I spotted a slightly surprising show due to be aired on Freeview Channel 61.
‘True Entertainment’ is about start showing The Prisoner as of Monday 13 March 2017 at 21:00.
This replaces the current run of The Persuaders and will follow the same format of two episodes per evening.
While that will burn through the series in less than two weeks, The Persuaders was only 24 eps, and has been repeating for the past few weeks.
I don’t have the ability to look far enough forward to see if The Prisoner will also be looped for a while.
While I have a few version on various media collected over the years, and could watch as I wished, I never do, and rather like the ‘old-fashioned’ discipline of having to ‘catch’ a programme when it is on. That said, I seldom watch anything live now (or at all to be honest) but delay, so I can wipe out the poxy adverts.
Brings back memories too.
I said I was surprised, and that’s because we passed the 50th anniversary of the series not that long ago, yet not one broadcaster saw fit to mention it, or run the series to mark the event.
A tad further away than most of my subjects, but with good reason.
Pictured below is the Coliseum cinema located in Porthmadog, North Wales, opened in 1931 and of Art Deco styling (with many features apparently still surviving within), it seems it quickly gained a reputation for the quality of it sound system, described by the press of the day as “perfect”.
Fast forward through its years of success, it becomes significant when booked as the venue for screening rushes (in filmmaking, the raw, unedited footage viewed daily after being developed and printed) for a strange new television being produced by, and starring Patrick McGoohan – which would go (despite, or perhaps because of, its length of only 17 episodes) to become a cult television series still popular today.
This was, of course – The Prisoner.
The cinema was threatened with closure in 1983, but an appeal saw the local people raise enough money to keep it open, and in 1994 it received nearly new projectors when Barclays Bank Ltd closed it training centre and donated them to The Coliseum.
However, fast forward to 2011, and falling audience numbers meant that the cinema had to close its doors.
Worse news was to arrive 2014, when the group set up to save the cinema had its plans rejected by the Coliseum Shareholders, who voted to sell the property rather than grant a long-term lease to the Friends of The Coliseum.
As will be seen below, the agent’s description worryingly wastes little time in getting to the stock phrase: “suitable for all types of redevelopment“.
You can read the Friends’ story here:
The Coliseum web page:
The property comprises an art-deco style cinema which was originally constructed in 1931. The cinema traded for many years and closed in 2010. The building can accommodate 500 people and includes both ground floor and balcony seating. There is a reception area, office, projection rooms and a basement within the cinema together with a large car park to the side. The property provides a site that is suitable for all types of redevelopment, subject to the necessary planning consents.
An account of its days when The Prisoner was being filmed:
We used to see the Coliseum in the flesh until 1998, as we generally travelled down to Portmeirion (where most of the action was filmed) for the annual Prisoner Convention, but were obliged to give up this up after that date, and have never been able to get back. Due to our slightly odd travel arrangements (due to work commitments) we were never able to visit the Coliseum, where screening of selected episodes of the series were laid on for the conventions, together with related material.
Sadly, it’s hard to see what could be done by the Friends to save the cinema in the time available, as dwindling numbers are hard to convert.
The Internet has probably played a part, and we are in the same sort of scenario as seen by the cinema in the 1970s, when most closed, or were supplemented (or completely replaced, by use as bingo halls.
We can only watch and see what does, or does not, happen 300 miles away (that the door to door distance from where I am to Porthmadog) in North Wales.
Regular readers will know I have a long standing interest in The Prisoner, and its notional setting of Portmeirion in North Wales, and this provides the start of this month’s blogging. Seriously, if you love Scotland you should race through England and visit North Wales – you could easily get lost there as so many places look just like ‘home’. I’m not really suggesting there is anything wrong with England, but there are so many wide open flat plains that just seem to go on and on and…
It was almost a surprise to read that two years had elapsed since McGoohan’s passing, it doesn’t feel as if it was that long ago yet, but it is.
In that time, we’ve seen a number of developments as interest in the series continues unabated, and there has been the mockery of the ‘re-imagining’ of the series which we had to watch last year. No wonder McGoohan refused to have anything to do with the thing. If it was something a cat could have found, it would have taken it away and buried it!
I note that AMC (the company behind that rubbish), having hosted an original Prisoner section in its web space prior to the broadcast of its effort, has now excised all content and references to the original. That gesture probably says more than I ever could about the ‘re-imagining’.
