Tag Archives: Stanley Unwin

“The Secret Service” – Gerry Anderson’s weirdest puppet/live action TV series

The ‘real’ Stanley Unwin starred in The Secret Service

Yesterday’s blog was a profile of eccentric British performer Stanley Unwinstar of Gerry Anderson’s very bizarre and mostly forgotten 1969 part-puppet/part-live-action series The Secret Service.

Here is the first half of a 1980 interview-based article about it which I wrote for Marvel Comics’ science fantasy magazine Starburst.

The real and the puppet Stanley Unwin drove a Model T Ford

The Secret Service is the story of an ordinary English country priest, Father Unwin, and his slow-thinking yokel gardener Matthew Harding. At least, to the casual observer, that’s what they appear to be. In reality, they are Secret Service agents working under orders from BISHOP (British Intelligence Service Headquarters, Operation Priest). The BISHOP personnel communicate with their operatives via Father Unwin’s hearing aid.

On special missions. Father Unwin and Matthew use a remarkable electronic device hidden in a book left in Unwin’s care by a late parishioner. The device can miniaturise a person or object to one-third life size – thus enabling super-agent Matthew to carry out daredevil missions which would be otherwise impossible.

Problematic miniaturised Matthew and his travel case

When Matthew has been miniaturised, Father Unwin carries him about in a specially-converted suitcase. The case has a chair and periscope so that Matthew can sit and watch the world go by. He can talk to Father Unwin through the hearing aid and has his own hearing aid for communication during missions.

This may seem a little strange.

The series becomes even more outlandish when you realise that it starred both the real ‘live’ Stanley Unwin and a Stanley Unwin puppet (made by Terry Curtis).

Although live-action hands had been used for close-ups in previous Gerry Anderson series, this was the first time that the team had used full live-action mixed with puppets. It was even more complicated because miniaturisation was an integral part of the plot.

Art director Keith Wilson explained to me: “The whole series had special problems because, when he (Matthew) was small, you had to have large sets. When he was large, you had to have small sets. When he was small, he was a puppet and everything else was real. But, when he wasn’t small, he was still a puppet and everything else was puppet sized.”

This was further complicated by the fact that, on location long-shots, the real Stanley Unwin was seen driving a real Model-T Ford. In close-ups, a puppet Unwin was seen driving a radio-controlled miniature model-T.

The miniature Model T Ford on a real road…

Gerry Anderson explains: “For example, we had sequences where the Model-T would drive – for real – into London Airport with Stanley Unwin driving. He would stop, get out and walk into this enormous (real) departure lounge and walk up to the desk. As he walked up to the desk, we would go bang into a close-up of the puppet and they were so cleverly matched, you couldn’t tell the difference.”

Keith Wilson agrees: “It did work. It was impossible to tell the difference.”

“We were able,” says Gerry Anderson, “to do all sorts of things that we weren’t previously able to do. Again, it was an endeavour to make the puppets appear to  be walking properly.”

Executive producer Reg Hill expanded on this to me: “All that happened was that, for certain areas you’d find difficult to do with puppets, we used live-action. It wasn’t a question of a live-action film with puppets or puppets with live-action. It was a question of using whichever was more advantageous at the time. In other words, they were complementary. For ages before, we had been using live hands for inserts, for the simple reason that you can’t get puppets to move their hands, to twiddle knobs or poke buttons. So we had been half the way there previously.”

ITC produced glossy promotions but the bizarre series failed to get a full ITV network screening in UK

Keith Wilson told me he thought the basic idea was “rather good” and Gerry Anderson used exactly the same words: “It was a rather good idea”.

When I talked to the show’s producer, David Lane, he agreed: “I thought it was ingenious,” he told me. “But it was a nightmare – an absolute nightmare – because of the different scales we were using. You can imagine the problems. You’re shrinking a puppet to puppet size on a puppet set and then you’re having to build it live-action size for the puppet because he’s supposed to be a small man in a full-sized environment. And then you’re using the ‘shrunken’ puppet in a normal set. I mean, it was a very, very complicated series. We had to work it out at script stage. It wasn’t always the director who worked it out – we had to work it out at script stage.”

