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THUNDERBIRDS ARE GO (1966) **½/**** Image A- Sound A- Extras B+ screenplay by Gerry Anderson & Sylvia Anderson directed by David Lane
THUNDERBIRD 6 (1968) */**** Image A- Sound A- (DD)/A (DTS) Extras B+ screenplay by Gerry Anderson & Sylvia Anderson directed by David Lane
by Travis Mackenzie Hoover Why is it that "Thunderbirds", the marionette sci-fi TV series of 1960s vintage, exerts such weird fascination? Narratively, it's nothing to get excited about–just the usual conservative guff involving stiff-necked operators of sci-fi machinery, all of whom are given one trait each and are as pure in heart as they are heavy on exposition. One wants to make an obvious joke about the delivery being as wooden as the puppets, except that to do so would be missing the point: the erotics of the series are powerful specifically because everything is made of wood. The figures themselves are as rigid and rock-solid as the meticulously-designed machinery, making the stylization of the series total and more convincing than if it were superimposed over the documentary image of mere human flesh. Nowhere is this more apparent than in the two lavish and colourful movies made under the "Thunderbirds" brand, which, despite their formulaic tendencies, manage to hold our attention with a rich and affective sense of necrophilia.
The "Thunderbirds" saga revolves around millionaire ex-astronaut Jeff Tracy and his sons Virgil, John, Scott, Alan, and Gordon (names that will resonate with Project Mercury enthusiasts). They run a rescue operation–the International Rescue Team–in which the Tracy boys man incredible emergency vehicles for use in air, sea, and space. Lady Penelope stands by as a backup agent with a gadget-laden, hot-pink Rolls; Tin-Tin barely distinguishes herself as a subservient Asian stereotype and sometimes arm candy for Alan. In any event, the Tracy clan get into a lot of scrapes fighting a villain named The Hood (who makes only token appearances in the feature films) and generally manage to save the day, all the while calling out their dada slogan "F.A.B!" to the confusion of many. Admittedly, I've never sat through an entire episode of the show, but after seeing Thunderbirds Are Go and Thunderbird 6, I find the notion of cramming the 'birds environment into anything less than a 'scope frame unthinkable. The machines–they're just too big.
One even has to brush away the technology to find the storyline of Thunderbirds Are Go. The first 10 of its brisk 90 minutes are devoted to the agonizing unfurling of the Zero-X, a massive space vehicle scheduled for a Mars expedition. Hangar doors open, machinery wheels out ever so slowly, various components attach themselves to each other, etc. It's hardware porn at its finest. Following takeoff (and the Hood's inevitable sabotage), the Thunderbirds are called in to secure the next launch, and this facilitates another long sequence where the various Tracy boys move on conveyor belts to their assorted Thunderbird vehicles. Thus we establish the theme of the movie: the incredible rush of being moved by massive machines. The relative immobility of the marionettes only heightens this feeling of helplessness in the face of these behemoths–moved as they are by wires, they're half-machine already.
Although something of a plot does develop, one swats at it like a housefly. We know the real reason we're here is the squeaky-clean man-machine that mirrors those of latter-day anime. Sure, the team has got to protect the space mission, send Lady Penelope to dispatch the villain in a souped-up Rolls Royce, and guide the Zero-X back to Earth when it's attacked by "rock-snakes" on Mars. And, of course, there's a cutesy dream sequence wherein grounded Alan imagines himself dining with Lady P in outer space, serenaded by Cliff Richard. Yet the real thrill to be had from the movie comes from the sensation of being crushed by the weight of the various apparatuses. One inevitably thinks of James Bond when confronted with this much British hardware, but it's no contest: the lackadaisical aesthetics of Bond can't compete with the hyper-stylized and lovingly-executed technical coups crafted by the Thunderbirds team.
Perhaps unnerved by the total sensory overload of Thunderbirds Are Go, the filmmakers scaled back to more obvious narrative tactics in the subsequent Thunderbird 6. Here, secondary characters move into the fore: Lady Penelope runs much of the show, and she's flanked by the efforts of tech wizard Brain to come up with a sixth Thunderbird vehicle. Brain has already cooked up Skyship One, an airship about to take its first flight, and naturally some of the T'birds are on hand for the maiden voyage. But those pesky saboteurs show up again in the hopes of getting the skinny on the IRT–requiring the suspicious Lady P to warn Jeff that things are not on the up and up. Much intrigue and shooting ensue, damaging the Skyship and forcing the remaining Thunderbirds to roll out an uncharacteristically lo-fi rescue ship…a WWI bi-plane. (Is this what inspired the original ending of Independence Day? -Ed.)
So tech is sort of out. Does this mean that the Thunderbirds formula has been trumped? Not really–the triumph of artificiality is maintained via the interiors of Skyship One. Brain appears to have foregone wood panelling and red velvet upholstery in favour of modish and psychedelic decor that wouldn't be out of place in one of Terry Gilliam's nightmares: egg-shaped plastic chairs, blinding colours not found in nature, and weird metallic detailing are prevalent, while Lady P's bedroom is painted a single shade of scorching pink. But obviously, the Acid-Head Malibu Barbie mentality can't sustain a whole film, and so we climax with a Skyship One hovering above a missile base, losing altitude and threatening to blow everything up before our heroes can be evacuated. A return to the series' roots was inevitable: we end in awe of a massive chunk of metal (okay, balsa wood) heaving and pitching and dropping on our tender sensibilities. Suffice it to say that the Thunderbirds went out with a bang–sending the shrapnel flying right over our heads.