Portmeirion also made the news at the start of this year, but for the wrong reason – as we learnt that Robin Llywelyn, managing director of Portmeirion, had slipped and fractured his skull while out walking. Mr Llywelyn is the grandson of Portmeirion founder Sir Clough Williams Ellis. The news story tells us he spent a few days in hospital, but was then released home to recuperate, and is keen to get back to work as soon as he can.
There have been a number of articles published over the past two years about McGoohan’s career and his production of The Prisoner, and without being negative, it’s fairly true to say that while they may often concentrate on one specific aspect or another, they are arguably reworking of existing material, so once you’ve read a few, you have probably read them all.
The following article originated on the Pacific Palisades Patch web site, which is a fairly extensive community web site serving the Palisades, where McGoohan had his home. The content is a little different to the usual revision of well-known material, and it’s the first one I think I have come across that has content provided by his wife, Joan McGoohan:
The Prisoner: “Where am I?”
Number Two: “In The Village.”
The Prisoner: “What do you want?”
Number Two: “Information.”
The Prisoner: “Which side are you on?”
Number Two: “That would be telling. We want information, information, information…”
The Prisoner: “You won’t get it.”
Number Two: “By hook or by crook we will.”
The Prisoner: “Who are you?”
Number Two: “The new Number Two.”
The Prisoner: “Who is Number One?”
Number Two: “You are Number Six.”
The Prisoner: “I am not a number. I am a free man.”
Number Two: “Ha, ha, ha, ha…”
You might say The Prisoner never left the Village.
On this date two years ago, when the Emmy Award-winning actor Patrick McGoohan died at the age of 80, Pacific Palisades lost a great thespian…as well as a longtime Palisadian of three decades.
Best known for The Prisoner, a surreal 1960s espionage show laced with commentary on society that he starred, wrote, directed and produced, as well as his nefarious turn in Braveheart, McGoohan had lived in Pacific Palisades since the 1970s, when he and his wife, actress Joan Drummond McGoohan, settled in town.
“He would get up at the crack of dawn, get The New York Times, and get some coffee at Mort’s or Starbucks,” Joan Drummond McGoohan told this reporter in 2009, on the week of her husband’s passing. “He wrote. Always, always.”
The McGoohans enjoyed eating at Sam’s at the Beach in Santa Monica Canyon. In the Village, they often frequented the Italian restaurant Modo Mio.
McGoohan won two Emmys for acting in Columbo in 1975 and 1990. He directed episodes of the original 1970s version of Peter Falk’s program, and was very involved behind the scenes of the latter-day Columbo TV movies as a producer.
Read more – The Passing of ‘The Prisoner’.
Those who look in here on a reasonably regular basis may have detected my appreciation for Patrick McGoohan and his part as Number Six in his 1960’s television series, The Prisoner, and it with some sadness that I note his passing:
LOS ANGELES (AP) — Patrick McGoohan, an Emmy-winning actor who created and starred in the cult classic television show “The Prisoner,” has died. He was 80.
McGoohan died Tuesday in Los Angeles after a short illness, his son-in-law, film producer Cleve Landsberg, said Wednesday.
McGoohan won two Emmys for his work on the Peter Falk detective drama “Columbo,” and more recently appeared as King Edward Longshanks in the 1995 Mel Gibson film “Braveheart.”
But he was best known as the title character Number Six in “The Prisoner,” a surreal 1960s British series in which a former spy is held captive in a small village and constantly tries to escape.
Coincidentally, ITV 4 began a rerun of the original series only last week, making this airing somewhat more significant, and the recently completed remake of the series is also due for airing by ITV this year.
His parts in Columbo were also intriguing and usually rather special, with the added extra for Prisoner devotees, as he would usually slip a reference to the original series somewhere into the dialogue of the shabby detective’s story.
If for nothing else, I (and my family) are grateful to McGoohan and his choice of the Welsh village of Portmeirion, created by Sir Clough Williams-Ellis, as the setting for his original, classic series, especially once we discovered it was real place, and that we could jump in the car and be there the same day. One of the fascinating aspects of the trip was the similarity of North Wales to Scotland, and how noticeable the difference (or should that be similarity to home) was once one had left England and driven on for an hour or so.
