Prisoner (2009)

Audiences have been forced to put up with remakes for a very long time but it seems that recently they have proliferated at an alarming rate. One of the most disturbing aspects of this trend is the way these films and television series are marketed as‘re-imagined’ when the truth of the matter is imagination lamentably has extremely little to do with these projects. This is especially true when the show targeted for this treatment has achieved the lauded status of cult classic. While it is true that some classics are so timeless that each generation has the right to express themselves through their own take on the classic themes. Unfortunately, this variation is exceedingly rare. One of the most recent, unnecessary remakes was the television mini-series from the AMC cable network; ‘The Prisoner’. First and foremost the problem with this presentation is based on the British limited run series by the same name that ran in 1967. That series was so radically different from anything before or since that it has collected a sizable fiercely devoted fan base. Even forty years after the series concluded there are fan conventions and discussion boards that manage to grow in popularity. The original ‘Prisoner’ was co-created by its star, Patrick McGoohan and although it ran a mere 17 episodes the series left an indelible mark on the popular culture. This made taking on this project a formidable task and one with a slim chance of success at best. I give the cast and crew credit for the endeavor but since I am one of the aforementioned fans for the last four decades I went into watching this miniseries with a significant amount of doubt. The quality of the production was excellent but ultimately unable to fully rise to the challenge. Although doomed from the start this is an honest attempt but the story already has the definitive telling.

This incarnation was presented in six two hour installments primarily written by Bill Gallagher. He has ample experience scripting for British television and those fundamental qualities do show in the intensity of the screenplay. Unfortunately, the general progression of the story lacks a cohesiveness to bind the story together. That is saying a lot since the original has been seen as an experiment in non-linear story telling. The genius of the original was putting the right spin on a story to relate to the concerns of the audiences, that is it was the right time and place to tell a well crafted story. In the late sixties one of the major fears of many people was government impinging on the rights and freedom of the individual. McGoohan’s titular ‘Number Six’ was an extraordinarily resourceful and determined man, a former field agent of the British secret service. McGoohan had already laid the groundwork for his character with his popular espionage series ‘Danger Man’, imported here as ‘Secret Agent’. Reinventing the part here is James Caviezel, an extremely talented actor but he just can’t seem to muster the proper feel for the role. For one thing Caviezel takes the role to anger and resentment with little drive or discernable focus. I guess I was spoiled by the original where Number 6frequently was proactive in his schemes against the latest in a line of Number Twos. Of course a direct comparison is not feasible; there are too many inherent format differences between a limited series of 17 episodes and a miniseries of six. Much of the charm and fascination of the original was ever increasing slow burn exhibited by Number Six as each week he manages to overcome another psychological attack on his sense of individuality. Little in either series is clear cut but there is a vast difference between the subtle mind games of the original and the aimless meandering of the new version.

The original Village was modeled after quaint English holiday resort apparently populated by form members of the intelligence community. This setting was abandoned in favor of a more town like feel surrounded by a desert. There the denizens seem to be caught in a strangely induced alternate reality where there is no outside world; the Village is all there is. The people aren’t dehumanized by the assignment of their numbers; the numbers are in lieu of actual names even with the children residing there. Furthering the problems the story is diluted with a parallel story revolving around Number 6 in the real New York. Replacing the revolving door policy for guest star Number 2s the part is taken on only by Ian McKellen. To be fair he is perfectly suited for the role but there is not enough for him to sink his teeth into. This is a common complaint associated to this series, the acting is excellent but the characters are too broadly drawn for even the best actors to work with successfully. The editing is very choppy, perhaps in an attempt to keep the audience off balance but the result is to obfuscate an already muddy plot. I suppose the attempt had to be made but stick with the original.

Posted 03/23/2010