Captain Scarlet and the Mysterons , a menudo abreviado como Captain Scarlet , es una serie de televisión de ciencia ficción británica creada por Gerry y Sylvia Anderson y filmada por su productora Century 21 Productions para la distribuidora ITC Entertainment . Con treinta y dos episodios de 25 minutos, se transmitió por primera vez enlas franquicias regionales de ITV entre 1967 y 1968 y desde entonces se ha transmitido en más de 40 países, incluidos Estados Unidos, Australia, Nueva Zelanda y Japón. Es una de varias series de Anderson que se filmaron utilizando una forma de marioneta electrónicadenominada " Supermarionation"combinado con secuencias de efectos especiales de modelos a escala .
| Capitán Scarlet y los Mysterons | |
|---|---|
 | |
| Género | Ciencia ficción |
| Creado por | Gerry y Sylvia Anderson |
| Voces de | |
| Tema principal | "Los Mysterons" [1] |
| Tema final | "Capitán Scarlet" [2] |
| Compositor | Barry Grey |
| País de origen | Reino Unido |
| Idioma original | inglés |
| No. de serie | 1 |
| No. de episodios | 32 ( lista de episodios ) |
| Producción | |
| Productor ejecutivo | Gerry Anderson |
| Productor | Reg Hill |
| Tiempo de ejecución | 25 minutos |
| Compania de produccion | Producciones de televisión de Century 21 |
| Distribuidor | ITC Entertainment |
| Lanzamiento | |
| Red original | ITV |
| Formato de imagen | Película de 35 mm [3] |
| Formato de audio | Mono [4] |
| Lanzamiento original | 29 de septiembre de 1967 - 14 de mayo de 1968 [5] |
| Cronología | |
| Precedido por | Thunderbirds |
| Seguido por | Joe 90 |
| Programas relacionados | La nueva capitana escarlata de Gerry Anderson |
Ambientada en 2068, Captain Scarlet sigue la " guerra de nervios " entre la Tierra y los Mysterons , una raza de marcianos que poseen un control parcial sobre la materia. Cuando un malentendido hace que los astronautas humanos ataquen su ciudad en Marte, los Mysterons juran venganza y lanzan represalias contra la Tierra. Estos son contrarrestados por Spectrum, una organización de seguridad mundial. En el primer episodio, el agente de Spectrum, el Capitán Scarlet, adquiere el poder de autocuración de los Mysterons de "retrometabolismo" y, por lo tanto, se vuelve "indestructible", pudiendo recuperarse de lesiones que de otro modo serían fatales. De esta manera, Scarlet se convierte en el principal activo de Spectrum en su lucha contra los Mysterons.
Captain Scarlet , la octava de las diez series de marionetas de los Anderson, fue precedida por Thunderbirds y seguida por Joe 90 y The Secret Service . En términos de estética visual, representa una desviación de Thunderbirds en su uso de títeres no caricaturizados esculpidos en proporciones corporales realistas. Repetido varias veces en el Reino Unido, ha generado vínculos desde autos de juguete y figuras de acción hasta obras de teatro de audio y novelas originales, así como tiras en el cómic infantil semanal TV Century 21 .
En comparación con Thunderbirds y las producciones anteriores de Anderson, el Capitán Scarlet generalmente se considera "más oscuro" en tono y menos adecuado para el público infantil debido a su contenido violento y temas de agresión alienígena y guerra interplanetaria. [6] [7] [8] [9] El cambio en el diseño de las marionetas ha dividido la opinión, mientras que la sabiduría de hacer al protagonista "indestructible" también ha sido cuestionada. [10] [11] [12] [13] Sin embargo, la serie ha sido elogiada por el uso de un elenco de títeres multinacional y multiétnico y la representación de una futura Tierra utópica . [14] [15] Un reinicio animado por computadora , New Captain Scarlet de Gerry Anderson , se transmitió por primera vez en 2005.
Gráfico
La serie comienza en 2068. En el primer episodio, la tripulación de la nave espacial Zero-X está investigando la superficie de Marte después de que se descubren misteriosas señales de radio provenientes del planeta. [N 1] [E 1] Se descubre que la fuente es una ciudad alienígena, que los astronautas destruyen en un ataque con misiles después de confundir un dispositivo de vigilancia inofensivo con un arma. [E 1] Los habitantes de la ciudad, los Mysterons , son un colectivo de computadoras sensibles que poseen un control parcial sobre la materia y se comunican con una voz profunda y resonante. Después de usar su poder de "invertir la materia" para reconstruir su ciudad, juran venganza por la agresión injustificada de la humanidad y declaran la guerra a la Tierra. [E 1]
También llamado "retrometabolismo", invertir la materia permite a los Mysterons recrear personas y objetos como facsímiles que pueden controlar. [E 2] Esta habilidad se usa para librar una " guerra de nervios " contra la Tierra en la que los Mysterons lanzan amenazas contra objetivos específicos (desde líderes mundiales e instalaciones militares hasta ciudades y continentes enteros) y luego destruyen y reconstruyen los instrumentos necesarios ( ya sean seres humanos u objetos) para llevar a cabo sus planes. La presencia de los Mysterons está indicada por anillos gemelos de luz verde que se proyectan sobre escenas de destrucción y reconstrucción. Aunque los extraterrestres pueden influir en los eventos de Marte, sus acciones en la Tierra generalmente las realizan sus intermediarios replicados.
El líder de la misión Zero-X , el Capitán Black, se convierte en el agente principal de los Mysterons cuando toman el control de su mente. [N 2] [16] Antes de los eventos de la serie, Black era un oficial en Spectrum, una organización de seguridad mundial que moviliza a su personal, vehículos y otros recursos para contrarrestar la amenaza planteada por los Mysterons. Los agentes más importantes de Spectrum tienen rangos militares y nombres en clave de colores y están destinados a la sede de la organización, Cloudbase, un portaaviones aerotransportado estacionado a 12 km (40.000 pies) sobre la superficie de la Tierra, donde responden a su comandante en jefe, Coronel White . [N 3] [E 3] Cloudbase es defendida por cazas Angel Interceptor piloteados por un equipo de pilotos femeninos encabezados por Destiny Angel, mientras que los sistemas informáticos de la base son operados por la asistente de White, la Teniente Green . [N 4] Spectrum también incorpora una flota de vehículos blindados de persecución Spectrum (SPV), que están ocultos en lugares secretos alrededor del mundo, así como patrullas , transportes de máxima seguridad, aviones de pasajeros y helicópteros equipados con ametralladoras.
El Capitán Scarlet se convierte en el principal activo de Spectrum en su lucha contra los Mysterons después de los eventos del primer episodio, en el que los Mysterons intentan asesinar al Presidente Mundial como su primer acto de represalia. [N 5] [E 1] [17] El Scarlet original muere en un accidente automovilístico diseñado por los Mysteron y reemplazado por una reconstrucción. [E 1] [17] Sin embargo, después de recibir un disparo del Capitán Blue de Spectrum y caer desde lo alto de una torre, la reconstrucción vuelve a la vida con la conciencia de la Scarlet original restaurada y, a partir de entonces, queda libre del control de Mysteron. [N 6] [E 1] Con su nuevo cuerpo Mysteron, Scarlet posee dos habilidades extraordinarias: puede sentir otras reconstrucciones cercanas, y si se lesiona o muere, su retrometabolismo lo devolverá a su salud total, haciéndolo virtualmente "indestructible". Mientras continúan las hostilidades con Marte, Scarlet se sacrifica repetidamente para frustrar a los Mysterons, sabiendo que siempre regresará para enfrentarlos nuevamente.
