Many years ago when I was still at junior school, one of my friends asked me if I had seen a new TV show about a flying car. I hadn’t but apparently it was really good and so I made a mental note to watch out for it. As a child I was pretty keen on TV. My dad used to call me ‘square eyes’ because I watched so much TV and as you might imagine I soon found the TV show my friend had told me about. It was a short puppet show about a special machine called Supercar that could not only fly but also dive under the sea. It was designed and built by Professor Popkiss and Dr Beaker and the test pilot was a guy called Mike Mercury. I loved Supercar and everything about it and even though I didn’t realise it then, I had become a huge fan of TV producer Gerry Anderson and his Century 21 Productions.
Gerry Anderson was born in 1929 and after the war earned a traineeship with the British Colonial Film Unit. Later he worked for Gainsborough Pictures and had various jobs, subsequently as a director. He and cameraman Arthur Provis formed a production company called AP Films after their two names and began producing TV shows for children. Their first project was in 1957 called The Adventures of Twizzle and was the first time Gerry worked with puppeteer Christine Glanville, musician Barry Gray and special effects supervisor Derek Meddings.
They followed up with more puppet shows, Torchy the Battery Boy and the first series I remember, Four Feather Falls, a cowboy show about a sheriff with magic guns.
Anderson married his wife Sylvia in 1960 and the two collaborated on Supercar, Gerry’s first sci-fi puppet show in 1960. The series marked the first time Gerry used the name Supermarionation to describe the process which enabled the puppet mouths to move in synchronisation with pre-recorded dialogue. All the characters in the shows had American accents so the shows could be sold to the USA and it was Sylvia who was responsible for the characters and their fashions while Gerry concentrated on other aspects of the shows.
The next series was Fireball XL5 about a spacecraft that was part of the World Space Patrol piloted by Steve Zodiac. The following show, Stingray was the first to be filmed in colour. Stingray was a submarine in the service of the WASP, the World Aquanaut Security Patrol and was piloted by Troy Tempest and his colleague ‘Phones’ who was a master at using sonar equipment. The duo discover an undersea kingdom where King Titan holds sway over his people, the Aquaphibians. Troy and Phones rescue the mute undersea girl Marina who joins them onboard Stingray. Most of the characters had sea related names like, Marina, Commander Sam Shore and his daughter, Atlanta. Atlanta was voiced by Lois Maxwell who played the original Miss Moneypenny in the James Bond films.
Stingray was probably my favourite of Anderson’s TV shows. I particularly loved the opening sequence in which Commander Shore exclaims ‘Anything can happen in the next half hour!’
Stingray was filmed in 1964 and the show fitted neatly into the expanding Anderson universe set, like all his sci-fi shows, 100 years into the future. Around this time AP Films developed a merchandising company responsible for licensing all kinds of items related to the shows, things like models and puppets and so on. I used to have a puppet of Venus, the space doctor from Fireball XL5 although I think I would have preferred a Steve Zodiac puppet. I had a Fireball XL5 rocket which could be fired into the air with a big catapult and as it came down, a parachute deployed to float it down gently. I also had quite a few Stingray models. One was a plastic kit I had to put together and another was a plastic Stingray shaped water pistol.
image courtesy flickr
There was also a comic which I absolutely loved called TV21 with comic strips of all the sci-fi Anderson shows. TV21 had a front page fashioned like a newspaper with headlines referring to the stories coming up on the inside pages.
The next project for AP Films was probably Gerry and Sylvia’s greatest success and it was called Thunderbirds. Thunderbirds was about a secret organisation called International Rescue that had a small fleet of highly advanced machines and equipment with which to perform rescue operations. Millionaire ex-astronaut Jeff Tracy was the head man and the organisation was secreted in his island home. His five sons were the Thunderbird pilots, John, Scott, Virgil, Gordon and Alan, all named after US astronauts of the 1960s. The genius behind the Thunderbird craft was Hiram Hackenbacker, known as ‘Brains’. Thunderbird’s nemesis was a secret agent known as the Hood because of his talent for disguise and in many episodes the Tracy brothers had to ask their London agent, Lady Penelope, to track him down and sort him out.
Lady Penelope Creighton-Ward lived in a huge mansion somewhere in southern England and her manservant and chauffeur was Parker, a reformed safecracker. The head of ITV Sir Lew Grade saw the first episode and was so impressed that he asked for the episodes to be extended from 30 minutes to a full hour, less TV adverts of course. Gerry wanted Fenella Fielding to voice Lady Penelope but in the end Sylvia herself took on the role.
