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The background to Matthew Gratzner's UFO movie

FEATURES - MOVIES

We look beyond the purple hair and Nehru collars to a series that really deserves a movie franchise...

UFO (1970)

With so many rumours and so much buzz over the new movie of Gerry Anderson's classic 1970 UK SF series UFO, it's not unreasonable to assume that there are those who know nothing about the original show. Though it goes through periods of running on a loop on UK TV, it can just as easily vanish. Scheduling was always an issue for this show/franchise, as I discussed with UFO director and VFX artist Matthew Gratzner in one of several interviews last year.

Here, anyway, is what he (and I, and a legion of fans) are getting so excited about reviving...

In the ten years that his production company had been profitably making marionette series such as Thunderbirds and Captain Scarlet, Gerry Anderson was dreaming about making a real TV show with live actors. The series had been collectively heading that way anyway, with increased realism in the character physiognomies in Scarlet and Joe 90, and the experimental, partly live-action 1969 Stanley Unwin vehicle The Secret Service. But it was the live-action Gerry Anderson film, the 2001-inspired Doppelganger (1969, US title Journey To The Far Side Of The Sun) from which inspiration – and UFO principals Ed Bishop and George Sewell – would be drawn for a new and more adult-oriented saga of alien invasion.

The Set-Up

Set in 1980 (and made in 1969/70), UFO followed the reliable Anderson formula of a top secret and well-provisioned earth defence network, the ominous but coolly-named SHADO (Supreme Headquarters Alien Defence Organisation), a worldwide but US-led military coalition with its strategic headquarters hidden under a film studio in London, and its American Commander-In-Chief, Ed Straker (Bishop) masquerading part time as the joint head of the studio.

Ayesha waves at George Sewell in the opening episode of 'UFO' (1970)

The secret menace SHADO fought against was a dying race of liquid-breathing aliens intent on harvesting usable organs from the earth-people that it abducted during sneak forays into our atmosphere in discreet centrifugal spacecraft.

The defence fleet consisted of S.I.D. (Space Intruder Detector), a sentient satellite that would make initial sitings; three missile-carrying Interceptors on a lunar base comprising the first line of defence; a roving, bipartite submarine called Skydiver, the nozzle of which was a fighter jet that could detach from the sub and counter-attack UFOs that got through into the Earth’s atmosphere; and the all-terrain SHADO-mobiles, armoured and laser-bearing trucks to hunt down landed aliens where co-ordinates were available. There were a number of other ancillary and support craft in SHADO, including a floating lunar transporter, an Earth-moon shuttle, a 747-scale troop carrier and a very snazzy helicopter, not to mention Straker’s sleek (but, sadly, brown) car with the fly-up doors.

Angst

It is reported that the anguish of Gerry Anderson’s failing marriage to – and impending divorce of – Sylvia Anderson (the voice of Lady Penelope in Thunderbirds) informed the preternaturally dark tone of UFO. The show dealt extensively not only with the pressure of Straker’s command but with his personal life. In a genuinely harrowing story arc which threatened the ‘closed episode’ structure of the series, the writers explored the accidental death of Straker’s son in a freak car accident after the otherwise stony-faced chief had enjoyed a happy ‘divorced dad’ weekend with the lad, in the episode A Question Of Priorities.

A terrible choice for Straker in 'A Question Of Priorities' (UFO, 1970, UK TV)

Straker relives this nightmare under literally tons of pressure, stranded in a wrecked Skydiver at the bottom of the ocean, in the disaster-episode Sub Smash. Interestingly, the ‘recap’ footage is not part of the kind of cheap ‘round-up’ episode that employs series segments to fill one episode’s run-time, but a single, intensely painful fog of sorrow as Straker lies dying.

Scheduling UFO

The show dealt – admittedly often quite clumsily – with racial and gender issues, as well as drug abuse and the emotional effects of death and loss. This made scheduling it a nightmare for the networks, since in many ways it retained a lot of appeal for the same children who had enjoyed Thunderbirds and other Anderson puppet series: superb special effects and model-work from British effects maestro Derek Meddings; very cool alien and future-tech hardware; fights in space, on Earth and in the Earth’s atmosphere; and tense and well-written dramatic situations.