Original series promotional footage
Unadulterated Prisoner theme music
Be seeing you.
Although I’m trying not to prejudge and dismiss the remake of 1960s TV series The Prisoner, I’m afraid the little clip that has been released recently has done little to convince that it merits little more effort than to be tossed on the pile of failed remakes.
While the original built successfully on the premise of the Cold War, and the paranoia and fear that quietly surrounded the silence and lack of public knowledge that ordinary people endured – there was no internet and none of the “leaks” we see the newspapers enjoy today – the remake has to sell itself in a world where that has gone.
The clip can could be found in the showreel section of the ITV1 New Season, New Horizons site, if you can be bothered to wait for all the preceding clips to pass without being sent to sleep first.
Following a comment received on November 26, I’ve checked the showreel again, and The Prisoner clip appeared to have been removed. I refuse to watch the tripe after the Drama section to see if they re-classified it, since the showreel can’t be fast-forwarded, just restarted – and that’s just too much torture to endure. The removal has been noted elsewhere on the web.
While the original displayed a degree of imagination and creative surrealism in its plot, the remake only had to hang on the coat-tail of its success, but seems to have got lost in the usual drive for Bigger and Better, as the actors indulge in over-acting, the location is unnecessarily distant and exotic, and it all looks too well preened and expensive.
The remakes nearly always seem to suffer from a command from on high to “push the limits” and take the original concept “to the next level”, as if they’re afraid that their new interpretation might not stand up against its predecessor, or keep the sponsors/advertisers happy.
Then again, there’s always the small, but relevant problem, in that today’s ordinary life is more like The Village ever was, and that nearly all the technology and surveillance seen in the 1960 programme surrounds us today, so the only way to remake the series is go to extremes.
I still look forward to seeing the series, it does, of course, promise to be quite interesting, I just think I’d rather see it with another name tacked on to the front, rather than The Prisoner.
Inverlair Lodge is one our more interesting subjects, having taken part in the secret training operations carried out in the isolation of Scotland during World War II. This past history was to become the inspiration for the 1960 television series, The Prisoner.
If you have a spare £1 million (at least) or so, then Inverlair Lodge, and its surrounding estate could be yours. Details of the lodge and the sale can be found in the related pdf document, which has some excellent pictures and details of the site.
Sadly, the brochure also contains the following carefully worded myth, no doubt added with an eye on raising the profile of the lodge and possibly boosting its desirability and price:
It is reputed that Rudolph Hess, Deputy Leader of the Nazi Party was imprisoned in Inverlair following his crash landing near Glasgow in May 1941 on his secret mission to Britain.
Take it from your scribe, the chance of Rudolf Hess ever having been anywhere near the house are as remote as a summer without rain in Scotland. You’ll find a short itinerary of his visit to Scotland, together with the dates and places he is known to have been moved to and been held at, on our Rudolf Hess Flight page. Quite why anyone would have moved him there and back given the remoteness of the location and travel time involved is one mystery, while the other would be where they would have found the time anyway, between his arrival and fairly rapid despatch to London.
In 1941, the lodge was requisitioned and became one of the facilities operated by the Special Operations Executive (SOE) during World War II, and was known as No.6 Special Workshop School, part Inter Services Research Bureau ( ),
SOE (and SIS or MI6) planned many secret operations in enemy territory during World War II, and it was inevitable that there would be occasions where volunteers would refuse to take part once they became aware of the full details. Some were unable to kill when the occasion was reduced to a one-on-one scenario, as opposed the anonymity of a battlefield exchange. With information being released on a Need to Know basis, their training meant that they were in possession of highly classified and secret information relating to pending missions, and could not be allowed to return to public life, where a careless remark could have compromised their secrecy. Inverlair Lodge became a detention or internment camp where such individuals could be accommodated, safely isolated from public contact. Conditions there were described as luxurious, and the lodge was even said to provide a safe haven for former agents or spies, who could not risk being seen in public, for fear of being recognised and killed in retaliation for missions they had carried out.