A lo largo de la serie, se descubre que las reconstrucciones de Mysteron son especialmente vulnerables a la electricidad y pueden identificarse a través de rayos X, que no pueden penetrar su biología alienígena. [E 4] Estos descubrimientos permiten a Spectrum desarrollar dos dispositivos anti-Mysteron: el "Mysteron Gun" y el "Mysteron Detector". [N 7] [E 5] Un arco de la historia de tres episodios se centra en el descubrimiento de un puesto avanzado de Mysteron en la Luna, su destrucción por Spectrum y los esfuerzos de Spectrum para negociar con los Mysteron después de convertir la fuente de energía rescatada de la base en una comunicación interplanetaria. dispositivo. [E 3] [E 6] [E 7] Un intento fallido de estudiar Marte desde el espacio, [E 8] abortó conferencias militares [E 9] [E 10] y la construcción saboteada de una nueva flota espacial terrestre [E 11] obstaculizan el progreso de Spectrum en la lucha contra los Mysterons, y la organización falla dos veces en capturar al Capitán Black. [E 12] [E 13] En el penúltimo episodio, los Mysterons destruyen Cloudbase, pero luego se revela que es una pesadilla soñada por uno de los Ángeles. [E 14] El episodio final es un clip que deja sin resolver el conflicto entre la Tierra y Marte. [E 15]
Producción
Cuando los esfuerzos por conseguir una emisora de televisión estadounidense para Thunderbirds fracasaron en julio de 1966, Lew Grade , propietario y patrocinador financiero de la productora AP Films (APF) de los Anderson , coronó la Serie Dos de Thunderbirds en seis episodios y canceló la producción. [18] Habiendo supervisado el trabajo de APF desde la creación de Supercar en 1960, Grade estaba ansioso por que Supermarionation penetrara en el lucrativo mercado estadounidense y creía que una nueva serie tenía más posibilidades de conseguir una venta que una segunda temporada de Thunderbirds . [18]
Como resultado de la cancelación, Gerry Anderson se vio obligado a pensar en una nueva serie de Supermarionation. Una vez se había inspirado en la idea de crear un drama policial de acción real en el que el héroe habría sido asesinado inesperadamente a mitad de la serie y reemplazado por un nuevo personaje principal. [19] Ahora, dando una nueva consideración a esta idea, Anderson se dio cuenta de que un punto de venta importante para su nueva producción podría ser un personaje que muere al final de cada episodio y resucita al comienzo del siguiente. Esto, junto con las teorías contemporáneas sobre la posibilidad de vida en Marte , llevó a la idea de una guerra interplanetaria entre la Tierra y su vecino y una organización de seguridad mundial llamada a defender a la humanidad. [20] Después de pensarlo más, Anderson decidió que "Scarlet" sería un nombre adecuadamente inusual para el agente "indestructible" de esta organización, mientras que su socio en el campo podría llamarse "Blue". A partir de esto, Anderson razonó que todo el personal debería tener nombres en clave de colores y que la organización debería llamarse "Spectrum". [21] Al notar que la luz blanca se compone de los colores del espectro y se puede dividir en ellos , nombró al líder de Spectrum "Blanco". [20] [22]
- Gerry Anderson sobre la creación de Mysterons (2002) [23]
Intrigado por la frase tan escuchada "la vida como la conocemos", Anderson quería diferenciar a sus villanos alienígenas de los extraterrestres convencionales de la televisión y el cine de los sesenta. Trabajando desde una base de "la vida como no la conocemos", hizo de los Mysterons un colectivo de computadoras sensibles en lugar de una raza de formas de vida orgánicas (aunque su naturaleza exacta no se declara explícitamente en la serie en sí). [24] La intención era que los Mysterons originales fueran seres extragalácticos que establecieron una base en Marte en el pasado distante antes de abandonar el planeta a principios del siglo XX, dejando atrás sus computadoras. [25]
Los recuerdos de Anderson de la Segunda Guerra Mundial sirvieron de inspiración para varios aspectos del diseño. Por ejemplo, recordó que durante la Batalla de Gran Bretaña , los pilotos de la RAF habían tenido dificultades para contrarrestar los ataques alemanes porque tener que despegar desde tierra significaba que se necesitaba mucho tiempo para interceptar al enemigo. Por lo tanto, convirtió la sede de Spectrum, Cloudbase , en un portaaviones aerotransportado. [26] [27] Según Anderson, los anillos Mysteron se inspiraron en un anuncio de televisión de lana que mostraba el logotipo de Woolmark proyectado sobre una mujer. [28]
Escritura y filmación
Adoptando " The Mysterons " como título provisional, Anderson y su esposa Sylvia escribieron un guión piloto en agosto de 1966. [29] Esto difería significativamente del primer episodio completo . Originalmente, se concibió que la reconstrucción de Mysteron del Capitán Scarlet resucitaría usando una computadora avanzada, después de lo cual ya no sería un verdadero ser de carne y hueso, sino un "hombre mecánico" similar a un androide . [N 8] [30] Otro plan, también abandonado, era que cada episodio presentara una marioneta "estrella invitada" con la voz de un actor famoso: el presidente mundial, por ejemplo, originalmente estaba destinado a ser interpretado por Patrick McGoohan . [31] [32]
Con Gerry Anderson sirviendo principalmente como productor ejecutivo , la mayor parte de la escritura fue realizada por Tony Barwick , quien había escrito anteriormente para Thunderbirds . [33] Originalmente el editor de guiones de Captain Scarlet , Barwick escribió 18 de sus 32 episodios él mismo, además de hacer a menudo revisiones sustanciales al trabajo de otros escritores. [33] Al discutir su enfoque de la escritura de guiones en una entrevista de 1986, Barwick comparó la premisa y los personajes del Capitán Scarlet con los de Thunderbirds , por ejemplo, comparando Spectrum con el heroico Rescate Internacional y el personaje del Capitán Black con el villano recurrente Hood . [33]
El rodaje del primer episodio, "The Mysterons", comenzó el 2 de enero de 1967 después de dos meses de preproducción . [34] El presupuesto de la serie se fijó en 1,5 millones de libras esterlinas (aproximadamente 27 millones de libras esterlinas en 2019). [35] Con un costo promedio de £ 46,000 por episodio, o £ 2,000 por minuto, fue la producción de Anderson más cara hasta la fecha. [35] Un mes antes, Anderson y sus colegas habían abandonado el nombre de "AP Films" y habían rebautizado su empresa como " Century 21 Productions ". [34]
Para cuando Captain Scarlet entró en producción, muchos de los directores de series anteriores de Anderson, incluidos Alan Pattillo , David Elliott y David Lane , habían dejado la compañía o estaban comprometidos con la producción de Thunderbird 6 , el segundo largometraje de Thunderbirds . Aunque Lane, Brian Burgess y Desmond Saunders pudieron retomar las funciones de dirección durante al menos un episodio cada uno, los Anderson se vieron obligados a promover a parte del personal de producción junior para reemplazar a los directores salientes. Con este fin, Alan Perry y Ken Turner fueron promovidos desde el operador de cámara y los departamentos de arte. [36] Se contrató a otros directores externos a la empresa; entre ellos estaba Robert Lynn , quien había sido el asistente de dirección de películas como Black Narcissus , Drácula y The Revenge of Frankenstein . [36] [37]
Captain Scarlet fue filmada en un conjunto de unidades de fábrica convertidas en Slough Trading Estate , [L 1] que había servido como estudios de Century 21 desde la producción de Stingray en 1964. [38] Continuando con una práctica que había comenzado con series anteriores de Anderson, los episodios se filmaron en parejas en escenarios separados para acelerar la producción. La filmación se superpuso con la de Thunderbird 6 , que se estaba filmando en un escenario diferente. [33] Las tareas de diseño de producción se dividieron entre Keith Wilson y John Lageu, siendo este último responsable de los elementos técnicos de los decorados. [39] Los anillos Mysteron se crearon moviendo una transparencia de dos círculos verdes a través de los decorados usando un proyector de diapositivas , un método sugerido por el productor Reg Hill . [22] [39]
La creación de modelos a escala y los efectos especiales fueron manejados por una unidad separada encabezada por el director de efectos Derek Meddings . Constaba de dos equipos de efectos a tiempo completo y una " segunda unidad " responsable de las tomas que presentaban los aviones voladores. [40] Una de las innovaciones técnicas de la serie fue que las narices de los vehículos en miniatura ahora se "hundían" cuando se detenían, para imitar la aplicación repentina de los frenos en un vehículo de la vida real. [41] Los vehículos fueron diseñados por Meddings o su asistente Mike Trim : el primero creó Cloudbase, el SPV y el Angel fighter (el último de ellos durante un vuelo a Nueva York), mientras que el último produjo muchos de los vehículos menos prominentes. El modelo de filmación de Cloudbase, que tenía seis pies (1,8 m) de largo, resultó demasiado pesado para sostenerlo con cables, por lo que se montó en un poste. [42] [43] Algunas de las creaciones de Trim, incluido el Spectrum Patrol Car , originalmente debían aparecer en un solo episodio, pero resultaron tan populares entre los productores que se convirtieron en películas habituales. [44] A medida que continuaba la producción, las responsabilidades de Trim crecían, ya que Meddings tenía que dedicar cada vez más de su tiempo al rodaje simultáneo de Thunderbird 6 . [45]
Cuando la serie comenzó a transmitirse en septiembre de 1967, la fotografía principal se había completado en los primeros 20 episodios. [46] La filmación de las marionetas de cada episodio tardaba dos semanas u 11 días laborables en filmar. [35] [47] Aunque originalmente se esperaba que la filmación se completara en ocho meses, las demandas del rodaje de Thunderbird 6 significaron que se prolongó hasta noviembre. [48]
Diseño de marionetas
Supermarionation, una técnica mediante la cual los movimientos de la boca de los títeres se sincronizaban electrónicamente con diálogos pregrabados, se utilizó por primera vez durante la producción de Four Feather Falls en 1960. En todas las series de Anderson anteriores a Captain Scarlet , las cabezas de los títeres habían sido desproporcionadamente grande en comparación con el resto de sus cuerpos, ya que el cráneo contenía el solenoide que accionaba los movimientos automáticos de la boca. Escalar los cuerpos para que coincidieran con las cabezas no era una opción, ya que los títeres se habrían vuelto demasiado pesados para operar y no había suficiente espacio en el estudio para agrandar todos los decorados. [11] [52] [53] Esto le dio a las marionetas una apariencia caricaturizada que frustró a Gerry Anderson, quien quería que su diseño reflejara proporciones anatómicas naturales . [11] Antes de que el Capitán Scarlet entrara en producción, Reg Hill y el productor asociado John Read crearon un nuevo tipo de marioneta con el solenoide integrado en el cofre, lo que permite reducir las cabezas a un tamaño realista. [49] [54]
