Edward Woodward returned to television, on the other side of the pond, as a different burnt-out secret agent, Robert McCall. McCall bears more than a passing resemblance to David Callan, Woodward's iconic character from his British TV series. He has been used and abused for years, in the shadowy world of espionage, with its murky ethics and high body count. Unlike Callan, he is able to walk away from his masters, when he resigns, after a botched operation leads to the death of is charge. McCall, finding himself finally free of this dark world, decides he wants to do something to make the world better and using the skills that he has, advertises his services in the newspaper, as "The Equalizer," someone who evens the odds for those in trouble.
The series is one part spy-fi, one part private eye, and one part crime drama. Each week, McCall is contacted by someone in need and he responds, charging no fee (he is independently well off, thanks to information gained in his spy days, which allows him to make shrewd investments). Occasionally, he finds his services required by his old masters, via his former boss (and friend) Control. On other occasions, he uses his relationship with control to gain access to agents and resources of "the Agency" to aid in his mission.
The series makes great use of New York location shooting, while also creating an edgy visual style. Shadows are frequently used and the series plays upon urban fears, with various predators menacing his clients. It mixes high class living with squalid apartments and empty warehouse.
Edward Woodward is excellent as McCall, with the character's desire to bring justice and peace giving him ample opportunity to orate. McCall uses powerful speeches as much as powerful handguns. Woodward is at his best when he is raging against something, though he also excels at the quiet moments. He gives the character a well- rounded feel, aided by great writing, which emphasizes McCall's flaws as much as his virtues. McCall's calling has made him a poor father and he often uses guilt to attain favors from Control, yet rants when Control asks him to return the favor.
Apart from the hair and some of the clothes, the one element of the series that scream "the 80s" is the music from Stewart Copeland, the drummer for The Police. Copeland created the synth-heavy sound of the series, from the iconic opening theme, to the incidental music used throughout (again, heavy on synth and drums). However, it is such a part of the show that it never really seems archaic. The same could not be said with the music Copeland created for the Babylon 5 pilot movie ("The Gathering").
The series is filled with great guest actors, many of whom would go on to bigger things, like Vincent D'Onofrio, Kevin Spacey, Christian Slater, and others, while also making great use of classic actors like Robert Lansing (Gary 7, on Star Trek), Ron Neal (Superfly), Robert Mitchum, and Richard Jordan. It made great use of outstanding characters actors, drawn in, no doubt, by the quality writing.
This is a series worth watching and owning on home video. It was a stylish piece of TV, with great characters and excellent writing, and top notch performances.
The series is one part spy-fi, one part private eye, and one part crime drama. Each week, McCall is contacted by someone in need and he responds, charging no fee (he is independently well off, thanks to information gained in his spy days, which allows him to make shrewd investments). Occasionally, he finds his services required by his old masters, via his former boss (and friend) Control. On other occasions, he uses his relationship with control to gain access to agents and resources of "the Agency" to aid in his mission.
The series makes great use of New York location shooting, while also creating an edgy visual style. Shadows are frequently used and the series plays upon urban fears, with various predators menacing his clients. It mixes high class living with squalid apartments and empty warehouse.
Edward Woodward is excellent as McCall, with the character's desire to bring justice and peace giving him ample opportunity to orate. McCall uses powerful speeches as much as powerful handguns. Woodward is at his best when he is raging against something, though he also excels at the quiet moments. He gives the character a well- rounded feel, aided by great writing, which emphasizes McCall's flaws as much as his virtues. McCall's calling has made him a poor father and he often uses guilt to attain favors from Control, yet rants when Control asks him to return the favor.
Apart from the hair and some of the clothes, the one element of the series that scream "the 80s" is the music from Stewart Copeland, the drummer for The Police. Copeland created the synth-heavy sound of the series, from the iconic opening theme, to the incidental music used throughout (again, heavy on synth and drums). However, it is such a part of the show that it never really seems archaic. The same could not be said with the music Copeland created for the Babylon 5 pilot movie ("The Gathering").
The series is filled with great guest actors, many of whom would go on to bigger things, like Vincent D'Onofrio, Kevin Spacey, Christian Slater, and others, while also making great use of classic actors like Robert Lansing (Gary 7, on Star Trek), Ron Neal (Superfly), Robert Mitchum, and Richard Jordan. It made great use of outstanding characters actors, drawn in, no doubt, by the quality writing.
This is a series worth watching and owning on home video. It was a stylish piece of TV, with great characters and excellent writing, and top notch performances.