To add to previous reviews, several scenes in this episode contain elements that reappear strongly in the Prisoner.
The casino figures prominently (as does the femme fatale) much as did Mme. Ongadine and the gaming table in "A, B and C" at which No. 6 (Drake) may be gambling his future. The casino is an apt symbol of the risks Drake constantly faces; threat of exposure, failure, disgrace and death. Constantly scrutinized and re-evaluated for any sign of treason, or the slightest willingness to entertain the merest suggestion of 'going over' to the other side, Drake is always betting - and always watched.
The ubiquity of Lovegrove in this piece strongly conveys the sense of constant surveillance Drake must feel as a 'travel agent'. In fact, the implication in the Prisoner that No. 6 may actually have simply been going on 'holiday' (the tropical photos seen being stuffed into a briefcase in every opening sequence seem to fit this view) may be innocent enough. But it being a Cold War, it was entirely likely that his superiors had every reason to view their No. 1 'travel agent' 'going on holiday' (i.e. not on official business) with grave concern. Such actions would be impossible to interpret as benign, or to dismiss lightly.
Not only is Lovegrove ubiquitous, but in one action piece, Drake is engaging in fisticuffs with .. himself along with several other flashes of himself briefly in the place of other characters. This calls to mind several Prisoner episodes with strong elements of conflicted or hidden identity, particularly the " Schizoid Man" and most famously, "Fall Out" which I dare not describe here ;-)
Some passing observations. - Drake enters a door prominently labeled '6' and is greeted by a very short footman, or Butler. - When examined by the doctor (Lovegrove), the eye chart is reversed; not so when the real doctor is taking the initial call. - The corridor of laughing busts is strongly reminiscent of Town Hall. - The repeated use of timpani in the soundtrack is a dead-on 'Rover' cue. - Two thirds of the production end credits could be transposed directly to the Prisoner with almost no revision!
The episode does have numerous technical and story flaws, and would be easily dismissed, except for some of these items which point clearly toward McGoohan's *next* assignment.
The casino figures prominently (as does the femme fatale) much as did Mme. Ongadine and the gaming table in "A, B and C" at which No. 6 (Drake) may be gambling his future. The casino is an apt symbol of the risks Drake constantly faces; threat of exposure, failure, disgrace and death. Constantly scrutinized and re-evaluated for any sign of treason, or the slightest willingness to entertain the merest suggestion of 'going over' to the other side, Drake is always betting - and always watched.
The ubiquity of Lovegrove in this piece strongly conveys the sense of constant surveillance Drake must feel as a 'travel agent'. In fact, the implication in the Prisoner that No. 6 may actually have simply been going on 'holiday' (the tropical photos seen being stuffed into a briefcase in every opening sequence seem to fit this view) may be innocent enough. But it being a Cold War, it was entirely likely that his superiors had every reason to view their No. 1 'travel agent' 'going on holiday' (i.e. not on official business) with grave concern. Such actions would be impossible to interpret as benign, or to dismiss lightly.
Not only is Lovegrove ubiquitous, but in one action piece, Drake is engaging in fisticuffs with .. himself along with several other flashes of himself briefly in the place of other characters. This calls to mind several Prisoner episodes with strong elements of conflicted or hidden identity, particularly the " Schizoid Man" and most famously, "Fall Out" which I dare not describe here ;-)
Some passing observations. - Drake enters a door prominently labeled '6' and is greeted by a very short footman, or Butler. - When examined by the doctor (Lovegrove), the eye chart is reversed; not so when the real doctor is taking the initial call. - The corridor of laughing busts is strongly reminiscent of Town Hall. - The repeated use of timpani in the soundtrack is a dead-on 'Rover' cue. - Two thirds of the production end credits could be transposed directly to the Prisoner with almost no revision!
The episode does have numerous technical and story flaws, and would be easily dismissed, except for some of these items which point clearly toward McGoohan's *next* assignment.