Después de ser esculpidas en plastilina , las cabezas de los títeres fueron moldeadas sobre una base de caucho de silicona y acabadas en fibra de vidrio . A alturas que van de 20 a 24 pulgadas (51 a 61 cm), aproximadamente un tercio del tamaño natural, los títeres de la próxima generación no eran más altos ni más bajos que sus predecesores. [55] Como en series anteriores, los personajes principales recibieron cabezas intercambiables con una variedad de expresiones; estos incluían cabezas "sonrientes", "fruncidas" y "intermitentes". [55] Debido a que los episodios debían filmarse en parejas en escenarios separados, las cabezas "inexpresivas" se hicieron por duplicado. [56] Los trajes fueron diseñados por Sylvia Anderson, quien se inspiró en el trabajo del diseñador de moda francés Pierre Cardin (en particular, su colección "Cosmonaut" de 1966) para diseñar los uniformes de Spectrum. [57]
A pesar de su forma realista , las nuevas marionetas eran más difíciles de animar en el set, haciendo que el diseño general fuera irónicamente menos realista de lo que Gerry Anderson pretendía. [49] [58] En comparación con el elenco de Thunderbirds , los títeres Captain Scarlet tenían una distribución de peso inferior: cuando estaban de pie, los personajes a menudo tenían que mantenerse en su lugar con abrazaderas y cinta para evitar que se tambalearan. Las cabezas más pequeñas dificultaban la obtención de primeros planos y, debido a que la mayoría de los cables estaban montados en la cabeza, reducían significativamente el nivel de control de los titiriteros, con el resultado de que los movimientos de la cabeza y otras acciones se volvían más bruscos. [59] Para reducir la cantidad de movimiento requerido, los personajes se mostraban con frecuencia de pie en pasillos móviles o sentados en escritorios móviles: por ejemplo, el teniente Green opera la computadora Cloudbase desde una silla deslizante y el escritorio del coronel White gira. El titiritero Jan King comentó:
Los títeres del Capitán Scarlet no fueron hechos para caminar. Eran demasiado pesados y no tenían el peso adecuado de todos modos ... Es prácticamente imposible hacer que un títere de hilo camine de manera convincente en una película a menos que sea un títere muy caricaturizado. En Capitán Scarlet , si un títere tenía que moverse fuera de la pantalla, se hacía en una toma de cabeza y hombros : el titiritero del piso sujetaba las piernas del títere y luego movía el títere físicamente fuera del plano en el momento adecuado. tratando de hacer que el cuerpo y los hombros se muevan como si la marioneta estuviera caminando. [50]
Las marionetas "subcontroladas" descritas por King no tenían cables y fueron manipuladas desde la cintura. Una ventaja de este método era que un títere podía atravesar una puerta sin necesidad de interrumpir la toma. Para las tomas de personajes sentados en las cabinas de los aviones, se hicieron variaciones del diseño "subcontrolado" que comprenden sólo una cabeza y un torso; Estos se accionaban mediante palancas y cables situados debajo del aparato. [60]
La apariencia de Scarlet se ha comparado con la de su actor de doblaje, Francis Matthews , así como con la de Roger Moore . [61] [62] Ed Bishop , la voz del Capitán Blue, creía que su personaje estaba inspirado en él; sin embargo, Terry Curtis, quien esculpió la marioneta azul, dijo que se usó a sí mismo como plantilla y simplemente agregó una peluca rubia después de enterarse de que Bishop proporcionaría la voz. [31] Curtis, un fan de James Bond , basó al Capitán Gray en Sean Connery [50] [63] y Destiny Angel en Ursula Andress , la coprotagonista de Connery en Dr No (1962). [31] [64] El teniente Green se inspiró en Cy Grant , quien le dio la voz al personaje, mientras que Rhapsody Angel se basó en Jean Shrimpton , Melody Angel en Eartha Kitt y Harmony Angel en Tsai Chin . [31] [65]
Antes de Captain Scarlet , los personajes invitados habían sido esculpidos en arcilla episodio por episodio. Para el Capitán Scarlet , sin embargo, estos roles fueron interpretados por una " compañía de repertorio " de más de 50 títeres hechos con los mismos estándares de mano de obra que los personajes regulares. [55] Llamados "títeres renovados", o simplemente "renovados", estos títeres fueron alterados superficialmente para cada nuevo rol cambiando los colores o estilos de sus pelucas, o agregando o quitando vello facial. [55] Los títeres del Capitán Scarlet aparecieron en papeles secundarios en las dos últimas series de Supermarionation, Joe 90 y The Secret Service . [66]
Respuesta a las marionetas
Los títeres rediseñados han generado una respuesta mixta de los miembros del equipo y los comentaristas. Algunos miembros de la tripulación creían que las nuevas marionetas carecían del encanto de la generación anterior debido a las proporciones naturales del cuerpo que ahora se estaban utilizando. [19] El director David Lane recuerda que cuando vio el prototipo por primera vez, "era como si hubiera una pequeña persona muerta en [la caja] ... porque era perfecto en todas sus proporciones, simplemente se veía extraño". [19] El escultor John Brown recuerda haber puesto el prototipo junto al títere Lady Penelope de Thunderbirds y calibrar la respuesta de sus colegas: "Cuando lo vieron, algunas personas se horrorizaron por la diferencia. A algunas no les gustó, a otras sí". [11] Se ha argumentado que la expresión facial se sacrificó para hacer la apariencia más realista. [67] El escultor Terry Curtis recuerda:
Los cambios de expresión en esos títeres tenían que ser perfectos y de ninguna manera exagerados como lo eran los antiguos. Recuerdo que cuando [su compañero diseñador de títeres] Tim Cooksey hizo Colonel White , tuvo muchos problemas para hacer diferentes expresiones ya que la cara era muy realista. Tuve un problema similar con el Capitán Blue . Recuerdo que hice una cabeza "sonriente" azul y la gente apenas podía notar la diferencia entre eso y la normal. [50]
Su compañero escultor John Blundall calificó el nuevo diseño de "ridículo", criticando los intentos de hacer que las marionetas parezcan más realistas sobre la base de que "siempre tratamos de hacer con las marionetas lo que no se puede hacer con los humanos". [68] Sugirió que la transición de la caricatura al realismo fue a expensas del "carácter y personalidad" de las marionetas, argumentando que "si la marioneta parece completamente natural, el público ya no tiene que usar su imaginación". [68] El director de efectos Derek Meddings pensó que aunque las nuevas marionetas eran "personas en miniatura muy convincentes", tenían el error de que el público "no podía identificar una de la otra. Las cabezas eran tan pequeñas que no tenían ningún carácter para sus caras." [69] La supervisora titiritero Christine Glanville consideró los títeres "horribles" desde una perspectiva práctica, y recordó que sus cabezas más pequeñas y ligeras rara vez se movían con fluidez: "Si quisieras que volvieran la cabeza, la mayoría de las veces habría alguien fuera de lugar , con sus dedos justo encima de la cabeza del títere, dándole la vuelta ". [69]
Gerry Anderson dijo que impulsó el nuevo diseño para satisfacer a la audiencia, considerándolo no como "un caso de pasar a una nueva técnica, sino más bien un caso de incorporar nuevas ideas con métodos existentes". [68] Sin embargo, en años posteriores expresó dudas sobre la sabiduría del rediseño: "[E] l problema fue que los movimientos exactos y precisos se volvieron más vitales que nunca y eso nos causó terribles dificultades". [19]
El nuevo diseño ha sido elogiado por Vincent Terrace, Jeff Evans y John Peel . [10] [13] [61] Aplaudiendo la transferencia de la electrónica de las cabezas a los cuerpos, Evans describe las marionetas como "perfectas en proporción", mientras que Peel sostiene que el aumento del realismo no habría desanimado a las audiencias familiarizadas con las anteriores. diseño. [13] [61] Un punto de vista contrario es sostenido por Daniel O'Brien, quien escribe que la pérdida del "carácter idiosincrásico" de los títeres los redujo al nivel de " Hombres de Acción de lujo ". [70] Sobre el diseño de vestuario, Mark Bould escribe positivamente sobre el "compromiso con la moda" de la serie y destaca el diseño de los uniformes de Angel para elogios particulares. [14]
Personajes y elenco de voces
| Nombre clave | Nombre [N 9] [71] | Nacionalidad | Expresado por |
|---|---|---|---|
| Capitán escarlata | Paul Metcalfe | británico | Francis Matthews |
| Capitán azul | Adam Svenson | americano | Ed Bishop |
| Coronel White | Charles Grey | británico | Donald Grey |
| Teniente Green | Seymour Griffiths | Trinidadian | Cy Grant |
| Captain Black | Conrad Turner | British | Donald Gray[N 10] |
| Captain Ochre | Richard Fraser | American | Jeremy Wilkin |
| Captain Magenta | Patrick Donaghue | Irish | Gary Files |
| Captain Grey | Bradley Holden | American | Paul Maxwell |
| Doctor Fawn | Edward Wilkie | Australian | Charles Tingwell |
| Destiny Angel | Juliette Pontoin | French | Liz Morgan |
| Symphony Angel | Karen Wainwright | American | Janna Hill |
| Rhapsody Angel | Dianne Simms | British | Liz Morgan |
| Melody Angel | Magnolia Jones | American | Sylvia Anderson |
| Harmony Angel | Chan Kwan | Chinese | Liz Morgan Lian-Shin |
Captain Scarlet had the largest regular puppet cast of any Supermarionation production.[72] Its use of a British protagonist was a departure from earlier series like Thunderbirds, whose lead characters had been written as Americans to increase their appeal to the profitable US market. Stephen La Rivière suggests that Century 21 had been encouraged to give greater prominence to British characters due to the transatlantic success of British programmes like The Avengers, The Baron and The Saint, which had made it "altogether more acceptable to have English lead characters".[73] Chris Drake and Graeme Bassett argue that the general style of the voice acting in Captain Scarlet was less exaggerated than before, relating this increased realism to the puppets' transition from caricatured to natural proportions.[74] According to Simon Archer and Marcus Hearn, the proliferation of British accents between Thunderbirds and Captain Scarlet changed the sound of Supermarionation and its impression on the viewer.[75]
Francis Matthews, who supplied the voice of Captain Scarlet, had turned down offers to voice characters in Thunderbirds.[76] According to Matthews, Gerry Anderson went to great lengths to cast him after being impressed by his imitation of Cary Grant in a radio programme, and indeed the actor based the voice of Scarlet on Grant's Mid-Atlantic tones.[76][77][78] Anderson, however, stated in his biography that the Grant impression was Matthews' choice at audition, and that while it was not the voice that had been intended for Scarlet the production was happy to use it.[79]
Matthews' co-star in the film Dracula: Prince of Darkness (1966) had been Charles Tingwell, who was chosen to voice Cloudbase medical officer Dr Fawn. Tingwell, who had provided voices for Series Two of Thunderbirds as well as the feature film Thunderbirds Are Go, had been recommended by fellow Australian Ray Barrett, a regular voice artist on Stingray and Thunderbirds.[80] Due to theatre commitments, Tingwell left the series following the completion of the first 12 episodes.[80] Departing at the same time was Paul Maxwell, the voice of Captain Grey (and previously Steve Zodiac in Fireball XL5 and Captain Travers in Thunderbirds Are Go), who left to take up the role of Steve Tanner in Coronation Street.[80] In Tingwell and Maxwell's absence, Fawn and Grey's roles were reduced to a handful of non-speaking appearances, though guest characters voiced by the actors can be heard in flashbacks to earlier episodes.