George Markstein, who worked with Patrick McGoohan on the 1960s TV series The Prisoner, has told of how he learnt about places such as Inverlair Lodge during the war, when he was a journalist, and there can be little doubt that the discovery influenced the design of the fictional Village in which the series was set. Commenting on the residents “They were largely people who had been compromised. They had reached the point in their career where they knew too much to be let loose, but they hadn’t actually done anything wrong. They weren’t in any way traitors, they hadn’t betrayed anything, but in their own interest it was better if they were kept safely.“
Although I’m trying to reserve judgement, it’s hard not to engage Sceptic-mode and think of the forthcoming Prisoner remake as nothing more than an attempt to cash in on something successful (you may not understand it, but the original is still very popular 40+ years after it first puzzled its viewers) as hard pressed TV show makers look for new plunder to justify their astronomical pay packets. Sky One is reviving Blake’s Seven, and BBC1 has a ‘reimagining’ of Survivors scheduled for arrival in the autum.
We’ve already ticked the box requiring “names” to be involved with the remake:
Jim Caviezel will play the title role of Number Six and two-time Oscar nominee Ian McKellen will co-star playing the role of Number Two. No. 313 will be played by Ruth Wilson, a BAFTA and Golden Globe nominated actress. No. 4-15 will be played by Hayley Atwell, being pushed in numerous TV productions at the moment, and a film actress. No. 147 will be played by Lennie James who has had a prolific career on television, film and in theater. No. 11-12 will be played by Jamie Campell-Bower, best known for his portrayal of Anthony, alongside Johnny Depp in Sweeney Todd.
There’s been some dire viral marketing, unveiled at Comic-Con, where delegates were invited to seekthesix.com. (Watching paint dry would have been more fun than this effort.) The convention floor was also populated with dozens of numbered men in black suits who randomly uttered the iconic phrase “I Am Not A Number”, but no other clues to their purpose other than “the truth is right beside you”. (Inspired idea, wan’t it?)
In another Sceptic-mode moment, I see that the original run of six episodes (six? that was a handy coincidence) “could” be increased, and the mini-series may run longer than stated in the original announcement.
It would seem that the location for the series is just a short hop around the corner, in sunny Namibia.
I wonder if a note about the producers having been “in touch” with Patrick McGoohan, but noting that at the moment, he’s not scheduled to appear in the mini-series, is a euphemism for his reply. We’ll see.
The TV execs are desparate for something to keep their audiences, because recent series like “Lost” and the like start of looking interesting and intriguing, but then suffer from having no real plot, and a dependence on dolls, hunks, and gossip to maintain interest, or like the new “Bionic Woman” which I think I saw has just been cancelled, spend too much time on angst and deep-thinking, instead of just getting on with the action, which their more successful predecessors did.
Keep up to date on the remake faster than me by checking the Unmutual website, where developments are being watched much more closely.
ITV released some more details of the cast for its remake of The Prisoner, and I can’t say I’m impressed. That’s not a reflection on the talents of any those listed, it simply means I wouldn’t know any of them from Adam, or Eve for that matter. The only reason I might ever be found to recognise anyone that might be considered a “celebrity” nowadays would be to allow me to see them from a distance, and cross the road to avoid them. This list includes:
- Ruth Wilson (Jane Eyre, Capturing Mary) in the role of Number 313
- Hayley Atwell (Brideshead Revisited, Mansfield Park) as Number 41-5
- Lennie James (Jericho, 24 Hour Party People) as Number 47
- Jamie Campbell-Bower (Sweeney Todd, Rocknrolla) as Number 11-12
Given that we’re getting name-dropping and credits, I fear that my thought that this remake will prove to be little more than a stylised shopfront and an excuse to jazz-up what some might refer to as a dated concept might come to pass.
I’m getting the same bad feeling that Dr Who gives me now, while I might be one of the faithful from the original and classic series, I think things are ever so slightly wrong when the announcement of the Doctor’s new assistant is celebrated by parties, interviews, and national news features which treat them as great stars and huge successes – before we’ve even had the chance to see them in an episode and decide for ourselves if it’s time for plaudits or pants.
Nonetheless, the buildup means the remake has more to achieve, and further to fall if it’s little more than media vessel.
With a history of on-again, off-again rumours, that has spanned many years, I’m a complete sceptic whenever anyone utters the words “Prisoner” and “remake” in the same sentence. This time, however, it looks as if I might be on somewhat firmer ground than usual by repeating the story on this occasion.