Thunderbirds is probably my second favourite of all the Gerry Anderson series. The great thing about it and really, the secret of its success was the highly intelligent scripts which treated its audience of children not as kids but as intelligent young adults. Two scripts that spring to mind were one called The Cham Cham about a code transmitted on a musical melody and another where Parker was called upon to break into the Bank of England. Later in the episode someone is trapped inside the vault and Parker is asked to break in again to rescue the man before the air is used up in the vault. Parker though thinks that his old mate, a bank robber recently released from prison, is about to complete his life’s ambition to break into the bank and so he tries to slow down his and Penelope’s drive into London.
A successful feature film, Thunderbirds are Go, was made in 1966 and AP Films began a new life as Century 21 Productions.
The follow up TV series was called Captain Scarlet and the Mysterons. Captain Scarlet is part of an organisation called Spectrum in which all the members have code names relating to colours. The Mysterons have the power of re-animation and both Scarlet and Captain Black have been re-animated giving them powers of indestructibility. It wasn’t really my cup of tea but the puppets in the series made a step forward in having normal dimensions instead of large heads like the previous shows.
Two further puppet shows followed, Joe 90 about a young boy who becomes a secret agent by using the brain patterns of various people. His father, Professor MacLaine had designed a machine called the Big Rat (Brain Impulse Galvanoscope Record and Transfer -funny how all these old acronyms come back to me!) The Big Rat takes the brain pattern of a pilot for instance, feeds them to the professor’s young son -the Joe 90 of the title- and he is able to fly a plane.
The Secret Service was a mixed puppet/live action series about a secret agent who is shrunk down to a small size and the producers used puppets in normal sized sets. Stanley Unwin played the role of an eccentric vicar who is part of a secret organisation called BISHOP (British Intelligence Service Headquarters – Operation Priest). The series was cancelled after 13 episodes as Lew Grade didn’t think the inclusion of comedian Stanley Unwin and his gobbledegook language would work in the USA.
Gerry Anderson’s ambition was always to leave the puppet shows behind and move on to live action features and after a live action sci-fi film Doppelganger, Gerry began work on UFO. UFO was set in the 1980s and was about a secret organisation called SHADO (Supreme Headquarters Alien Defence Organisation). The Earth is under attack from UFOs and it is SHADO’s job to defend the world. The headquarters is based in the Harlington-Straker film studios with an outpost on the moon called Moonbase. Moonbase tracks the UFO’s with the help of SID (Space Intruder Detector) and launches their interceptors. Ed Bishop, previously the voice of Captain Blue in Captain Scarlet, played Ed Straker and Gabrielle Drake was the Commander of Moonbase.
I loved the series but the TV networks were unsure whether UFO was aimed at children or adults, presumably because of Gerry Anderson’s previous childrens’ shows. Anderson prepared for the second series in which the American networks had asked for more lunar based stories. Many new sets were built and then series 2 was cancelled. Gerry then offered the networks a new show, Space 1999, centred entirely on the moon.
In Space 1999, a series I never really liked, a nuclear explosion pushes the moon out of earth orbit and out into space and the series chronicled the adventures of those still living on Moonbase Alpha. Husband and wife team Martin Laudau and Barbara Bain starred in the show which ran for two seasons but during the production Sylvia and Gerry divorced.
Gerry returned to producing more TV shows for children like Terrahawks and Space Police but even though new technology and techniques helped with the puppetry and filming, without Sylvia and her characterisations, those productions were a little lame.
In the 1990s Gerry produced a new series of Captain Scarlet replacing the puppets with computer animations.
Gerry Anderson died in 2012 aged 83 while Sylvia lived to be 88. In 2015 she made a guest appearance in an episode of a new animated series of Thunderbirds are Go as Great Aunt Sylvia, a relative of Lady Penelope. She died in 2016.
The two left behind a legacy of some much-loved television shows but what was the secret of the success of Gerry and Sylvia’s original productions? Personally, I think there were a number of elements: Outstanding and intelligent scripts that treated the younger viewers as young adults. The fabulous music and theme tunes of composer Barry Gray. The wonderful characters created by Sylvia. The special effects from Derek Meddings who went on to work on the James Bond films and of course Gerry Anderson who brought all those elements together.
This year, 2023, Thunderbirds can be seen on the Talking Pictures TV channel, 58 years after it was first seen on TV.
I always used to the think the TV and movie business was full of creative people. It isn’t. Sure, there are creative people, people who write and direct and act but for the main part, the industry is full of dynamic people, people who get things done, people who make things happen.
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