FILM BRAKE: SECURITY INVESTIGATOR

DANGER MAN (1960-61)

This original adventure series centered on the exploits of an internationally famous security investigator whose services are only available to governments or their highly placed officials. The Danger Man aka John Drake strove for realism, dramatizing credible Cold War tensions. Beyond the fast pace, some inventive plots, and exotic locales, the gravitating force of the series was undoubtedly the American television debut of Patrick McGoohan. With his distinct, clipped delivery, intensity, charm, coolness and physicality, he makes this series quite compelling in spite of some scripts that are less so. McGoohan's British stage acting abilities could be quite intimidating to fellow actors, not unlike John Drake's pointed truths to convince someone about saving their life or country. The series did not feature silly gadgets of secret agents yet to come. Rather, Drake utilizes his intelligence and quick thinking. If he used any spycraft tools they were generally credible. The family-oriented McGoohan preferred that Drake carry no firearms. In one episode he confesses, 'I never carry a gun. They're noisy, and they hurt people. Besides, I manage very well without.' He knows how to fire one, though—a gun knocked free from a combatant's hand might provide him leverage. His final demand was no outright seduction of female co-stars. Drake is focused on the business at hand. The punctuated jazz score by Edwin Astley provides another dimension of coolness and would often burst into a scene, half debilitating the dialogue. Expect a Drake-ism once granted a favor or request—the gracious—“I'm obliged.”

After the opening scene teaser, McGoohan provides a voice-over as he leaves a building in Washington, DC. before speeding away in his convertible British sports car:

“Every government has its secret service branch. America, CIA; France, Deuxième Bureau; England, MI5. (The line, "NATO also has its own" is not always used.) A messy job? Well, that's when they usually call on me or someone like me. Oh yes, my name is Drake, John Drake.”

McGoohan never appears to use a stunt double during choreographed fistfights. This is an endearing quality of the thirty-two-year-old Irish-American, proving he is all about credibility. Assuming no visual miscues by me, he is clearly seen as the guy doing the flipping of an assailant in judo fashion, getting knocked across a room, or throwing the most violent, unimaginable haymakers and uppercuts that do send the Drake character to near science-fiction level. He might use a fake identity to infiltrate a Communist regime in Africa, Central America or a small European country. He is not infallible and assignments do not always go as anticipated.

The show did not set CBS on fire—not all of the thirty-nine episodes were above average. Some scripts can be rather complex with a myriad of characters, hopscotching from one country to the next or trying to take in all of McGoohan's rapidly delivered dialogue. The humor is restrained—a flippant hero has no place in this series. A few episodes make one wish there was a bit more, however, as McGoohan could deliver some dandy dry sarcasm. One would like to double the number of episodes with his five-time costar—the ever so British—Richard Wattis, as the bespectacled Mr. Hardy, an intelligence agent requesting [demanding] Drake's services. Though there is no real animosity between them, they initially conflict when discussing an assignment. Their sarcastic banter is a needed delight.

The idea for the Danger Man series originated with Ralph Smart, an associate of Lew Grade, head of ITC Entertainment. It is filmed at MGM British Studios, England, UK and in foreign locations. The series aired in America as a late-spring replacement for the departing Wanted Dead or Alive. American financing for a second season failed to materialize but the show continued in the UK as the hour-long second and third seasons. After a three-year Drake disappearance, the show returned to America as Secret Agent along with a new guitar-leading theme performed by Johnny Rivers.