ITC/ATV publicity stills for the “difficult” Secret Service

And, of course, puppets are often more difficult to work with than live actors, as David Lane explains: “Everything is pre-planned in puppets. It’s no good going on (stage for shooting) and saying We’ll change that line of dialogue and we’ll do it this way because you haven’t got anyone there to change the line of dialogue. You’re stuck with what you’ve pre-recorded.”

The one thing the series did arguably have, though, was charm.

Gerry Anderson told me, “I thought it was one of the most charming series I’ve made, but then I was in love with it. It was a beautiful country church and a vicar and young Matthew who used to help out in the garden and they had their regular Sunday services. (The title The Secret Service is a pun.) 

ITC’s Production Notes for The Secret Service

Because it was so strongly connected with The Church, of course, we made sure that the missions were always Good against Evil.”

The production notes for the series say: “Father Unwin is as conscious of his  spiritual responsibilities as any other priest. If his experiences can provide him with any material for his sermons, he conveys it to his congregation in symbolic and well-disguised terms.”

He is described in the production notes as “the sort of man who normally prefers to wear a cassock and is old-fashioned enough to go to bed in a night-shirt and night-cap.”

With such an out-of-the-ordinary series, it was felt that the music, too, should be something special…


This is the first episode of The Secret Service…

and the crime-fighting possibilities of miniaturisation and a mix of puppets and live action were further developed in Gerry Anderson’s later, unscreened pilot The Investigator. There are clips from The Investigator at the beginning of this online video.

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Who was Stanley Unwin in the forgotten and weird Gerry Anderson puppet series

Stanley Unwin – The Secret Service puppet

In 1980, I wrote an article, based on interviews, for Marvel Comics’ Starburst magazine about the little-remembered 1969 Gerry Anderson series The Secret Service.

The lead role was played both by the ‘real’ live version and by a puppet version of eccentric performer and ‘professor’ of gobbledegook Stanley Unwin.

The series only lasted for 13 episodes. ATV/ITC boss Lew Grade apparently thought the Americans would have trouble understanding ‘Unwinese’.

In the next two days, I will be posting my 1980 article on The Secret Service as a two-parter.

But here, first, is a reminder of who Stanley Unwin was.

When The Secret Service was produced (it was shot in 1968), Stanley Unwin was nationally famous in the UK as the inventor and chief exponent of ‘Unwinese’ gobbledegook, an intelligible nonsense language. As the star of The Secret Service he enhanced the general air of weirdness that surrounded the ITV series.

At the time, he was 57 years old. He was born in South Africa in 1911 of English parents but, following his father’s death in 1914, his mother took him back to the UK, could not cope and, by 1919, he was living in the National Children’s Home at Congleton in Cheshire.

Unwin said he thought he had read his first science fiction story under his desk at school in Cheshire. The school master caught him and he “lost an enchanting story forever”. But he maintained his interest in science fiction and became a Ray Bradbury enthusiast after reading part of The Martian Chronicles.

He studied radio, television and languages at the Regent Street Polytechnic which, coincidentally, was where I studied a (totally different) course in radio, TV, journalism and advertising half a century later.

For ten years, he ran his own business as a wireless engineer then, in 1940, he joined the BBC as a sound engineer and part-time war correspondent in the BBC’s War Reporting Unit.

He joined the BBC as a sound engineer and war correspondent

In 1947, he was the BBC technical expert chosen to go on a Royal Tour of South Africa and it was around this time that he discovered his talents for “double talk”. The story goes that he made his first, accidental, transmission, when based back at BBC Birmingham.

While testing equipment, he handed the microphone to broadcaster F.R. ‘Buck’ Buckley, who ad-libbed a spoof commentary about an imaginary sport called Fasche. Buckley then got Unwin to join in and introduced him as ‘Codlington Corthusite’. Unwin started speaking in Unwinese.

The recording was played back to two BBC producers, who added sound effects and it was eventually broadcast on the Mirror of the Month programme in 1948. This was well-received and culminated in another sketch in which Unwin, playing a man from Atlantis, was interviewed about life in the sunken city. The broadcast produced Unwin’s first fan mail, from comic performer Joyce Grenfell and this whetted his taste for showbiz.

He claimed he had developed his talent for Unwinese by telling bedtime fairy stories to his two daughters.

“I found they enjoyed the stories even more when I used double talk,” he explained. ” I was also interested in speaking like this because I had always been intrigued by the lack of communication between people when talking to each other and I realised that they listened far more attentively if you said something strangely.

