Annette Andre has devoted much of her time in recent decades to animal welfare projects. However, as a young aspiring actress she took the bold decision to leave Australia and seek out a career in the UK as the 60s began to swing. For me she as synonymous with the 60s as Twiggy.
One of her first roles was in my father's Avengers episode Mandrake where she plays Judy, an aspiring actress working in a cracker factory. Steed promises her dinner out in Soho in a restaurant popular with movie people...in return for information, naturally.
In Gideon's Way - in an enlightened piece of casting - she plays Sue, a member of Anton Rodgers' thuggish Chelsea houseboat gang, in a star-studded cast.
Annette proved to be one of Roger Moore's favourite guest stars on The Saint, appearing five times across the b/w and colour runs, including the popular House on Dragon's Rock episode.
Andre was always capable of playing beyond the 'blonde beauty', as she effortlessly demonstrated in an action role in The Baron episode The Roundabout, set in Paris.
She later commented on the 'unpleasant' experience of working with Pat McGoohan on The Prisoner episode It's Your Funeral, as the watchmaker's daughter, finding the actor unfriendly and uncooperative, although the part itself was an exciting one.
For many, of course, she is Jeannie Hopkirk, a series she loved, particularly when the writers allowed her character to escape the limitations of the office.
Admired by a string of male celebrities, from George Best to Benny Hill, she has written a fascinating autobiography covering her career and life. Full of insightful observations and sparkling with an impish sense of humour.
She has always looked back on the 1960s with great fondness, grateful for the acting opportunities she got, while remaining critical about the limitations for young actresses in the world of TV. She felt that too often they were there as 'decoration'. She has a fair point I think
During the last months of my dad's life, we hung a montage of photos from his shows in his care home bedroom. Despite having little short-term memory left, he pointed to this one and said, "Annette Andre!" It clearly brought back fond memories and AA was delighted when I told her
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If the 1950s saw Lew Grade's ITC concentrating on the classic swashbucklers, 1960s ITC was mostly about the action-adventure TV series. A personal Top 10 follows...
No. 10 The Baron. Very loosely based on John Creasey's books. Texan Steve Forrest portrays antique dealer/ undercover agent John Mannering. He is, arguably, a little bit stiff and the series is far better IMO when Sue Lloyd is on hand to add a sparkle.
No. 9 Department S. A fun concept with Interpol handing over their baffling cases to this trio. However, not all the Marie Celeste teasers lead to satisfying mystery stories. Most of the enjoyment relies on Peter Wyngarde's effortless portrayal of self-loving novelist Jason King.
Woodward: "Once I read Armchair Theatre's Callan script, I knew there and then that I had to do it. It had obviously been offered to someone else - you know that when you receive it late on - but actors are nearly always second choice. I didn't care about that." 1/
"When you start something and it's turned into a series you have mixed feelings. You want it to succeed. On the other hand, you don't want to get trapped in a character. The script was so good I knew that if it was turned into a series that it would be successful." 2/
"Callan was very strange in its impact on the television public. It was maybe the first time there had been an anti-hero. People were shocked by the fact that he's really not a very nice man. That was why he was so good to play. You never knew quite what he was going to do." 3/
1955. Patrick McGoohan is cast by Orson Welles in his West End production of Moby Dick, alongside Christopher Lee, Kenneth Williams, Joan Plowright, Gordon Jackson, Peter Sallis, Wensley Pithey and Welles himself. It was an experience he would never forget. In his own words... 1/
“I still regarded the theatre as the only serious way of making a living as an actor and went to audition for a part in Orson Welles’ production of Moby Dick, which he was staging for a limited run of three weeks. I walked into the Duke of York’s theatre one Thursday morning. 2/
“A working light lit the stage, people were milling about the dim auditorium & towering overall was this enormous man with a big cigar and script in one hand, a megaphone in the other. I’m 6' 2" but, with his bulk of frame and personality, Orson Welles succeeds in impressing 3/
Michael Bond: “One day in 1966 the phone rang. It was Doreen Stephens, the then Head of BBC Children’s Television. They were thinking of revamping Watch With Mother and did I have any ideas?” 1/
“A few days earlier I'd been gazing out of the window and happened to glance at the herb bed, and in much the same way that one can often see pictures in the glowing embers of a fire, it struck me that the leaves of parsley blowing in the breeze looked not unlike a lion's mane.”
“I found myself outlining an idea in which all the characters were named after herbs. ‘Good!’ came the brisk answer. Can you let us have a pilot script as soon as possible? Shall we say in two weeks’ time?’”
70s Columbo guest actor killers. My personal top ten. No 10. Robert Conrad as a fitness fanatic and gym franchise con man. Wins the physical battle with Columbo but no match for the lieutenant when it comes to mind games.
70s Columbo guest actor killers. My personal top ten. No 9. Robert Vaughn as the head of a second-hand car franchise who is sartorially elegant but finds himself all at sea once the lieutenant digs deep during the boat...sorry, ship's cruise to Mexico.
70s Columbo guest actor killers. My personal top ten. No 8. John Cassavetes. The conductor had everything you want in life: a beautiful wife, a palatial residence, an E-Type, a rich mother-in-law...but his wandering eye and a dropped carnation is all Columbo needed to nail him.
"The very best caviar" was how the Guardian at the time described BBC's 1979 adaptation of Tinker Tailor Soldier Spy. Nevertheless, the complex drama split opinion among both critics and viewers. I've never tasted real caviar but this thread covers the TV version. 1/
John Irvin: “The dialogue left a lot of space for silence. It gave a chance to see what’s going on behind the mask. A spy story is a succession of masks. It’s poker – the silence is when you are trying to read the other’s mind.”
BBC TV Caviar. No. 2 Edge of Darkness. So many ingredients make this a stand-out drama IMO. The music, the rapport between Bob Peck and Joe Don Baker's characters, the daring use of Craven's dead daughter as a ghostly secret sharer... Nothing quite like this had been seen before.