THE DVD MGM's Thunderbirds discs, available individually or in an "International Rescue Edition" 2-pack (covered herein), do the trick quite nicely. The 2.35:1 anamorphic, 16×9-enhanced image on both discs facilitates an appreciation of the detailed props and boasts of unusually vibrant colours for a pair of neglected films approaching fortieth anniversaries. Audio, meanwhile, is presented in the original mono or Dolby Digital- and DTS-flavoured 5.1 remixes. While there's not too much differentiating the Dolby and DTS tracks on either DVD, let it be known that the two films sound clear and robust and feature more surround elements than one would expect from a pre-Dolby soundtrack, especially during Thunderbird 6's climactic orgy of destruction (also among the only times that DTS offers some measure of improvement).
Extras break down as follows:
THUNDERBIRDS ARE GO
Commentary Track Producer Sylvia Anderson (ex-wife of "Supermarionation" pioneer Gerry Anderson) and director David Lane provide a remarkably thorough commentary on the making of Thunderbirds Are Go. From technical details (like the decision to shoot in Techniscope instead of Panavision) to interesting bits of trivia (like Stanley Kubrick's attempts to poach the FX crew for 2001: A Space Odyssey), to frank opinions on the success of various designs and techniques, it's a yakker surpasses the low expectations one might have based on the topic of conversation.
History and Appeal (10 mins.) A little background info on the show and the film. Moderately interesting at the beginning (the series was apparently modelled on "Bonanza"), this soon takes a nosedive into back-patting and dubious theorizing.
Factory of Dolls and Rockets (8 mins.) A look at the techniques used to manipulate the puppets. Far more interesting than the previous featurette, this is most notable for the many tricks pulled to disguise the drawbacks of marionettes, including their inability to pass through doors and the difficulties of getting their jaws to move in sync.
Epics in Miniature (7 mins.) A discussion of the film's special effects. Just as interesting as "Factory of Dolls and Rockets", though it goes astray in the final minute.
"Who Said That?" Quiz Match the sound clip to the Thunderbird; the winner gets a clip of producer Sylvia Anderson explaining the mantra "F.A.B.".
Animated Photo Gallery (3 mins.) A hodgepodge of photos that fade in and out to the strains of Cliff Richard's backing band.
Trailers for the film, The Good, the Bad and the Ugly Special Edition, The Great Escape Special Edition, and "Jeremiah", as well as some MGM studio propaganda, round out the disc.
THUNDERBIRD 6
Commentary Track Another stellar yak-track featuring Anderson and Lane, who address the changes in tone from Thunderbirds Are Go. The former is particularly happy with the shift in focus onto the Anderson-voiced Lady Penelope (an incidental character in the early days of the TV show) and the more character-driven nature of the screenplay. More fascinating bits of trivia–such as the union requirements for close-up hand actors–pepper the commentary.
Lady Penelope (9 mins.) A recounting of the machinations surrounding Lady Penelope, from the problems of using male writers to the challenge of finding fabrics for her many posh outfits. Decent enough, though predictably hyperbolic when appraising her importance as a character.
Building Better Puppets (8 mins.) A much more nuts-and-bolts piece on the creation and deployment of the puppets, revealing many of the solutions to simulating movement and facial expressions. Though one wishes this were longer and more in-depth, the snippets of information on offer are quite interesting.
Tiger Moth (6 mins.) Dealing with the WWI biplane that plays a central role in the film, as both a miniature and a full-size model. The disc's most riveting featurette, it's especially funny in its account of the live-action pilot's decision to upgrade a stunt–and the lawsuit that followed.
Craft Mission Match-Up Quiz Match the vehicle to the character; the winner gets a clip of Sylvia Anderson reminiscing about a Dudley Moore/Peter Cook sketch.
Animated Photo Gallery Another raft of photos. Mostly harmless.
Trailers for Thunderbird 6, The Good, the Bad and the Ugly Special Edition, The Great Escape Special Edition, and "Jeremiah"–as well as some MGM studio propaganda–again round out the disc.
Capping off the "International Rescue Edition"'s dual keepcase package: punch-out models of the Thunderbird vehicles (a detachable flap of the cardboard slipcover is perforated) and a selection of fridge magnets complete with word balloons. F.A.B., y'all.
Thunderbirds Are Go 93 minutes; NR; 2.35:1 (16×9-enhanced); English DD 5.1, English DTS 5.1, English DD 2.0 (Mono), French DD 2.0 (Mono), Spanish DD 2.0 (Mono); CC; English, French, Spanish subtitles; DVD-9; Region One; MGM
Thunderbirds 6 89 minutes; G; 2.35:1 (16×9-enhanced); English DD 5.1, English DTS 5.1, English DD 2.0 (Mono), French DD 2.0 (Mono), Spanish DD 2.0 (Mono); CC; English, French, Spanish subtitles; DVD-9; Region One; MGM