"The show dealt – admittedly often quite clumsily – with racial and gender issues, as well as drug abuse and the emotional effects of death and loss"


In the mid-1970s in the UK, UFO was shown at 11.00pm weeknights; in the nineties, Bravo showed it at 6pm, as did the BBC (who had leased the show from Carlton) a few years later, though the Beeb also showed it on Saturday mornings! The episode The Long Sleep – which dealt with a hippie girl who cannot tell if the alien abduction of her boyfriend was real or an LSD hallucination – has always been excluded from pre-watershed showings, whereas other episodes have either been edited for violence or scheduled diversely for their own problematic content.

Style

UFO moonbase operativesIf you know nothing else about the show, you probably know about the purple wigs of the moonbase operatives, three rolling, tightly-clad and attractive women led by the truly stunning Gabrielle Drake as Lt. Ellis. Though a welcome sight for male viewers, it must be admitted that even Melody, Harmony and Rhapsody in Captain Scarlet had more credible appearance than the Moonbase gals, and these gaudy fashions were not merely ‘of their time’, but one of the many remnants from the less inhibited ‘SuperMarionation’ days.

Back on Earth, SHADO-couture was thankfully more neutral, with Straker and the officer-class plumping for Nehru jackets, while ground staff sported fairly close-fit white trouser-and-top combos.

For some unprecedented reason, the submariners in Skydiver all wear what can only be described as very loosely-knit string-vests, and in the case of some of the female personnel there, this doubtlessly led to further scheduling conundrums for the networks.

UFO couture

Production Design

UFO features some of the strongest production design ever seen in a Gerry Anderson show. Skydiver is the crowning glory in a series crammed with amazing vehicles; its sleek and sexy lines are recognisably military yet divinely futuristic. The Sky1/Diver separation routines, in which the captain – somewhat in defiance of naval tradition – slides down a crawlspace into the jet-fighter component and abandons his crew in order to engage UFOs in terran skies, are ingenious and very well executed, with some of the best incidental music in a show that is quite outstanding in this respect.


"Skydiver is the crowning glory in a series crammed with amazing vehicles"


UFO skydiver at dock

The moonbase interceptors are agreeably non-aerodynamic (given their locale), though their unique single-torpedo design means pilots have only one chance for a kill. The SHADO-mobiles are equally impressive, though matching miniature terrain vehicles to live-action footage was often problematic, particularly as few full-scale partial mock-ups were allowable in the budget…

Special Effects

Whether considering the acting, writing, scheduling or pacing, there is absolutely nothing consistent about UFO, and the quality of effects work ranges from best-of-Hollywood standard to Thunderbirds level; many apparently quite mundane shots were handled by Derek Meddings for budgetary reasons, and they don’t always match the location work. The sea-level shots of a surfaced Skydiver are cool, but not convincing, since water scales notoriously badly. Daytime ‘flying’ shots are a hard sell too; there are rarely any strings visible, but depth is lacking in many of the set-ups. Yet you can never acclimatise, as in the midst of this prevalent standard will come a special-effects plate so astonishingly well-done that it would challenge current technology.

Interceptors rising - Red Alert at Moonbase (UFO, 1970 UK TV)

Cast

Leading man Ed Bishop was not only in the Doppelganger film that led to UFO, but was the voice of Captain Blue in Captain Scarlet and had already trod impressive sci-fi territory as the pilot who takes Heyward Floyd to the moon in 2001: A Space Odyssey. An American actor resident in Britain since the late 50s, Bishop was a credible and commanding lead in a series for whom the US market was always a vital target, and whose set-up comfortably justified a transatlantic cast.

The role seemed to constantly require Bishop to be in a rage, and the actor later said that he welcomed the few occasions in UFO that afforded him a chance to be more cheerful, such as Confetti Check AOK, which examines the formation of SHADO and the early – and happier – days of Straker’s doomed marriage.

Straker needed support in a challenging command role, and it came in the form of the much more even-tempered Colonel Alec Freeman. Freeman was played by the implacable George Sewell, who was unavailable for the second part of UFO’s 26-episode run and was replaced by Wanda Ventham, reprising a walk-on role earlier in the series.