Cy Grant, the voice of Lieutenant Green, was known to the Andersons for his appearances on the current affairs programme Tonight, in which he sang topical calypsos.[81] Grant's casting led to that of Ed Bishop as Captain Blue. Bishop, who was acting on stage at the time,[82] recalled in an interview: "It was just that a girl in my agent's office happened to be on the ball. She represented this black actor by the name of Cy Grant and Gerry and Sylvia wanted to use him ... And the girl said, 'Oh, by the way, Mr Anderson, we've just taken on a new, young American actor' – shows you how long ago it was – 'a new American actor, name of Edward Bishop. And we know how much you like American voices. Would you like to meet him as well?' He said, 'Okay, send him out.' So I went out and auditioned and got the job."[83][84]
Donald Gray, who had found himself typecast after playing the lead role of detective Mark Saber in The Vise, was having to resort to voice work to sustain his acting career.[85] He had three regular roles in Captain Scarlet: Colonel White, the Mysterons and Captain Black (who, after being taken over by the Mysterons, speaks in their voice). The deep, echoing tones of Black and the Mysterons were created by recording Gray's lines at high speed and then playing them back at normal speed.
The voice of Captain Ochre was provided by Jeremy Wilkin, who had voiced Virgil Tracy in Thunderbirds Series Two. Captain Magenta, meanwhile, was voiced by Gary Files, who had provided supporting voices in Thunderbird 6.[86] Liz Morgan was new to the Anderson productions and voiced Destiny Angel, leader of the Angel squadron, and one of her comrades, Rhapsody Angel. Sylvia Anderson, the voice of Lady Penelope in Thunderbirds, took the role of Melody, while Canadian actress Janna Hill voiced Symphony.[87][88] Morgan was additionally cast as Harmony Angel and voiced the character in five episodes. About a third of the way through the dialogue recording sessions, the role was re-assigned to Chinese actress Lian-Shin, who voiced the character in only one episode ("The Launching") but was credited for 20.[89][90][91]
Supporting character voices were performed by Anderson, Files, Hill, Maxwell, Morgan, Tingwell and Wilkin. Completing the credited cast were David Healy and Martin King. Shane Rimmer, previously heard as Scott Tracy in Thunderbirds, made a number of uncredited vocal contributions besides writing for the series. Neil McCallum voiced guest characters in four episodes but was also uncredited. After Captain Scarlet, six members of the voice cast would continue their association with Century 21. Healy voiced Shane Weston in Joe 90 and Files voiced Matthew Harding in The Secret Service. Wilkin, Morgan and King all had various supporting roles in these two series. Bishop later appeared in the lead role of Commander Ed Straker in UFO, the Andersons' first live-action series.
Character dialogue was recorded once a fortnight, at up to four episodes a session, at the Anvil Films Recording Studio (now Denham Film Studios) in Denham, Buckinghamshire.[92][L 2] Each actor was paid 15 guineas (15 pounds and 15 shillings; equivalent to £288 in 2019) per episode, plus repeat fees, no matter how many lines he or she spoke.[93] They were not given the opportunity to tour the Century 21 studios in Slough until their work was finished and therefore had no visualisation of their characters during the recording sessions.[76] This was to Morgan's regret: "We all said that we wished we had seen the puppets before doing the dialogue, as it would have been helpful to have something physical to base the voices on. I knew that Destiny was French and that Rhapsody had to be frightfully 'Sloaney', but that was about it."[90]
Música
The music for Captain Scarlet was composed by Barry Gray, who had scored all prior Supermarionation series. The opening theme – titled "The Mysterons" – was produced electronically and accompanied by a seven-note staccato drumbeat to introduce the protagonist, Scarlet.[1] Gerry Anderson, who had intended this to be more a traditional fanfare, said of his initial reaction: "I thought, 'Christ, is this all he could produce?' Looking back on it, however, I can see that what he came up with worked very well."[28][95] The drumbeat also had two other functions: to cut from one scene to another, with the shot alternating between the previous scene and the next in time with each beat; and to cut into and out of each episode's midpoint advert break, where it was accompanied by a zooming image of the Spectrum logo (a stylised "S" on a background of concentric rings in the colours of the rainbow).[1][28]
Two versions of the closing theme – "Captain Scarlet" – were recorded. The first version, used on the first 14 episodes, was mostly instrumental with the words "Captain Scarlet!" sung at intervals by a group of vocalists including Ken Barrie; each instance was followed by vocoded repetition supplied by Gray himself.[1][96] It was later reworked as a song with lyrics performed by The Spectrum, a London boy band who happened to share their name with the fictional Spectrum Organisation. Originally formed in 1960, at the time of their involvement with Captain Scarlet the group were signed to RCA Victor and being promoted as an English imitation of The Monkees.[1][97] They were brought to the Andersons' attention by Gerry's chauffeur, who had heard them on pirate radio, and signed a contract with Century 21 worth £100,000.[98]
As well as the opening and closing themes, between March and December 1967 Gray recorded incidental music for 18 episodes.[46][99] Music for the other 14 was supplied by re-using these scores, supplemented by excerpts of music originally produced for earlier Anderson series.[46] Compared to Thunderbirds, the incidental music for Captain Scarlet was recorded using smaller ensembles: no episode featured more than 16 instruments.[100]
In their notes on the CD release, Ralph Titterton and Tim Mallett write that the Captain Scarlet soundtrack has a "military feel" that favours percussion, brass and wind instruments, contrasting with the full orchestral sound of Thunderbirds.[101] Gray preferred traditional instruments for much of the action, generally restricting his use of electronic music to scenes set in outer space as well as a four-note echoing motif used to identify the Mysterons.[1] Scarlet's motif, used in incidental music as well as both versions of the closing theme, is a variation emphasising the captain's nature as an ex-Mysteron.[94] Gray performed some of the series' electronic music himself.[95]
Reviewing the soundtrack, Bruce Eder of AllMusic describes the collection of theme and incidental music as "a strange mix of otherworldly 'music of the spheres', late–50s/early–60s 'space-age pop', 'British Invasion' beat, Scottish folk-inspired tunes, kids-style 'Mickey Mouse' scoring, martial music, light jazz, and light classical". He singles out the two versions of "White as Snow" from the episode of the same name, "Cocktail Music" from the episode "Model Spy" and a piano piece from "The Inquisition" (which Gray performed himself) for particular praise.[102] In his BBC Online review, Peter Marsh suggests that the music's grim tone reflects the series' use of realistic puppets and presentation of death as well as its frightening alien villains and lack of humour, noting that "dissonant vibraphone chords shimmer under hovering, tremulous strings contrasted with urgent, militaristic drums and pulsing brass – driving the action ever onto its climax (and, no doubt, a big explosion)."[103]
Commercial releases
In 1967, Century 21 Records (a label founded by Century 21 and Pye Records) released an extended play titled TV Themes from Captain Scarlet, which included commercial re-recordings of the series' opening and closing theme music.[104] The soundtrack has since had two CD releases: the first by Silva Screen Records, the second by Fanderson, the official Gerry Anderson fan club. Fanderson's version was available exclusively to club members and contained music from every episode except "The Heart of New York" and "Treble Cross" (which contain no original music) and "Traitor" (whose cue recordings are lost).[105][106] Both CD releases' tracks are listed below.
Silva Screen Records (2003)
| Captain Scarlet (Original Television Soundtrack) | |
|---|---|
| Soundtrack album | |
| Released | 17 November 2003 (UK)[103] 9 December 2003 (US)[102] |
| Length | 78:57 |
| Label | Silva Screen Records |
| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |   [102] |
| No. | Title | Notes | Length |
|---|---|---|---|
| 1. | "Century 21 Sting" | 0:10 | |
| 2. | "Opening Titles (Pilot Narration)" | 0:48 | |
| 3. | "End Titles (Semi-Vocal Version)" | 1:23 | |
| 4. | "Winged Assassin: Suite" | From "Winged Assassin" | 4:38 |
| 5. | "Staccato Beat" | 0:04 | |
| 6. | "Big Ben Strikes Again" | From "Big Ben Strikes Again" | 1:33 |
| 7. | "Big Ben Strikes Again: Until Midnight (Radio Music)" | From "Big Ben Strikes Again" | 2:22 |
