riddle wrapped in a mystery inside an enigma" is how Winston Churchill once described the Soviet Union, but if the famed British politician had been alive in 1967 he might have used the same expression to characterize The Prisoner. In addition to alluring images and a perplexing plot, this quirky, short-lived TV series, which continues to intrigue and baffle viewers 35 years after its debut, also depended upon a wide-ranging score to forge an unsettling atmosphere. The Prisoner—File #1—the initial volume in a three-disc collection devoted to the show's music—presents many of the curious compositions that enlivened the adventure.
The celebrated "Main Titles" open the recording. Clearly lifted from a print of the program, the tune launches with a crack of thunder and contains footsteps, a revving car engine and various other ambient sounds. Fortunately, most of the other tracks—all pulled from the show's first three episodes, "Arrival," "The Chimes of Big Ben" and "A. B. And C."—leave out similar noises. "Number 6 in the Cottage" and "Night-Time Drink" are easygoing, bucolic works, with "Helicopter Escape Bid" powered by a slinky rhythm and "Number 6 Chops Down the Tree" offering staccato tones and deep percussion. Gay horns propel Number 6 (Patrick McGoohan) "Back to the Cottage," with sweet strings perking up the lively and lovely "Engadine's Party."
Intermingled among the 22 instrumental cues are eight dialogue cuts. Famous declarations such as "I am not a number. I am a free man!" and "I will not be pushed, filed, stamped, indexed, briefed, de-briefed or numbered" are included, along with a handful of lesser-known pronouncements. The liner notes explore the program's cult popularity and furnish thumbnail biographies of Ron Grainer, the composer of the title motif, and the show's primary music editor, Eric Mival.
Consequential cues highlight a cerebral CD
While there are numerous television series that inspire fervent followings, few possess the subversive air and intellectual cachet of The Prisoner. The diverse components of the program's score, which showcases both original pieces and cuts selected from a well-regarded music production library, present an analogous mix of cleverness and subtle rebellion. As a result, notwithstanding a few tunes flawed by poor audio quality, The Prisoner—File #1 delivers an extraordinary opportunity to better comprehend the true value and vibrancy of the adventure's melodious moments.
Two works from "Arrival," "The Band Concert" and ""Afternoon Concert," highlight a brassy, gay mood that conflicts with, and consequently accentuates, Number 6's rage and confusion. Though not written specifically for the program—they're actually library tracks respectively titled "Freedom of the City" and "Double X"—the pair expertly emphasize The Village's ersatz joyfulness. "The Dinghy Casts Off" is a far more ominous tune, signaling overt danger and devious deception through fluttering violins slowly swelling to a sinister crescendo, with "Number 6 Is Drugged," used within "A. B. And C.," supplying a languid, soothing environment that delicately suggests happiness and tranquility. Another noteworthy composition is the "Unused Title Theme" penned by Wilfred Josephs that, while undeniably frenetic, was wisely jettisoned for Grainer's angry yet exhilarating "Main Titles."
A couple of melodies, especially "The Cottage Maid Is Seen," suffer from obvious distortion, just as the dialogue sequences, though admittedly providing some context for the cues, are unnecessary and intrusive. Despite these imperfections, The Prisoner—File #1 is a fascinating album. Fans of the show will certainly enjoy the music, but moreover, and perhaps more importantly, it's an enlightening chance to hear how a solid soundtrack—especially one put together primarily from library music—can inventively reinforce a cerebral drama.