One of the key roles in the series was intended to be an Italian interceptor pilot and head of Moonbase – young, dashing, and with broad appeal. When the actor cast in the role proved so recalcitrant that Anderson was forced to fire him, the part was not recast, but instead Gabrielle Drake (see below) was promoted to lead the lunar outpost and Ed Straker was brought more clearly to the fore – unprecedented in a period that truly hated 'the boss', and one of the factors that makes the series so unusual and intriguing.

Recognising nonetheless the need to include a younger male character, the producers wrote the suave Michael Billington into the episode Exposed, as test-pilot Paul Foster, who discovers the existence of SHADO and is consequently invited to join the organisation (the role cast for Joshua Jackson in Matthew Gratzner's planned 2011 adaptation).

Billington was once a candidate for the role of James Bond, and in fact played Barbara Bach’s lover, killed by Bond in the pre-credit sequence of The Spy Who Loved Me (1977). Whether due to his inexperience, bad direction or bad lines (he seemed to get more of those than most of the cast), Paul Foster started out as the least convincing character in UFO. A hot-headed seventies hunk, his ability to fly any of the sea, ground, air or space vehicles in the SHADO fleet within mere months of his induction also a bit of a credibility gap. That said, Billington improves tremendously in the role throughout UFO, ultimately demonstrating the kind of insouciant charm that kept the Bond producers bringing him back for screen-tests.

As Lt. Ellis, Gabrielle Drake demonstrated a promising breadth of ability in rising above her ridiculous sexy attire to convey a credible working woman, and that promise was realised in a distinguished stage career that all too rarely saw her on our TV screens again, and usually in supporting roles. Fans inspired by her unearthly physiognomy can fully satisfy their curiosity in Val Guest’s otherwise-irredeemable Au Pair Girls (1972).

Dancer Peter Gordeno is seen in some episodes as Sky1 pilot Captain Carlin. His range as an actor seems very limited, and this may be why his character, after an initial build-up, was not pursued further.

UFO more or less followed a single-episode structure, with few continuous story elements, and it remained relatively easy for the networks to shuffle the series as needed. Consequently each episode usually features prominent guest roles, and the role-call of the series includes Stephanie Beacham, George Cole and even Moneypenny actor Lois Maxwell, once again keeping vigil in the secretary’s office.

Music and sound design

UFO’s title sequence is a strong contender for the most exciting show opening ever. Rapid-fire editing combines with Barry Gray’s melodic and insistent refrain – which reappears constantly in the series’ incidental music without ever becoming tiresome – to generate real anticipation. By contrast, the show closes with a slow, Kubrickian pan away from the Earth, accompanied by eerie Ligeti-style music that ensures the creepy atmosphere of the show is retained to the last.

The sound design deserves special mention for originality, and the indescribable siren of the UFOs themselves are especially unworldly and frightening. The clip below features a hobbyist CGI recreation of one of the alien craft from the series, but the sound is original to the show...

Reception

UFO was a huge hit in Los Angeles and New York upon initial stateside transmission in 1972, fully two years after its befuddled reception by the British public, and backer Lew Grade ordered another series. However, so confusing was the demographic for the show, and so piecemeal its audience, that the second series remained in development hell for a couple of years. When audience research unearthed that viewers most enjoyed the episodes set on Moonbase, a second series was drafted with the intention of Ed Bishop resuming his command on an expanded lunar colony.

Ultimately these plans were to evolve into the unrelated Space:1999, with bankable Mission: Impossible star Martin Landau as the new American face of Gerry Anderson live-action sci-fi.


"UFO couldn’t be relied upon in any way, not even in terms of finding it in the TV schedules, but it kept you off-guard in a manner that few other shows have ever achieved, intentionally or otherwise"


Conclusion

UFO remains enormously popular worldwide, with a particularly vigorous fan-base in Italy. There has never been a show quite like it, and there probably never will be again. It caught perfectly the depressive and fatalistic zeitgeist of 1970s cinema, with relentlessly bleak endings and a hell of a lot of suffering on the way to them. It mixed inventive scripting with frequently trite dialogue and vice versa; it put highly charged emotional, adult situations in the hands of actors who were often wearing absurd purple or platinum wigs; it couldn’t be relied upon in any way, not even in terms of finding it in the TV schedules, but it kept you off-guard in a manner that few other shows have ever achieved, intentionally or otherwise.