| 8. | "Avalanche: Mountain Pass" | From "Avalanche" | 1:12 |
| 9. | "Avalanche: Deadly Mist and Mountain Chase" | From "Avalanche" | 4:24 |
| 10. | "White as Snow (Episode Version)" | From "White as Snow" | 3:26 |
| 11. | "Manhunt: Suite" | From "Manhunt" | 4:07 |
| 12. | "Model Spy: Models on a Train" | From "Model Spy" | 2:32 |
| 13. | "Model Spy: Cocktail Music" | From "Model Spy" | 3:28 |
| 14. | "Lunarville 7: Suite" | From "Lunarville 7" | 4:52 |
| 15. | "Point 783: The SHEF March" | From "Point 783" | 2:35 |
| 16. | "Expo 2068: The Reactor" | From "Expo 2068" | 2:33 |
| 17. | "Commercial Stings and Commercial Break" | 1:04 | |
| 18. | "Fire at Rig 15: Rig 15" | From "Fire at Rig 15" | 2:49 |
| 19. | "The Inquisition: Piano Track" | From "The Inquisition" | 3:23 |
| 20. | "The Trap: The Fate of the XQR" | From "The Trap" | 1:31 |
| 21. | "The Trap: Castle Glen Garry" | From "The Trap" | 4:51 |
| 22. | "Attack on Cloudbase: Desert Symphony" | From "Attack on Cloudbase" | 5:14 |
| 23. | "Attack on Cloudbase: The Mysterons Attack!" | From "Attack on Cloudbase" | 3:13 |
| 24. | "Spectrum Strikes Back: Suite" | From "Spectrum Strikes Back" | 8:30 |
| 25. | "End Titles (Song Version)" | 1:28 | |
| 26. | "Main Titles (with Generic Opening Narration)" | 0:48 | |
| 27. | "White as Snow (Commercial Version)" | Stereo | 3:12 |
| 28. | "Captain Scarlet Theme (Commercial Version)" | Stereo | 2:47 |
Fanderson (2015)
| Captain Scarlet and the Mysterons | |
|---|---|
| Soundtrack album | |
| Released | 8 October 2015 |
| Label | Fanderson |
| Producer | Tim Mallett Kindred Productions |
| No. | Title | Notes | Length |
|---|---|---|---|
| 1. | "Century 21 Television Logo" | 0:10 | |
| 2. | "Captain Scarlet Main Titles – 'The Mysterons' Version" | Exclusive to the first episode | 0:51 |
| 3. | "The Voice of The Mysterons" | From "The Mysterons" | 5:49 |
| 4. | "Trapped in The Sky Park" | From "The Mysterons" | 2:25 |
| 5. | "The Flight of Delta Tango" | From "Winged Assassin" | 3:13 |
| 6. | "Mysteron Booby Trap" | From "Winged Assassin" | 3:04 |
| 7. | "Atomic Runaway" (featuring "Until Midnight") | From "Big Ben Strikes Again" | 6:03 |
| 8. | "Nuclear Countdown" | From "Big Ben Strikes Again" | 4:25 |
| 9. | "Welcome to Point 783" | From "Point 783" | 5:09 |
| 10. | "Attack of the Unitron" | From "Point 783" | 2:05 |
| 11. | "VTOL Jazz" | From "The Launching" | 0:37 |
| 12. | "Nightmare at 20,000 Feet" | From "The Launching" | 0:46 |
| 13. | "Dockside Celebration" | From "The Launching" | 1:36 |
| 14. | "The Manhunt for Captain Black" | From "Manhunt" | 4:04 |
| 15. | "Radioactive Angel" | From "Manhunt" | 3:47 |
| 16. | "Time to Die" | From "Operation Time" | 4:38 |
| 17. | "Killing Time" | From "Operation Time" | 3:24 |
| 18. | "Ivory Lounge" | From "Special Assignment" | 1:01 |
| 19. | "Blue's Blues" | From "Special Assignment" | 1:36 |
| 20. | "Rien Ne Va Plus" | From "Special Assignment" | 0:52 |
| 21. | "The Mystery of Glengarry Castle" | From "The Trap" | 5:29 |
| 22. | "Sitting Targets" | From "The Trap" | 4:50 |
| 23. | "Captain Scarlet End Titles – Original Version" | 1:22 | |
| 24. | "Captain Scarlet Main Titles – Music and Effects Version" | 0:45 | |
| 25. | "The Voice of the Mysterons – Alternate Score" | 6:03 | |
| 26. | "Captain Scarlet Commercial Break Sting" | 0:05 | |
| 27. | "Trapped in The Sky Park – Alternate Score" | 3:58 | |
| 28. | "Captain Scarlet End Titles – Original Version (Instrumental)" | 1:24 |
| No. | Title | Notes | Length |
|---|---|---|---|
| 1. | "Century 21 Television Logo" | 0:10 | |
| 2. | "Captain Scarlet Main Titles" | Standard version | 0:51 |
| 3. | "A New Man" | From "Renegade Rocket" | 4:14 |
| 4. | "Destruct Code Amen" | From "Renegade Rocket" | 2:24 |
| 5. | "Collision Course" | From "White as Snow" | 7:39 |
| 6. | "Target: Snow" | From "White as Snow" | 2:57 |
| 7. | "An Angel in Paris" | From "Seek and Destroy" | 3:59 |
| 8. | "Assignment in Africa" | From "Spectrum Strikes Back" | 7:19 |
| 9. | "Chasing Indigo" | From "Spectrum Strikes Back" | 5:45 |
| 10. | "Culture Shock" | From "Place of Angels" | 4:13 |
| 11. | "Death on the Line" | From "Avalanche" | 5:33 |
| 12. | "Race to Big Bear" | From "Avalanche" | 0:43 |
| 13. | "Phase Two" | From "Shadow of Fear" | 7:59 |
| 14. | "Countdown to Destruction" | From "Shadow of Fear" | 3:31 |
| 15. | "Slayed in Flames" | From "Fire at Rig 15" | 4:53 |
| 16. | "Pipeline Pursuit" | From "Fire at Rig 15" | 4:55 |
| 17. | "Road to Nowhere" | From "Expo 2068" | 2:28 |
| 18. | "Temperature Rising" | From "Expo 2068" | 0:44 |
| 19. | "Captain Scarlet" | Performed by The Spectrum | 1:26 |
| 20. | "Atomic Runaway – Stereo Mix" | From "Big Ben Strikes Again" | 1:33 |
| 21. | "White as Snow (Stereo)" | Also released as a 7-inch single | 1:55 |
| 22. | "The Mysterons Theme" | Also released as a 7-inch single | 2:16 |
| 23. | "Captain Scarlet" | Also released as a 7-inch single | 1:36 |
| No. | Title | Notes | Length |
|---|---|---|---|
| 1. | "Century 21 Television Logo" | 0:10 | |
| 2. | "Captain Scarlet Main Titles (Music Only)" | 0:37 | |
| 3. | "Mission to the Moon" | From "Lunarville 7" | 4:09 |
| 4. | "Secret of the Far Side" | From "Lunarville 7" | 5:07 |
| 5. | "Catwalk Angels" | From "Model Spy" | 5:15 |
| 6. | "Cocktails and Kidnap" | From "Model Spy" | 3:14 |
| 7. | "The Hand of Friendship" | From "Dangerous Rendezvous" | 3:15 |
| 8. | "The Specialist" | From "Codename Europa" | 2:36 |
| 9. | "Journey to the Far Side of the Moon" | From "Crater 101" | 3:13 |
| 10. | "Into the Complex" | From "Crater 101" | 3:43 |
| 11. | "Airport 2068" | From "Flight 104" | 4:59 |
| 12. | "One of Our Aircraft is Empty" | From "Flight 104" | 0:50 |
| 13. | "Cold Mine" | From "Noose of Ice" | 0:45 |
| 14. | "Deep Freeze" | From "Noose of Ice" | 2:23 |
| 15. | "Flying High" | From "Flight to Atlantica" | 4:51 |
| 16. | "Fallen Angel" | From "Attack on Cloudbase" | 5:08 |
| 17. | "Cloudbase Down" | From "Attack on Cloudbase" | 4:33 |
| 18. | "Black Coffee" | From "The Inquisition" | 3:21 |
| 19. | "Temple of The Sun God" | From "Inferno" | 5:05 |
| 20. | "Valley of Fire" | From "Inferno" | 2:38 |
| 21. | "Captain Scarlet – Instrumental" | Performed by The Spectrum | 1:19 |
| 22. | "Mysteron Threat" | From "Manhunt" | 0:53 |
| 23. | "Black Coffee – Short Version" | From "The Inquisition" | 1:50 |
| 24. | "Desert Symphony (Stereo)" | From "Attack on Cloudbase" | 5:13 |
| 25. | "The Mysterons Attack (Stereo)" | From "Attack on Cloudbase" | 3:12 |
Secuencias de títulos y créditos finales
All episodes, except the first, incorporate two title sequences. The first of these, incorporating the title card and principal production credits, is set in a run-down alleyway and presented from the point of view of an unseen gunman; turning a corner, he comes face to face with Captain Scarlet and opens fire, only to be shot dead by a single round from the captain's handgun. The words "Captain Scarlet" appear letter by letter in time with the seven strikes of the series' signature drumbeat composed by Barry Gray. This sequence is intended to demonstrate Scarlet's indestructibility, the bullets from the assassin's machine gun having no effect on the captain.[107]
The sequence is accompanied by a voiceover from Ed Bishop that states:
"The Mysterons: sworn enemies of Earth. Possessing the ability to recreate an exact likeness of an object or person. But first, they must destroy... Leading the fight, one man fate has made indestructible. His name: Captain Scarlet."
A number of variations have been used. In the first episode, the voiceover runs:[E 1]
"The finger is on the trigger. About to unleash a force with terrible powers, beyond the comprehension of man. This force we shall know as the Mysterons. This man will be our hero, for fate will make him indestructible. His name: Captain Scarlet."
An alternative version, rarely used, runs: "One man. A man who is different. Chosen by fate. Caught up in Earth's unwanted conflict with the Mysterons. Determined. Courageous. Indestructible. His name: Captain Scarlet."[108] Later prints feature an additional voiceover by Donald Gray, warning the audience: "Captain Scarlet is indestructible. You are not. Remember this. Do not try to imitate him."[108][109] This served to establish the background to the series and warn younger viewers not to put themselves at risk by copying Scarlet's actions.[12][110][111] It was used either on its own or following Bishop's "One man ..." voiceover.[108]
From the second episode, "Winged Assassin", the establishing scenes are followed by a secondary title sequence introducing Captain Blue, Colonel White, the Angels and Captain Black. As the Mysterons announce their latest threat against Earth, the Mysteron rings pass over the characters in various environments, thus demonstrating the aliens' omnipresence.[107] At the same time, the characters' codenames are flashed on-screen. The Mysterons invariably begin their threats with the words: "This is the voice of the Mysterons. We know that you can hear us, Earthmen."
