The Avegers

Last weeks movie was THE AVENGERS. This film is a remake of the TV show that existed in a surreally empty world in which the two archetypes of the ideal British citizen, John Steed, the epitome of tradition and restrained dignity, and Dr./Mrs. Emma Peele (sp?), the revolutionarily modern lady scientist, dispose of the equally archetypical villains that plague the structure of a well-ordered society. The characters seem to step out of time as if they were pieces at play in a vast game in which the entire landscape is the board on which they move. This is due mostly to the low budget the show operated on, which demanded remote, low-cost locations and virtually no extras. The result of this thrift however was a charming show that coincidentally appealed to the population of a Britain in transition. As class and social status meant less under the new democratic-socialist motives of society the tension (often sexual, but always unrequited) between our two super-spy heroes typified a nation's struggle for balance with what tradition told them to cherish and what modern circumstances demanded in change. The Avengers, in short, showed us the face of a modern Europe.

Bearing this in mind, the modern upgrade of The Avengers to the big screen is a visually stunning calculation in conflict, surrealism, and simplicity. The struggle of characters, attitudes, and roles is brought into the fore with force as new technologies are exploited to add a slightly alien perspective to the backdrop. Examples range from the prospect of microwave induced weather control to a pocket-watch that doubles as a global tracking system. Care was taken in the direction of the film to accentuate the surreal, borrowing images of bowler hats (a hold-over from the original series) and other anachronisms as well as various mazes, exaggerations, and subtle word play to remind the viewer of the nearly cosmic level at which the events of the conflict occur. At the same time, the film retains the simplicity of layout in location and direction with very few actors, less extras, and no clutter.

The plot itself suffers from the same weakness that most TV adaptations suffer from. It is a two-hour pilot for a series that will never happen based on an existing pilot that was probably only an hour long (at the most). It admirably includes character development that may have been only imparted piece-meal throughout the course of the series, but ambiance (even the twistedly enticing nuances of this film) can only carry a movie so far. This one eventually ends somewhat abruptly and predictably with a fight and a big explosion, but all in time for tea.

Definitely hit this one on video. If you can, hit a Matinee (especially if you've seen the show). You might even want to see it with a bunch of friends, but you should probably wait for second-run on a night that you're willing to go "What the hell." But however you see it, and you eventually should, look for all the goodies and gadgets. Peek into the background. And, enjoy how Steed and Peele react to each other as they decide whether, and how, they can co-exist.