“As I first used my treatment of language to amuse children to relieve the boredom of fairy stories often repeated, there was a good connection with Gerry Anderson’s puppet films”.

No nonsense: “I prefer to think of it as garbled sense.”

He claimed the reason he could talk ‘nonsense’ whose meaning could be immediately understood was because: “I prefer to think of it as garbled sense… The degree of perception depends on the listener. I believe it works partly because the sounds, inflections and rhythm seem to express ideas to the listener. There are visual components too, like facial expression and occasional hand and head movements. All these are used to communicate as in normal speech. I think a lot of it is partly heredity.”

His mother once told him that, on the way home, she had “falolloped over” and “grazed her kneeclabbers”.

Stanley, though, said: “I prefer not to get too analytical because that detracts from the imaginative side of it.”

Whatever the explanation of Unwinese, his initial broadcast for the BBC in 1948 was such a success that it led on to regular radio and TV appearances in such programmes as Beyond Our Ken and Does the Team Think?

BBC producer Roy Speer also introduced him to the comedian Ted Ray, who said simply: “I want him in my series” – The Spice of Life, co-starring June Whitfield and Kenneth Connor.

In 1956, he ventured into the film industry in the Cardew Robinson film Fun at St Fanny’s.

He became so popular that, in 1960, he resigned his job as a BBC Senior Recording Engineer and, aged 49, began a full-time showbiz career. He appeared in hundreds of TV shows, in commercials, pantomimes, the Carry On films – Carry On Regardless – and Chitty Chitty Bang Bang.

In 1968, the year The Secret Service was shot, he was also invited to narrate Happiness Stan, a six song fairy tale which took up the whole of Side 2 of the Small Faces’ No 1 album Ogdens’ Nut Gone Flake.

When he was approached to star in The Secret Service, he saw it as a challenge to do something new: “Gerry Anderson has a wonderful imagination and I found that he and his team were in tune, so to speak, with my vehicle. This was something new. Why shouldn’t it work? It was an attempt to add a new dimension to the puppet field and the ‘all-consuming’ medium of films and TV surely needs encouragement in new ideas. It was a bit bizarre, but then aren’t many new ideas a little odd at first?”

Unwin did have some doubts about how the series would fare in the US.

“Gerry Anderson,” he said in 1980, “is a better judge of the American comprehension of Unwinese than I am, but I certainly had misgivings because of the preponderance in their population of people of non-Anglo-Saxon origins. If we assume one-third of the American population came from the British Isles, I believe that those in cosmopolitan America would largely understand.

“But it would be difficult to assess idiomatic appreciation across the States as a whole. The Secret Service never succeeded commercially. But there are some minority aspects of humour which are so strong that, in spite of their non-commerciality, they can be worthwhile. I received letters of appreciation from places like Australia, Canada and the Far East right up to last year — ten years after the series was made”.

Stanley Unwin died in 2002, much mourned, aged 90. At the church service after his death, the valediction began: “Goodly Byelode loyal peeploders! Now all gatherymost to amuse it and have a tilty elbow or a nice cuffle-oteedee – Oh Yes!”

He is buried with his wife Frances, who died before him. Their joint gravestone has the inscription: “Reunitey in the heavenly-bode – Deep Joy!”


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Forgotten famous British comedians and Sean Brightman’s comedy condoms

Sean Brightman at the Sanderson Jones gig

Sean Brightman this week at Sanderson Jones’ Internet gig

Yesterday, I blogged about Sanderson Jones’ geeky new comedy night All Your Internet Are Belong to Us and how this month’s show developed into a bit of a gross-a-thon.

But, before it went so entertainingly off-the-rails, it had stayed on its geeky theme with the end of a ‘tumblr battle’ between comedians Sean Brightman and Stuart Laws in which, for about three weeks, they had created collections of tumblr images.

Stuart Laws had created a collection of comic ‘riders’ demanded by performers.

Sean Brightman had gone for his rather more ambitious A-Z of Alternative Comedy – The Alternative Alphabet.

This proved interesting because, the All Your Internet Are Belong to Us show had a full audience of average-aged comedy punters, many of whom had simply never heard of a few of the famous comedians whom Sean had chosen.

Sic transit gloria.