– Gerry Anderson (2001)[95][112][113]
The closing titles were originally intended to feature images of printed circuit boards and other electronic components to reflect the Andersons' initial conception of Scarlet as a "mechanical man".[30] In the finished sequence, these were replaced with a series of paintings depicting Scarlet in various moments of peril. In earlier episodes, the paintings are accompanied by the instrumental version of the Captain Scarlet theme music; in later episodes, this was substituted by a lyrical version sung by The Spectrum. The paintings were created by comic artist Ron Embleton, who would later illustrate the adult comic strips Oh, Wicked Wanda! and Sweet Chastity for Penthouse magazine.[7][114][115] In 2005, the Animation Art Gallery in London released limited-edition prints of the paintings signed by Francis Matthews.[116]
In Japan, the original opening titles were replaced with a montage of action clips from various episodes accompanied by an upbeat song performed by children. This version is included in the special features of the Captain Scarlet DVD box set.[117][118]
Historial de retransmisiones
Captain Scarlet had its official UK premiere on 29 September 1967 on the ATV Midlands franchise of the ITV network. The first episode was seen by an estimated 450,000 people, a number considered promising.[119] Exactly five months earlier, this episode had been broadcast in the London area as an unscheduled test transmission.[119] The series officially debuted in London and Scotland on 1 October, with Granada, Anglia, Channel, Southern and Westward Television all following later that month.[119][120] By the end of 1967, 4.95 million UK households – the equivalent of 10.9 million people – were watching the series.[121] Viewing figures in the Midlands region averaged 1.1 million.[119]
By the start of the 1968, Captain Scarlet was being broadcast in all parts of the UK.[119] The series was also shown in more than 40 other countries, including Canada, Australia, New Zealand and Japan.[48] In the United States, it aired in first-run syndication.[10] Only six episodes were shown in the Netherlands.[122]
UK re-runs varied between regions. Granada, Harlech and Tyne Tees Television continued to show the series into 1972. In the Midlands, it was repeated four times in colour between 1969 and 1974,[123] while in other areas, like Yorkshire, it was not shown at all.[48] From 1985, various parts of the ITV network repeated the series on Saturday and Sunday mornings.[124] The series was also broadcast in segmented form during LWT's Night Network.[48][125]
Captain Scarlet was later acquired by the BBC, which on 1 October 1993 began the series' first nationwide run on BBC2.[126] The first episode was seen by four million viewers, the channel's third-largest audience for that week.[126] In September 2001, the BBC began repeating the series in digitally-remastered form.[127] Following the September 11 attacks, the episode order was changed: "Winged Assassin" (in which the Mysterons destroy an airliner) and "Big Ben Strikes Again" (in which they hi-jack a nuclear device), were postponed due to perceived similarities between the plots and real-world events. These episodes were eventually broadcast in November and December 2001.[128][129]
Recepción
– Sylvia Anderson on the series (1992)[130]
Although Thunderbirds had run for two series, Grade's unexpected cancellation of that production led Gerry Anderson to assume that there was no possibility of Captain Scarlet lasting more than one.[131] In Anderson's words: "I didn't expect it to continue. I simply went to Lew and asked, 'What's the next thing you want us to do?'"[132]
Captain Scarlet is widely regarded as "darker" or more "mature" in tone than earlier Supermarionation productions.[6][7][8][9][133][134] According to Andrew Billen: "Whereas Thunderbirds was about rescuing people, Scarlet was about damnation, the soul of a resurrected man being fought for between Captain Scarlet and the equally indestructible Captain Black. It was Anderson's Gothic period."[135] Marcus Hearn writes that the series has a "militaristic" feel, with less emphasis on "characterisation and charm" compared to its precursors and Joe 90.[69] For Jim Sangster and Paul Condon, the optimism of Stingray and Thunderbirds is noticeably absent, the heroism and unqualified victories in those series being replaced by desperate games of "damage limitation" as Scarlet and Spectrum rush to counter every Mysteron move, sometimes unsuccessfully.[12] Discussion of the series' presentation of death and destruction has led some commentators to question its suitability for younger viewers: media historian Daniel O'Brien notes that Captain Scarlet is "rated by some as the most violently destructive children's show ever".[70] The horror of the Mysterons has also been recognised: in 2003, the depiction of the aliens was ranked 82nd in Channel 4's list show 100 Greatest Scary Moments.[136]
Commentators have drawn parallels with the state of international relations at the time the series was made.[137] Robert Sellers writes that Captain Scarlet arose from "1960s sci-fi obsession with alien forces infiltrating society", which he suggests could have been derived from fears about the Cold War and communism.[138] For Nicholas J. Cull, the "war of nerves" between Earth and Mars is a reflection of contemporary geopolitical conflict, while the "enemy within" scenario of Martians taking over human beings is comparabe to plots of films such as Invasion of the Body Snatchers (1956).[110] Mark Bould argues that the series "seemed in tune with a decade of civil disobedience and anti-imperialist guerrilla wars" – a view echoed by Rebecca Feasey of the University of Edinburgh, who regards it as one of several series that "exploited the fears of 1960s America" in its portrayal of "civil disobedience and the potentially negative impact of new technologies".[6][139] Since 2001, comparisons have also been made to the September 11 attacks and the ensuing War on Terror.[62][140][141] Sangster and Condon argue that for a 1960s series, Captain Scarlet was "incredibly perceptive" in its conception of the Mysterons, whose tactics they liken to terrorism.[12]
To others, Captain Scarlet remains a "camp classic".[142][143] According to Bould, it is one of several Anderson productions to depict "a utopian future benefiting from world government, high technology, ethnic diversity, and a generally positive sense of Americanisation. They articulate the commonly made connection between technological developments and economic prosperity."[14] He also writes that the series espouses "Euro-cool consumerism".[6] A recurring concept in the Supermarionation productions, world government was inspired by Gerry Anderson's thoughts on the subject: "I had all sorts of fancy ideas about the future ... we had the United Nations and I imagined that the world would come together and there would be a world government."[144] On the depiction of technology, Peter Wright notes the "qualified technophilia" that Captain Scarlet shares with Thunderbirds.[145]
The series has been criticised for its camerawork, which some view as too static due to the crew's inability to move the puppets convincingly.[41][146] Criticism has also been directed at the characterisation and writing. Sangster and Condon consider the plots uncomplicated and the characters perhaps "even more simplistic" than those of Stingray.[12] Some have blamed the return to 25-minute episodes, coming after Thunderbirds' 50-minute format, for a lack of subplots and perceived drop in the quality of the storytelling.[13][146] In a 1986 interview, script editor Tony Barwick described Captain Scarlet as "hard-nosed stuff" that lacked humour, adding: "It was all for the American market and to that extent there was no deep characterisation. [The characters] all balanced one against the other."[33] Sylvia Anderson likened the presentation to that of a "comic strip", arguing that the action format came at the expense of the character development.[147] In contrast, Jeff Evans believes the characters to be "more detailed" than before, arguing that Captain Scarlet was the first Anderson production to give them "private lives and real identities".[61] Paul Cornell, Martin Day and Keith Topping praise the writing, judging it "neither as silly as previous Anderson efforts, nor as po-faced as later ones".[111]
– Drake and Bassett (1993)[148]
In a comparison to Thunderbirds, writer John Peel sums up Captain Scarlet as "better puppets, bigger action and a huge step backwards in stories", arguing that the advances in Century 21's special effects were to the detriment of the writing. He compares this to the relative failure of Indiana Jones and the Temple of Doom following the success of Raiders of the Lost Ark: "Anderson made the same mistake that George Lucas made, assuming that if the effects were praised in Thunderbirds, the public wanted a show with more effects."[13] Peel also finds fault with Scarlet himself, arguing that an "indestructible" hero who can freely risk his safety to thwart the enemy served as a poor role model to impressionable children and made the episode endings too predictable.[13] Sangster and Condon echo the latter point, writing that Scarlet's extraordinary abilities weaken the suspense and make him "a difficult hero to believe in".[12]
Considered a cult programme by some,[149][150] Captain Scarlet came 33rd in a 2007 Radio Times poll to determine the greatest science fiction series of all time.[151] It was ranked 51st in Channel 4's 2001 list show 100 Greatest Kids' TV Shows.[152] Cornell, Day and Topping argue that the series is perhaps Gerry Anderson's best production.[111] However, Anderson's own verdict was clear: "Nothing was as successful as Thunderbirds. Captain Scarlet and the Mysterons was very successful, but once you've had a smash hit, everything tends to look less successful in comparison."[153]
Race, gender and symbolism
– Gerry Anderson on racial diversity (1993)[154]
Captain Scarlet has attracted both positive and negative commentary on its use of female and ethnic minority characters – an aspect that according to Daniel O'Brien gives the series a "more cosmopolitan" feel compared to Thunderbirds.[70] During its 1993 re-run on BBC2, the series drew some criticism for its use of the codenames "Black" and "White" in reference to the benevolent Colonel White and the villainous Captain Black, which some commentators interpreted as a form of negative black-and-white dualism.[126][155] Defending the series against claims of racist stereotyping, Gerry Anderson pointed out that it features heroic non-white characters in the form of Lieutenant Green and Melody and Harmony Angels.[126] Green is the only black male regular character in any of the Supermarionation series.[156]
For Sellers, the inclusion of Green and especially Melody Angel, a black female character, shows that Captain Scarlet was "actually ahead of its time in respect to race relations".[157] He also regards the Angel squad's all-female composition as significant from a point of view of women's emancipation.[158] O'Brien is less complimentary on this latter point, arguing that while it was progressive for the 1960s, to newer audiences it comes across more as a "conventionally sexist male fantasy".[70]
The diversity of the characters in terms of race and gender has been viewed highly in academic publications.[15] Bould praises the "beautiful, multi-ethnic, female Angel fighter pilots" and "secondary roles played by capable women".[14] In a 2003 interview, Anderson noted the effort made to feature ethnic minorities: "... I think people who make television programmes have a responsibility, particularly when children are watching avidly and you know their minds can be affected almost irreversibly as they grow up. We were very conscious of introducing different ethnic backgrounds."[159]
Cy Grant, the voice of Green, believed that Captain Scarlet had both positive multicultural value and an allegorical nature. He argued that religious symbolism was implied, with Colonel White serving as an analogue for God, Captain Black as the Devil and Scarlet as the Son of God; the allegory extended to Cloudbase, which represented Heaven and was guarded by a fleet of fighters codenamed "Angels". On dualism, he argued: "The 'darkness' of the Mysterons is most easily seen as the psychological rift – the struggle of 'good' and 'evil' – of the Western world as personified by Colonel White and his team. Dark and light are but aspects of each other. Incidentally, green is the colour of nature that can heal that rift."[81][155]
