In 1967, a surreal and cerebral television show unlike anything seen before debuted to the amazement of viewers worldwide. Ostensibly about an unnamed spy kidnapped and confined to a strange community on the sea, Patrick McGoohan’s deeply personal project delved into themes of individuality, totalitarianism, paranoia, conformity, brainwashing, and the struggle to be free. Still debated over nearly forty-five years later, it is arguably one of the best dramas ever put on TV, if not the best.
A first episode is always a tricky thing for a series and that is doubly true for one that aspires to be anything more than average. With the incredibly popular series, Danger Man (Secret Agent in the USA), wearing thin on him, McGoohan had a desire to do something different. Different only scratches the surface in describing The Prisoner and Arrival establishes that very quickly.
An extended version of the title theme by Ron Grainier (he also created the original Doctor Who theme) plays over a montage of a man (Patrick McGoohan) in black driving a Lotus Seven roadster to a government building. Once there he angrily storms into an office while the sound of thunder accompanies his rant, which we do not hear. In fact, no sound other than the soundtrack is heard during this intense opening sequence. Slamming his resignation down on his superior’s desk, the man drives off while we see his record amended and filed away in ominously impersonal fashion.