Geoff recently observed that The Prisoner would’ve been an excellent radio drama. I read his post after I watched (or listened) to a few episodes while doing inventory in the library. One would, of course, miss the bold, visual aesthetics of the show: the horizontal stripes, the popping colors, the capes and umbrellas, the arches, the bubbles, the theme park-esque Village signage. 1967 was a beautiful time to be alive apparently.
The audio is just as compelling. What I notice most is the creation of tension through music and different effects.
Here are a few of my favorite sonic moments in The Prisoner:
“Pop! Goes the Weasel” is usually a cheerful tune, but in episode one (“The Arrival”), it’s used after No. 6 has a good freak out about his new surroundings and just as he meets No. 2 for the first time. There’s an interesting dichotomy between the nursery rhyme/popular 1850s dance song and something-is-not-right nature of The Village.
“For He’s a Jolly Good Fellow” is used in a similar way. Typically the tune is a jovial ditty, but in The Prisoner, the song is used as a soundtrack to No. 6’s election win. The jazzy song takes a creepy turn as No. 6 (the new No. 2?) settles into the green-domed building on top of the hill.
I also found the scene below (from “Free for All”) to be powerful. From the chaos of the boat chase to the beeping light fixture, a suspenseful scene is set with music, sound effects, and disorienting dialogue.
Things I did last week:
I did a lousy job of tracking points and completing all of the required assignments, and I’m ok with that.
I also FINALLY did my Village message.
Better late than never, I say!