Otros medios
The ATV game show The Golden Shot, hosted by Bob Monkhouse, used Captain Scarlet as the theme for its 1967 Christmas special. Broadcast live on 23 December, the programme featured guest appearances from Francis Matthews and The Spectrum.[160]
Since its first appearance, the TV series has been supplemented by merchandise ranging from toy action figures to video games.[161][162][163] During the 1960s, Century 21 granted more than 60 licences for Captain Scarlet products and released a range of friction-drive model vehicles through its subsidiary Century 21 Toys.[164] Meccano Ltd manufactured Captain Scarlet Dinky Toys to great success: its SPV was its best-selling die-cast toy of all time and continued to be produced until 1976.[165] Waddingtons released a Captain Scarlet board game based on snakes and ladders.[166] In 1993, Vivid Imaginations launched a new range of toys to coincide with the BBC2 repeats.[167]
Audio plays
Among the early tie-ins were a series of five audio plays released by Century 21 Records in 1967. Taking the form of a vinyl EP record, each play was approximately 21 minutes long and featured the voice cast from the TV series.[168] Angus P. Allan wrote the first play, Introducing Captain Scarlet (set during the denouement of the first TV episode) as well as Captain Scarlet and the Mysterons and Captain Scarlet of Spectrum.[160] The other two – Captain Scarlet is Indestructible and Captain Scarlet versus Captain Black – were written by his assistant, Richard O'Neill.[168]
To mark Captain Scarlet's 50th anniversary in 2017, Big Finish Productions digitally remastered the plays and re-released them on CD. The seven-disc set also includes audio adaptations of eight of the TV episodes with narration by Ed Bishop as Captain Blue.[7][169][170]
Books and comics
In the 1960s, author John William Jennison wrote three Captain Scarlet tie-in novels under the pseudonym "John Theydon": Captain Scarlet and the Mysterons, Captain Scarlet and the Silent Saboteur and The Angels and the Creeping Enemy.[171] As implied by its title, the third novel features the Spectrum Angels as the main characters. In 1993, Young Corgi Books released children's novelisations of "The Mysterons", "Lunarville 7", "Noose of Ice" and "The Launching".[172][173]
From September 1967, comic strips based on the series were printed in TV Century 21 (later TV21), published by City Magazines in association with Century 21.[114] The comic had already featured Fireball XL5, Stingray and Thunderbirds strips as well as crossovers between the three, indicating that they were set in a shared fictional world of the 2060s; Captain Scarlet was integrated into this setting. Elements of the new series, including Captain Black, had been introduced as early as June 1967. The initial Captain Scarlet strips were drawn by Ron Embleton, succeeded first by Mike Noble and then Jim Watson.[174] After the TV series finished its original run, the comic continued the story of Spectrum and the Mysterons, with subsequent adventures showing that the Mysterons deactivate their city on Mars and relinquish their control over Black while Scarlet leaves Spectrum to fight Earth-bound threats. The Mysterons eventually reawaken, prompting Scarlet and Spectrum to resume their struggle.[131] Captain Scarlet was also featured in TV21 and Century 21 annuals for 1967, 1968 and 1969.[172] In September 1969, the series was dropped from TV21.[175]
The series' TV21 debut had been preceded by spin-off adventures in the sister comics Lady Penelope and Solo. In January 1967, Lady Penelope launched a comic strip about the Angel pilots; this ran until May 1968 but introduced no elements of the Spectrum Organisation until August 1967.[176] Solo printed two strips: the first from June to September 1967; the second, following a merger with City Magazine's TV Tornado, from September 1967 to February 1968. The first, The Mark of the Mysterons, bore little relation to Captain Scarlet besides featuring the Mysterons as villains; it was set in the 1960s and the presentation was similar to that of The Invaders. The second, simply titled The Mysterons, saw the aliens travelling to the Andromeda Galaxy on a campaign of conquest.[177]
After the series' discontinuation in Century 21 and City titles, Polystyle Publications printed further strips in Countdown comic and annuals between 1971 and 1972.[178] From 1993 to 1994, Fleetway Editions published a dedicated Captain Scarlet comic to coincide with the series' first run on BBC2.[179] New annuals were published by Grandreams in 1993 and 1994 and Carlton Books in 2001.[172]
In Japan, Weekly Shōnen Sunday serialised a manga adaptation of Captain Scarlet between 1967 and 1968.[180] A separate adaptation was published in Shōnen Book from January to August 1968.[181]
Home video
The series' first VHS release in the UK was by Precision Video in 1982. Precision was later acquired by Channel 5 Video (a partnership of PolyGram and Heron International), which issued further Captain Scarlet cassettes over the course of the 1980s.[182][183] Between 2001 and 2002, Carlton Video re-released the series in volumes and as a box set.[184] These featured the remastered picture and sound quality that had been introduced for the 2000s repeats.[127] The box set includes an extra tape containing Captain Scarlet: The Indestructible, a behind-the-scenes feature.
Since September 2001, Captain Scarlet has also been available on Region 2 DVD in both its original mono soundtrack and new Dolby Digital surround sound.[184][185] Bonus features include audio commentaries by Gerry Anderson on two episodes, "The Mysterons" and "Attack on Cloudbase", as well as the five audio adventures from the 1960s. As with the VHS releases, the DVDs have also been released as a box set; this includes an extra disc featuring a production documentary, Captain Scarlet S.I.G., along with a set of five alternative title sequences.[129] A Region 1 box set by A&E Home Video was released in 2002.[8][23] In 2004, Imavision released a French-language box set for the Canadian market.[118]
On the series' 50th anniversary in September 2017, British company Network Distributing announced that it was releasing Captain Scarlet on Blu-ray Disc with all episodes remastered in high definition using the original 35 mm film negatives.[134][186][187] The Blu-ray range was released between 2017 and 2018 both in volumes and as a box set.
UK remastered VHS releases by Carlton Video
| Title | Episodes | Released |
|---|---|---|
| Captain Scarlet and the Mysterons: Complete Series Box Set | All (also includes Captain Scarlet: The Indestructible behind-the-scenes feature) | 17 September 2001[188] |
| Captain Scarlet: The Indestructible | N/A – behind-the-scenes feature | 17 September 2001[189] |
| Captain Scarlet and the Mysterons: Volume 1 | "The Mysterons", "Winged Assassin", "Big Ben Strikes Again", "Manhunt" | 17 September 2001[190] |
| Captain Scarlet and the Mysterons: Volume 2 | "Avalanche", "White as Snow", "The Trap", "Operation Time" | 17 September 2001[191] |
| Captain Scarlet and the Mysterons: Volume 3 | "Spectrum Strikes Back", "Special Assignment", "The Heart of New York", "Lunarville 7" | 12 November 2001[192] |
| Captain Scarlet and the Mysterons: Volume 4 | "Point 783", "Model Spy", "Seek and Destroy", "Traitor" | 12 November 2001[193] |
| Captain Scarlet and the Mysterons: Volume 5 | "Renegade Rocket", "Crater 101", "Shadow of Fear", "Dangerous Rendezvous" | 28 January 2002[194] |
| Captain Scarlet and the Mysterons: Volume 6 | "Fire at Rig 15", "Treble Cross", "Flight 104", "Place of Angels" | 28 January 2002[195] |
| Captain Scarlet and the Mysterons: Volume 7 | "Noose of Ice", "Expo 2068", "The Launching", "Codename Europa" | 18 March 2002[196] |
| Captain Scarlet and the Mysterons: Volume 8 | "Inferno", "Flight to Atlantica", "Attack on Cloudbase", "The Inquisition" | 18 March 2002[197] |
UK DVD first releases by Carlton Video
| Title | Episodes | First released |
|---|---|---|
| Captain Scarlet and the Mysterons: Complete Series Box Set | All (also includes Captain Scarlet S.I.G. behind-the-scenes feature) | 17 September 2001[198] |
| Captain Scarlet and the Mysterons: Volume 1 | "The Mysterons", "Winged Assassin", "Big Ben Strikes Again", "Manhunt", "Avalanche", "White as Snow" | 17 September 2001[199] |
| Captain Scarlet and the Mysterons: Volume 2 | "The Trap", "Operation Time", "Spectrum Strikes Back", "Special Assignment", "The Heart of New York", "Lunarville 7" | 17 September 2001[200] |
| Captain Scarlet and the Mysterons: Volume 3 | "Point 783", "Model Spy", "Seek and Destroy", "Traitor", "Renegade Rocket", "Crater 101" | 12 November 2001[201] |
| Captain Scarlet and the Mysterons: Volume 4 | "Shadow of Fear", "Dangerous Rendezvous", "Fire at Rig 15", "Treble Cross", "Flight 104", "Place of Angels" | 12 November 2001[202] |
| Captain Scarlet and the Mysterons: Volume 5 | "Noose of Ice", "Expo 2068", "The Launching", "Codename Europa", "Inferno", "Flight to Atlantica", "Attack on Cloudbase", "The Inquisition" | 12 November 2001[203] |
| Joe 90 / Captain Scarlet / Stingray Box Set | "The Mysterons", "Winged Assassin", "Big Ben Strikes Again", "Manhunt", "Avalanche", "White as Snow" (plus episodes of Stingray and Joe 90) | 20 October 2003[204] |
UK Blu-ray releases by Network Distributing
| Title | Episodes | Released |
|---|---|---|
| Supermarionation Box Set | "The Mysterons", "Winged Assassin", "Treble Cross" and "Noose of Ice" (plus episodes of other Supermarionation series) | 20 October 2014[205] |
| Captain Scarlet and the Mysterons: Volume 1 | "The Mysterons", "Winged Assassin", "Big Ben Strikes Again", "Point 783", "Manhunt", "Operation Time", "Renegade Rocket", "White as Snow" | 20 November 2017[206] |
| Captain Scarlet and the Mysterons: Volume 2 | "Seek and Destroy", "Spectrum Strikes Back", "Avalanche", "Shadow of Fear", "The Heart of New York", "Fire at Rig 15", "The Launching", "Lunarville 7" | 29 January 2018[207] |
| Captain Scarlet and the Mysterons: Volume 3 | "The Trap", "Model Spy", "Crater 101", "Dangerous Rendezvous", "Special Assignment", "Traitor", "Place of Angels", "Flight 104" | 12 March 2018[208] |
| Captain Scarlet and the Mysterons: Volume 4 | "Codename Europa", "Flight to Atlantica", "Noose of Ice", "Treble Cross", "Expo 2068", "Inferno", "Attack on Cloudbase", "The Inquisition" | 30 July 2018[209] |
| Captain Scarlet and the Mysterons: Deluxe Volume 4 | "Codename Europa", "Flight to Atlantica", "Noose of Ice", "Treble Cross", "Expo 2068", "Inferno", "Attack on Cloudbase", "The Inquisition" (with additional bonus feature documentaries compared to standard Volume 4) | 30 July 2018[210] |
| Captain Scarlet and the Mysterons: The Complete Series | All | 8 October 2018[211] |
Video games
Between 2002 and 2006, three Captain Scarlet video games were released. A further game was cancelled.
| Title | Platform | Genre | Studio(s) | Notes | UK release date |
|---|---|---|---|---|---|
| Captain Scarlet: In the Shadow of Fear | PC | Action | Europress | Released both separately and as a double pack with Thunderbirds: Operation Volcano[212] | 31 May 2002[213] |
| Captain Scarlet Activity Pack | PC | Action | Digital Workshop | 5 July 2002[214] | |
| Captain Scarlet: Retaliation | PC | Strategy | Batfish Studios and Digital Workshop | Originally scheduled for 2003; cancelled due to closure of Batfish Studios the same year[215] | Cancelled[216] |
| Captain Scarlet | PlayStation 2 | Vehicle combat | Blast Entertainment and Brain in a Jar | 5 December 2006[217] |
Producciones posteriores
Since the 1980s, the rights to the ITC catalogue have changed hands a number of times. They were acquired first by PolyGram Entertainment, then, following a partial sale to the BBC, by Carlton International.[218][219][220][221] In 2004, Carlton merged with Granada to form ITV plc;[218][219] the rights to Captain Scarlet and other Anderson series now reside with its subsidiary ITV Studios.