On June 30, 2008 (a date I mention so it can be referred to in future), ITV’s Press Centre issued a release entitled “Ian McKellen and Jim Caviezel to star in ITV reinvention of classic thriller The Prisoner“, which is certainly more concrete than anything I’ve been pointed at, or told of, previously. ITV Productions is reported to be co-producing the six-part series with Granada International and AMC, with a worldwide premiere slated for 2009, so not long to wait either.
The original Prisoner series, created, produced, written and directed by Patrick McGoohan who also played the main character, is widely regarded as one of the most well regarded and intriguing cult TV series ever created, which is not the worst of legacies, given that it never ran to its full conclusion, and was left with a most enigmatic ending. Perhaps that particular misfortune became the series’ high point, it certainly provoked an unending discussion.
The original 1967 was produced against a background of Cold War intrigue, the remake will be built around 21st century concerns and anxieties; liberty, security, surveillance (not a lot of differences there then), and feature similar key elements of paranoia, tense action and socio-political commentary that figured in the original. The plot is summarised as follows:
The six one-hour episodes tell the story of a man who finds himself trapped in a mysterious and surreal place known as The Village, with no memory of how he arrived. As he frantically explores his environment, he discovers that its inhabitants are identified by number instead of by name and have no memory of a prior existence or outside civilization. Not knowing who to trust, Number Six is driven by the desperate need to discover the truth behind The Village, the reason for his being there, and most importantly, how he can survive and escape to his previous life.
The Village is controlled by one man – the sinister and charismatic Number Two. In each new episode Six and Two are locked in a battle of wits, as Six challenges the oppressive nature of The Village and battles against his captors. Six must find out what The Village is, but in doing so, he must also confront some dark truths about himself.
The location and setting for the action is still to be announced, however they will be hard pushed to match McGoohan’s original Portmeirion, especially since it is now so well known. Offhand, I can’t think of anywhere that would match that choice today, and would be tempted to go with two differing options if had to choose. The first would be to hide the place in plain sight, in other words, somewhere perfectly ordinary and apparently in public, but with Number Six surrounded by watchers, controlling what he might think are free choices. The other would be to emulate the original in some way, but in a totally artificial environment, located somewhere like an abandoned Cold War air base or similar establishment with accommodation etc. But, I haven’t really thought this through, and one would need an idea of the script content to really make a valid guess.
I have to confess to not being a fan of remakes, and offhand, can’t think of one modern film remake that I would even give shelf space to, let alone spend time watching. They’re simply too modern and too polished, and look more like showcases for the big stars, rather than retellings of the original tale, and are usually also guilty of forgetting the original storyline as well, replacing it with some watered-down, or dumbed-down facsimile. This one is sending some alarm bells already, as it is already coming with self-praising comments such as, “The caliber of Hollywood talent AMC is attracting further validates our programming vision and our successful strategy of producing quality cinematic originals that stand alongside our library of iconic movies.”
I have less than a year to convince myself to see it an all-new production, and not as a remake, so I can judge it reasonably fairly, and maybe even enjoy it too. Tampering with an icon can be dangerous stuff.
|[06.30.08 – 08:03 AM]
JIM CAVIEZEL AND IAN MCKELLEN TO STAR IN AMC’S REINTERPRETATION OF CULT CLASSIC, THE PRISONER
Released by AMC
|[NOTE: The following article is a press release issued by the aforementioned network and/or company. Any errors, typos, etc. are attributed to the original author. The release is reproduced solely for the dissemination of the enclosed information.]|
|JIM CAVIEZEL AND IAN MCKELLEN TO STAR IN AMC’S REINTERPRETATION OF CULT CLASSIC, THE PRISONER
Six-Part Mini-Series Set to Premiere in 2009
New Series Furthers AMC’s Cinematic Approach to Creating High-Quality Original Programming
New York, NY June 30, 2008 AMC, the network defining The Future of Classic, announced today that acclaimed film actors Jim Caviezel (Passion of the Christ, The Thin Red Line) and Ian McKellen (Lord of the Rings, The Da Vinci Code) have signed on to star in the network’s reinterpretation of the highly influential 1960’s cult classic, The Prisoner. AMC is co-producing the six-part mini-series with ITV Productions and Granada International, with a worldwide premiere slated for 2009. The Prisoner, AMC’s second original mini-series, combines a wide range of genres, including espionage, thriller and Sci-Fi, into a unique and compelling drama, and expands upon the network’s distinctive cinematic approach to creating high-quality programming.
