impossible lack of blood. How can you not have fun watching this?

When I was 16 this series meant a lot to me.

Like other American fans, I became aware of it when it burst onto American TV in summer 1966. What a revelation it was to someone who'd grown up watching American TV! It was unpredictable: it mixed mystery, adventure, science fiction, and satire in always changing proportions. The mysteries were truly intriguing, the adventures truly exciting, the eerie situations truly frightening, the fantastic explanations truly ingenious, and the jokes truly funny. In later seasons the show formularized its conflicting elements, like every other show. But in the beginning you couldn't guess what might come next.

And of course there was the sex and violence. It seems impossible now that there was once a time when there was too little sex or violence on TV, but what there was was dull and stodgy. The American network had omitted the most suggestive episodes, but left in a few lines of dialogue that startled at the time. The climactic fight scenes were much more exciting than those on American shows: dynamically staged and photographed, and with a satirical edge, which was lost in later seasons.

The writing was very good too. To us in the States it seemed even better than it was because we hadn't then seen a lot of British TV. The scripts were solidly constructed, tightly packed, and full of clever dialogue. Patrick Macnee has claimed in interviews that "there was no clever dialogue" except what he and Diana Rigg rewrote, but the lines of the supporting characters belie that.

The atmosphere of the show was new to me: a dark, bright, sharp, woozy, ordered, but unpredictable world where reality could be rolled like a die, figures of speech could become facts (a killing rain, an underground club), and you couldn't be sure that anybody was what he seemed. If I'd seen Alfred Hitchcock's early films at the time, I would have recognized this as an exaggeration of their milieu, to the verge of parody: those flower sellers and organ grinders seemingly hanging out on street corners but really doing spy business. The world of The Avengers extended beyond them to encompass killer robots and plants from outer space--but only a certain distance beyond. (The failure to observe that distance spoiled many of the later shows.)

That atmosphere stayed with me for years. It carried me through dreary jobs by enabling me to imbue mundane surroundings in schools and industrial parks with fantastic and sinister possibilities. Other shows tried to imitate it, but never successfully. How could they, when The Avengers itself had lost it and never recaptured it again?

The primary technical device for bringing about this atmosphere was the teaser. The Avengers made an art out of it. A man in a field is rained on, tries to escape, is rained into the ground. Superimpose title: "A Surfeit of H2O." The title is the punchline. A man breaks into a house and opens a door; a lion jumps out at him. Title: "The House That Jack Built." And so on.

The puzzle posed by the opener often suggested philosophical or metaphysical possibilities, but they were never followed up on. The solution generally turned out to be slightly science-fictional, and the climax, rather than expanding on the potential implications of the story's premise, was just a comic fight. But it was remarkable in itself that the series could progress from one to the other with such deftness, beginning with a cosmic inversion and steadily narrowing it down to a trivial joke.

The heroes were invincible (otherwise the stories would have been too horrifying), inexplicable (those of us who didn't know the show's origins had no idea why they were called Avengers), androgynous (Steed was the fancy dresser, Mrs. Peel did the manhandling), paradoxical (Mrs. Peel was widowed, yet somehow virginal), and timeless. (In subsequent seasons, they were turned into pop icons, but divested of most of the twists that had made them interesting.)

What was considered by common consent the best episode of all, "The House That Jack Built," I didn't see originally (it was a choice between that and a screening of "The Music Box" with Laurel and Hardy). When I finally got to see it in syndication, five years later, it was like being taken back in time and watching the series for the first time. I was just as fascinated, just as mystified, just as amazed.

I set aside my Wednesday nights especially to watch the series. Apparently not many other people did. But that was always how it was with everything that developed a cult. At the time I seemed to be almost the only one who took an interest in it. Only years afterward would people write about it as if it had been a universally shared generational experience.

The following year the news came out that The Avengers would return. And so it did--sort of. But despite assiduous effort I gradually had to accede to an awareness that it was no longer very good. It had been dumbed down for Americans. It wasn't the same. It was gone.

And now, looking back on it forty years later, I wonder (and can never know for certain): was it really so good as it seemed to me, in that one happy season of my youth? And can anything ever seem that good again?