In the early 1980s, Robert Mandell and ITC New York combined several episodes of Captain Scarlet to create two compilation films: Revenge of the Mysterons from Mars and Captain Scarlet vs. the Mysterons. Promoted as "Super Space Theater", these were broadcast on American cable TV with the aim of reviving transatlantic syndication sales.[182] Other Anderson productions, including Stingray and Thunderbirds, received similar treatments.[222] Released on British VHS in January 1982, Revenge of the Mysterons from Mars was Captain Scarlet's UK home video debut.[223] In November 1988, it aired as the second episode of the movie-mocking series Mystery Science Theater 3000 on Minnesota TV station KTMA.
Plans for a live-action film adaptation of Captain Scarlet, announced by Gerry Anderson in 2000 and 2002, remain undeveloped.[224][225]
Remake
In 1999, Anderson supervised the production of a computer-animated test film, Captain Scarlet and the Return of the Mysterons, to explore the possibility of updating some of his 1960s puppet series for a 21st-century audience.[226] Produced by the Moving Picture Company under the working title Captain Scarlet – The New Millennium, the four-minute film was made using a combination of Maya animation software and motion capture technology and saw Francis Matthews and Ed Bishop reprise the voices of Captains Scarlet and Blue.[226][227] Set a few years after the Mysterons apparently cease hostilities against Earth, the film features the reappearance of Captain Black, setting the stage for a revival of the war with Mars.[2] The film was screened at a Fanderson convention in 2000 and a science lecture in 2001.[127] It was released on Blu-ray in 2017.[228]
Plans for a full computer-animated Captain Scarlet series eventually resulted in Gerry Anderson's New Captain Scarlet. A reboot of the original, this was first broadcast on the ITV children's show Ministry of Mayhem in 2005. In a nod to Supermarionation, the animation used to make the series was promoted as "Hypermarionation".[229] New Captain Scarlet was the last TV series to be produced by Anderson, who died in 2012.
Notas
- ^ Production documents confirm that the Zero-X is of the type introduced in the film Thunderbirds Are Go, placing Captain Scarlet in the same fictional universe as Thunderbirds (Bentley 2001, p. 59). Character biographies in Bentley's The Complete Book of Captain Scarlet also place Fireball XL5 and Stingray in this universe (Bentley 2001, pp. 46–47, 50).
- ^ Black's transformation into a Mysteron agent is indicated by a paling of his skin combined with a deepening of his voice to match that of the Mysterons.
- ^ In communications, Spectrum personnel use the expression "S.I.G." ("Spectrum Is Green") as their affirmative code. The negative, "S.I.R." ("Spectrum Is Red"), is rarely used in the series.
- ^ "Lieutenant" is generally pronounced in the British manner, /lɛfˈtɛnənt/ (lef-TEN-ənt), by all but the American characters.
- ^ In Captain Scarlet, power from many individual nations has been vested in a world government, headed by a president and possessing its own military and security forces. Spectrum is a unified operation set up to be unhindered by interdepartmental red tape, thus providing more efficient service (Bentley 2001, p. 43).
- ^ According to The Complete Book of Captain Scarlet, the Mysterons intended Scarlet's double to be "indestructible" (Bentley 2001, p. 44). This is in contrast with other reconstructions, which are permanently destroyed when killed.
- ^ In "Spectrum Strikes Back", it is stated that the Mysteron Gun is "the only gun that kills a Mysteron." However, other episodes show the Mysterons to be vulnerable to conventional bullets.
- ^ The audio play Introducing Captain Scarlet, set during the events of the first episode, indicates that Spectrum use an advanced computer to restore Scarlet's human personality.
- ^ Scarlet and Blue are the only characters whose real names are revealed in the series itself. The others originate from tie-ins.
- ^ Before he falls victim to the Mysterons in the first episode, Captain Black is voiced by Jeremy Wilkin.
Referencias
Primary sources
- ^ a b c d e f g Written by Gerry and Sylvia Anderson. Directed by Desmond Saunders (29 September 1967). "The Mysterons". Captain Scarlet and the Mysterons. Episode 1.
- ^ Written by Tony Barwick. Directed by David Lane (6 October 1967). "Winged Assassin". Captain Scarlet and the Mysterons. Episode 2.
- ^ a b Written by Tony Barwick. Directed by Brian Burgess (9 February 1968). "Dangerous Rendezvous". Captain Scarlet and the Mysterons. Episode 19.
- ^ Written by Richard Conway and Stephen J. Mattick. Directed by Ken Turner (17 November 1967). "Operation Time". Captain Scarlet and the Mysterons. Episode 8.
- ^ Written by Tony Barwick. Directed by Ken Turner (24 November 1967). "Spectrum Strikes Back". Captain Scarlet and the Mysterons. Episode 9.
- ^ Written by Tony Barwick. Directed by Robert Lynn (15 December 1967). "Lunarville 7". Captain Scarlet and the Mysterons. Episode 12.
- ^ Written by Tony Barwick. Directed by Ken Turner (26 January 1968). "Crater 101". Captain Scarlet and the Mysterons. Episode 17.
- ^ Written by Tony Barwick. Directed by Robert Lynn (2 February 1968). "Shadow of Fear". Captain Scarlet and the Mysterons. Episode 18.
- ^ Written by Alan Pattillo. Directed by Alan Perry (10 November 1967). "The Trap". Captain Scarlet and the Mysterons. Episode 7.
- ^ Written by Tony Barwick. Directed by Robert Lynn (1 March 1968). "Flight 104". Captain Scarlet and the Mysterons. Episode 22.
- ^ Written by Tony Barwick. Directed by Ken Turner (12 March 1968). "Noose of Ice". Captain Scarlet and the Mysterons. Episode 24.
- ^ Written by Tony Barwick. Directed by Alan Perry (20 October 1967). "Manhunt". Captain Scarlet and the Mysterons. Episode 4.
- ^ Written by Tony Barwick. Directed by Alan Perry (23 February 1968). "Treble Cross". Captain Scarlet and the Mysterons. Episode 21.
- ^ Written by Tony Barwick. Directed by Ken Turner (7 May 1968). "Attack on Cloudbase". Captain Scarlet and the Mysterons. Episode 31.
- ^ Written by Tony Barwick. Directed by Ken Turner (14 May 1968). "The Inquisition". Captain Scarlet and the Mysterons. Episode 32.
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- ^ a b Bentley 2001, p. 124.
- ^ Bentley 2001, p. 39.
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Works cited
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- Bentley, Chris (2017). Hearn, Marcus (ed.). Captain Scarlet and the Mysterons: The Vault. Cambridge, UK: Signum Books. ISBN 978-0-995519-12-1.
- Cull, Nicholas J. (2006). "The Man who Made Thunderbirds: An Interview with Gerry Anderson". In Cook, John R.; Wright, Peter (eds.). British Science Fiction Television: A Hitchhiker's Guide. London, UK: I.B. Tauris. ISBN 978-1-84511-048-2.
- Cull, Nicholas J. (August 2006). "Was Captain Black Really Red? The TV Science Fiction of Gerry Anderson in its Cold War Context". Media History. Routledge. 12 (2). doi:10.1080/13688800600808005. ISSN 1368-8804. OCLC 364457089. S2CID 142878042.
- La Rivière, Stephen (2014) [2009]. Filmed in Supermarionation (2nd ed.). London, UK: Network Distributing. ISBN 978-0-992-9766-0-6.
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- Marriott, John; Rogers, Dave; Drake, Chris; Bassett, Graeme (1993). Supermarionation Classics: Stingray, Thunderbirds and Captain Scarlet and the Mysterons. London, UK: Boxtree. ISBN 978-1-85283-900-0.
- Captain Scarlet volume originally published separately as: Drake, Chris; Bassett, Graeme (1993). Captain Scarlet and the Mysterons. London, UK: Boxtree. ISBN 978-1-852834-03-6.
- Sellers, Robert (2006). "Puppet Master: Captain Scarlet and the Mysterons (1967–68)". Cult TV: The Golden Age of ITC. London, UK: Plexus Publishing. pp. 101–109. ISBN 978-0-85965-388-6.
Production locations
- ^ Slough Trading Estate: 51°31′28″N 0°37′30″W / 51.5244°N 0.6250°W / 51.5244; -0.6250 (Slough Trading Estate, Slough, Berkshire) (filming and editing)
- ^ Anvil Films Recording Studio: 51°33′48″N 0°29′55″W / 51.5632°N 0.4987°W / 51.5632; -0.4987 (Anvil Films Recording Studio, Denham, Buckinghamshire) (dialogue recording)
enlaces externos
- Captain Scarlet and the Mysterons at the official Gerry Anderson website
- Captain Scarlet and the Mysterons at IMDb
- Captain Scarlet and the Mysterons at BBC Online
- The Gerry Anderson Complete Comic History – "Captain Scarlet and the Mysterons: TV21, 1967–68"