Caviezel will play the title role of “Number Six,” a part that was originally made famous when played by Patrick McGoohan. McGoohan also served as the creator, producer, writer and director of the 1960’s series, which has become widely regarded as one of the most famous and intriguing cult TV series ever created, permanently altering the scope of the fantasy genre. Two-time Oscar nominee Ian McKellen will co-star playing the role of “Number Two.”
“Jim Caviezel and Ian McKellen bring an incredible level of talent to the project, and we’re honored they are taking on these important roles. We look forward to this production revitalizing a classic and bringing Patrick McGoohan’s brilliant and captivating story to an entirely new generation of viewers,” stated Charlie Collier, AMC’s general manager and executive vice president. “The caliber of Hollywood talent AMC is attracting further validates our programming vision and our successful strategy of producing quality cinematic originals that stand alongside our library of iconic movies.”
“For those of us who were watching grown-up TV in the 60s, The Prisoner was dangerous, exciting and challenging TV. For those of us who were too young to stay up to watch the series, it casts a long shadow. You don’t embark on something this iconic without the best team around to do it justice for a whole new era. With Bill Gallagher as writer, Trevor Hopkins as Producer, Michele Buck, Damien Timmer and Rebecca Keane as the UK Execs, AMC as production partners, ITV as UK Commissioners, and Jim Caviezel and Ian McKellen leading the cast, we have that team on board. I can’t wait,” said John Whiston, Director of ITV Productions.
“Bill Gallagher’s new version of The Prisoner is an enthralling commentary on modern culture. It is witty, intelligent and disturbing. I am very excited to be involved,” said Ian McKellen.
While the original series, which debuted in 1967, was a riff on Cold War politics, AMC’s reinterpretation will reflect 21st Century concerns and anxieties, such as liberty, security, and surveillance, yet also showcase the same key elements of paranoia, tense action and socio-political commentary seen in McGoohan’s enigmatic original.
“The Prisoner spawned an enormous group of zealous fans who thrived on each week’s psychological twists and turns. AMC’s version brings The Prisoner back to primetime, and we’re tempted to discuss more details, but in the spirit of the series, what you DO know, may hurt you,” said Christina Wayne, SVP of scripted original programming.
Jim Caviezel first received critical recognition for his role as idealist Private Witt in The Thin Red Line. The following year, he gained further recognition with roles in Ride with the Devil and Frequency. His roles as Jennifer Lopez’s love interest in Angel Eyes followed by his work in The Count of Monte Cristo helped to establish him as a versatile actor and leading man. Caviezel was then chosen by Mel Gibson to star as Jesus Christ in the film The Passion of the Christ. The film went on to become one of the highest grossing movies of all-time and made Jim a household-name. Most recently Caviezel played against type when he co-starred opposite Denzel Washington in the thriller Dj vu.
Ian McKellen is one of the world’s foremost stage and screen actors and has been honoured with more than 40 International awards. Most recently, he received critical acclaim and an Oscar nomination for his portrayal of “Gandalf” in Peter Jackson’s Lord of the Rings trilogy. McKellen’s work has spanned genres from Shakespearean and modern theatre to fantasy and sci-fi, with other major film credits including Gods and Monsters, X-Men, Richard III and The Da Vinci Code.
The Prisoner mini-series is a co-production of AMC and ITV Productions; the deal was brokered by Granada International, which holds international distribution rights. Bill Gallagher (Conviction, Clocking Off, Lark Rise To Candleford) serves as writer and executive producer, along with Michele Buck, Damien Timmer, Rebecca Keane, and AMC’s Charlie Collier, Christina Wayne and Vlad Wolynetz. It is produced by Trevor Hopkins (Dracula, Poirot), and directed by Jon Jones (Northanger Abbey, Cold Feet). Jim Caviezel’s deal was coordinated by ICM. Creative Artists Agency orchestrated the deal on behalf of Ian McKellen.