"The notion that a military-industrial organisation would want to keep the fact of alien threat from the public rather than exploiting it seems quaint in the current climate"


It also demonstrated a wonderful invention, with ‘amnesia injections’ pre-figuring the ‘memory blasters’ of the Men In Black, for members of the public who stumbled across SHADO’s secret. The endless hydraulic platforms that were so necessary for the immobile puppets in Gerry Anderson’s previous series are still there in UFO, an Anderson hallmark. For that matter, they are still there in the launch pads of the Eagle transporters in Space:1999. Well, if it ain’t broke…

The notion that a military-industrial organisation would want to keep the fact of alien threat from the public rather than exploiting it seems quaint in the current climate, but then the show, for all its cynicism, is the product of a pre-Watergate, pre-9/11 era - and it provides little enough reassurance in any case.

A superb DVD edition was released by Carlton in 2002, with a transfer quality that surpasses all expectation. You can see just how much blue eyeliner Ed Bishop has on, and even find out odd facts about the movie output of the Harlington-Straker film studios that hid the SHADO headquarters. Did you know that Straker remade Citizen Kane in 1980 as a box-office bomb? Listen and learn, Hollywood...

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UFO LINKS:

Ali Larter in talks for 'UFO', now a trilogy

First look at the new interceptor from Matthew Gratzner's UFO

UFO movie: new SHADO logo

Recommended reading:

The Complete Book Of Gerry Anderson's UFO

 

Comments 

 
#1 RE: The background to Matthew Gratzner's UFO movie Do It Right 2011-04-28 05:19
That's a very nice report which details what's good about most every aspect of the show, BUT - how can what's appealing about the original possibly carry over to any sort of hip "update"? Hell, people today can't stop questioning the purple wigs. Hip updates always kill the source material in favor of "going a new direction", and they always suck.

The original show mixed (intentionally or not) campy fun, slick 60s espionage, and dark scifi with colorful, high-gloss production design, superb model work, and a very unique-looking cast.

Given how remakes work in 2011, a new film seems poised to show Joshua Jackson and a cast of twentysomething s spouting uber-grim dialogue between scenes which bludgeon viewers with funless, artless, ultra serious blockbuster action. It already feels predestined to implode under the tonnage of leaden, phony CGI and exploding crap flying at the camera.

Along those lines, I love the original "Mission Impossible" and despise the bastard offspring featuring Mr. Cruise.

The rationale always goes something like "Well, yeah, but that was the 60s, and that stuff won't play today", erm....., that "stuff" is what makes originals memorable and gives it staying power in the eyes of fans. If a person, or persons, don't like the original material, then leave the material alone and go make an original movie from an original idea instead.

Or, more succinctly: Don't ruin UFO the way "Thunderbirds" was ruined by a "hip", youth-obsessed big-screen CGI crapfest update from a few years back.

Or, better yet - go right ahead. I promise not to buy a ticket.
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#2 UFO Philip Celander 2014-07-28 09:39
I quite agree with comment Nr 1, the reason people get so excited about shows like UFO and Thunderbirds being re-made is that they want to see the 'original'. Jonathan Frakes' re-make of Thunderbirds was awful.
The machines were re-designed, quite why I don't know, and so much was changed that it wasn't Thunderbirds anymore. Why do producers think they have to update everything all the time.

There are only a few re-designs that have actually worked to the approval of fans, Doctor Who's new series Daleks is one example where the redesign has actually worked well.

I would love to see UFO re-made for the big screen with exactly the same 'equipment' unchanged and un-redesigned. Better scripts and somewhat less wooden acting, but otherwise kept the same. What I loved most about all of Anderson's shows were the fantastic designs of his models. Even today they outpace much of the designs of other more modern shows. The SPV from Captain Scarlet for example was amazing, SkyDiver and Thunderbird 2 were groundbreaking.
There is also something to be said for using models rather than CGI. I work in the industry and there is little doubt that CGI has revolutionised SFX but I still think physical models shot on green screen look more realistic than a lot produced on a computer. Take the original Star Wars for example. Produced long before CGI was as good as it is today those models looked fantastic and very 'real'.
I'm all for re-boot's but only if they keep true to the original!
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