The Man from MI.5

On the French Riviera,^[5] MI5 agent Bondson and his associate Tidman prepare to rendezvous with Captain Blacker aboard his yacht to take possession of some mysterious papers. They are unaware these have been stolen by a diver, Carl, who has shot Blacker dead and planted a bomb on the yacht's hull. As Carl swims away, the bomb explodes and sinks the yacht. Diving down to the wreck, Bondson finds only Blacker's body.

When Bondson radios International Rescue for help recovering the papers,

From aboard her yacht FAB 2, Penelope decides to use herself as bait to draw out the enemy. Posing as a model called Gayle Williams, she has a newspaper print an article about her determination to expose the criminal organisation behind Blacker's murder. She then gives Parker the night off. After the butler goes ashore to hit the Monte Carlo casinos, Carl, who has read about "Williams" in the news and intends to kill her, takes a boat out to FAB 2 and abducts Penelope to an empty boathouse. He tells her that he is going to trap her on the boat with another bomb, to be detonated remotely from his gang's hideout: a submarine, parked on the seabed to avoid detection by the water police. He will detonate just as a patrol is due to pass the boathouse, distracting the authorities while the gang start the submarine and get away with the papers.

On the pretence of re-applying her makeup, Penelope activates her

Regular voice cast

• Lady Penelope
• Peter Dyneley as Jeff Tracy
• David Graham as Gordon Tracy and Parker
• David Holliday as Virgil Tracy
• Shane Rimmer as Scott Tracy

Production

"The Man from MI.5" was filmed in late 1965.^[6] Series composer Barry Gray recorded the episode's incidental music on 4 December 1965 with a 5-member band.^[7]

The model shots of the French coast incorporated a large background painting by special effects assistant Mike Trim which later appeared in "The Duchess Assignment" as well as episodes of Captain Scarlet and the Mysterons and Joe 90.^[8][9][10] The puppet sets representing FAB 2's interior previously appeared in the Stingray episode "Star of the East".^[3] The prop newspaper from which Carl learns about "Gayle Williams" was a mock-up of France-Soir, a real French newspaper.^[11]

Carl's shooting of Blacker involved a human hand, placed next to the camera, firing a prop gun at a puppet stationed at the back of the set. This was one of several scenes in Thunderbirds which used a subjective camera angle and forced perspective to realistically present live hands and the series' scale (1⁄3-lifesized) puppets in the same shot.^[1]

Reception

Giving the episode three out of five stars, Tom Fox of Starburst magazine writes that in Bondson and other aspects, "The Man from MI.5" is "as obvious in its attempts at homage as it is clunky". However, he adds that it contains "a few enjoyable little moments amongst the strained stereotypes".^[12] Sylvia Anderson found the episode dated by the scenes featuring the compact videophone.^[2] Mike Jones questions Bondson's presence on the French Riviera given that MI5's role is domestic counterespionage rather than foreign intelligence.^[3] Marcus Hearn and Alistair McGown believe the episode's title to be a play on The Man from U.N.C.L.E.^[6][13]

Hearn regards "The Man from MI.5" as an entertaining episode as well as Thunderbirds' "most brazen" tribute to the Bond series, surpassing "30 Minutes After Noon".^[13] Pointing out that "The Man from MI.5" was made shortly before the release of Thunderball, in which Bond tracks down a pair of atomic bombs stolen from a sunken military aircraft, McGown suggests that the episode's underwater action may have been influenced by the plot of the film. He also believes that the dark-haired Bondson was deliberately modelled on Bond actor Sean Connery.^[6] Hearn notes that despite the similarities, there is no indication that the Bond producers ever objected to the episode, whereas they threatened the makers of the Carry On films with legal action when elements of the Bond series were parodied in Carry On Spying (1964).^[13] McGown, who suggests that Bondson's role was minimised to avoid legal troubles, regrets that the character amounts to little more than a "cameo joke", pointing out that he does not work alongside Penelope or even meet her face to face. Praising the "playful humour", McGown states that while the episode's foray into spy thriller territory it an unusual story, the change of tone "hardly matters" as the episode is "such great fun". However, he argues that Penelope's apparent lack of an escape plan makes little sense.^[6]

Hearn and Nicholas J. Cull argue that "The Man from MI.5" exemplifies a preoccupation with nuclear dangers recurrent throughout the series.^[14][15] Hearn writes that the episode is among several in which the world comes "perilously close" to nuclear disaster, also stating that this presentation of nuclear issues "betrays the era of its production".^[14] According to Cull, both "The Man from MI.5" and other APF productions show how "nuclear weapons and wider nuclear fears in general are much part of the world of Gerry Anderson." He adds that through Bondson, "The Man from MI.5" is one of a number that "unashamedly capitalised on the Cold War cult of the secret agent whose skills defend the home from enemies unknown."^[15]

"The Man from MI.5" has received praise for its incidental music, which Fox considers to be of the "suave and slinky Sixties spy" variety.^[12] A BBC review of the series soundtrack characterises the episode's music as "the spy theme James Bond never had – an urbane jazz fantasia, perfect for a mannequin about town".^[16] Making a similar connection to Bond, Hearn argues that the music is "more Henry Mancini than John Barry".^[13]

References