AMC is a multi-platform network that celebrates classic movies and high-quality scripted series. Among the elite services available in nearly 93 million homes (Source: Nielsen Media Research), AMC defines what it means to be a classic movie network today, creating a distinctive viewing experience that celebrates all that is enduringly cool, personal and powerfully relevant about movies. AMC’s comprehensive library of popular movies strike a meaningful chord with its audience, and its critically-acclaimed slate of originals all have a cinematic quality that allow them to complement and be complemented by some of the best movies of all time. AMC is a subsidiary of Rainbow Media Holdings LLC, which includes sister networks IFC, WE tv and Sundance Channel. AMC is THE FUTURE OF CLASSIC.
Rainbow Media Holdings LLC
Rainbow Media Holdings LLC is a subsidiary of Cablevision Systems Corporation (NYSE: CVC). Rainbow Media is a leading producer of targeted, multi-platform content for global distribution, creating and managing some of the world’s most compelling and dynamic entertainment brands, including AMC, IFC, WE tv, Sundance Channel, Lifeskool, sportskool, and VOOM HD Networks. Through IFC Entertainment, Rainbow Media also owns and manages the following: IFC Films, a leading distribution company for independent film; IFC Productions, a feature film production company that provides financing for select independent film projects; and IFC Center, a three screen, state-of-the-art cinema in the heart of New York’s Greenwich Village. Rainbow Media also operates Rainbow Advertising Sales Corporation, its advertising sales company; Rainbow Network Communications, its full service network programming origination and distribution company; and 11 Penn TV, a company that manages Rainbow Media’s NYC studios and post-production facilities.
I haven’t mentioned this before, but can’t resist now that the events are being finalised. I’d be including this anyway, but the subject does actually have valid Scottish credentials, which you can read about in our article about Inverlair Lodge.
It’s ages since I was last able to visit, and it would be nice to pop down for the day, but the thought of the travel cost now, even without the lesser cost of food and accommodation, sends a chill down my spine.
PM2008, a one-day celebration of The Prisoner, Patrick McGoohan, Danger Man, and Portmeirion, takes place on Sunday 13th July in Portmeirion’s Hercules Hall. Tickets are still available for this event at http://www.theunmutual.co.uk/pm2008.htm
Confirmed events so far include:
*Special guest Robert Rietti interviewed live on stage.
*Special guest Bettine Le Beau interviewed live on stage.
*Archive screening of “The Vise” from 1956 starring Patrick McGoohan.
*Special guest Robert Fairclough updates us on Prisoner merchandise and his research, including an exclusive first look at the 2009 calendar and a special edition novel on sale at PM2008 only.
*Book launch of “Wiffle Lever to Full” with writer Bob Fisher.
*Memorabilia auction including signed items donated by Patrick McGoohan.
*Guided tour of Portmeirion.
*Guest signings, charity raffle, merchandise stall, displays.
Plus other screenings and events to be announced!
Tickets for this event are priced at £17 per person. This includes entry to the Hercules Hall events mentioned above, but does *not* include the price of entry to Portmeirion. Thanks to Portmeirion, PM2008 ticket holders will, however, be allowed entry to The Village at a discounted rate. The event is non-profit making, and ticket prices will pay for guest expenses, and equipment/venue hire etc.
From Wednesday March 19th 2008 (Patrick McGoohan’s 80th Birthday), the show will air every Wednesday on ITV4 at 8.00pm, with repeats on Thursdays at 10.25am and 3.00pm.
The screening ties in with our World War II subjects because one of the writers used his experience of Intelligence Operations, and time spent at Inverlair Lodge, to inspire his writing…
George Markstein, who worked with Patrick McGoohan on the 1960s TV series The Prisoner, has told of how he learnt about places such as Inverlair Lodge during the war, when he was a journalist, and there can be little doubt that the discovery influenced the design of the fictional Village in which the series was set. Commenting on the residents “They were largely people who had been compromised. They had reached the point in their career where they knew too much to be let loose, but they hadn’t actually done anything wrong. They weren’t in any way traitors, they hadn’t betrayed anything, but in their own interest it was better if they were kept safely.”
Markstein was also to base a book on this knowledge, The Cooler. Written in 1974, and featuring the fictitious Inverloch.
In a later book, Ferret, he went as close as possible to revealing the American and Russian villages, which, together with Inverlair Lodge, would make up “at least three“, referred to on occasions by McGoohan.
You can also read more about the series on The Unmutual Website.