It was an age thing. I guess it also demonstrates the power of television.

Comedian Charlie Chuck - aka “Donkey!"

Comedian Charlie Chuck – now popularly known as “Donkey!”

When Sean showed his tumblr graphic for Charlie Chuck and asked, “Does anyone know who this is?” someone immediately shouted out in a throaty voice: “Donkey!”

Everyone knew who Kevin Eldon is, presumably because of his current TV series; before that, I suspect, most comedy-watchers knew the face but not necessarily his name.

Everyone, of course, knew Stewart Lee but no-one knew his hero and inspiration Ted Chippington.

No-one in the audience had heard of the great Stanley Unwin – admittedly more of a personality than a comedian, but he did gain television fame in his day. Sean admitted Stanley was “not really an alternative comedian, but there is fuck-all else for ‘U’.”

Oy! Oy! - Who the hell is this unknown famous bloke?

Oy! Oy! – Who the hell is this unknown famous comedy bloke?

And absolutely no-one in the full room knew who Malcolm Hardee was, despite I think valiant efforts by me over several years to link the phrase ‘the godfather of alternative comedy’ and the name ‘Malcolm Hardee’ together in the comedic collective mind…

As Sean explained to the audience: “This is Malcolm Hardee. He was a famous… well, not too famous… but he was quite famous… erm.. around the comedy scene… especially round London… for being the… the… he was… Just buy his autobiography I Stole Freddie Mercury’s Birthday Cake. You’ll find out all about alternative comedy. He’s a comedy legend. He sadly died.”

Afterwards, I chatted to Sean.

“Why?” I asked. “Why do the tumblr Alternative Alphabet?”

“It was an educational device to teach people a little bit about alternative comedy,” he told me.

“Are you being serious?” I asked. “Are you going to take it into schools?”

“I think it could live on longer than a tumblr battle,” replied Sean. “It’s a project I’ve wanted to do for a while. I’m a designer as well as a comedian, so I present things all the time and this was a nice way of combining my skills.

“I’m doing a show with my wife Renata at the Edinburgh Fringe this year, which is going to be a PowerPoint presentation. It’s called Philip and Marjorie’s Marriage Preparation Course For Regular People and The Gays.

A man with a mission - well, quite a lot of missions, in fact

A man with a mission – well he owns rather a lot of missions

“Renata and I got married in September in a Catholic church. I’m not a Catholic. They send you on a marriage preparation course and you can either do it over five weeks or you can do it over one day. We did it over one very warm Saturday last year and it just struck us both how hilarious it was.

“In many ways, it’s good to get 26 or 27 couples together in a room and work through different scenarios and troubleshoot various areas of marriage that might come up.

“The spark for our show was that the couple teaching the course had been reading off this Comic Sans presentation – endless Comic Sans slides – and they stopped for a second and decided to ad-lib something. They looked at us all up and down and said:

“OK. You may have seen what’s going on in the news. How many of you, by a quick show of hands, believe that gay people should be allowed to get married?”

“A lot of people’s hands went up, including ours.

“They were taken slightly aback by this and I thought Wow! We’re at a Catholic event with a lot of people who ARE Catholic, yet there’s a big groundswell of support for this. 

“So the idea for our show is that these two (fictional) bumbling characters are doing a marriage preparation course and they’re trying to modernise things when, really, they probably shouldn’t and they don’t really have an understanding of the issues.

“But the show will be done from a place of love. Trying to walk that fine line between being offensive and putting on a show that’s educational and a bit different.”

“Renata’s a comic herself?” I asked.

“She is a comic, explained Sean. “She was performing a lot in Australia and then came over here to pursue comedy and met me. But then she had a horrible back accident and had to rest and stop. She broke her coccyx and had to take time off. So she’s just finding her way back into it now and she’s helping me run my We Love Comedy gig in London.”

“She was born in Australia?”

“Yes,” said Sean. “Australia’s a great place. I’d love to live there at some point in the future.”

“But,” I argued, “it’s just a big desert with bits round the edge.”

Australia - a big desert with bits round the edge

Australia really IS just a big desert with bits round the edge

“Yes,” agreed Sean. “Desert is the word, but it’s not what we’ve got here. It’s summer here now and it’s snowing outside. We had plans to move to Australia, but we’ve put them off because we’ve now adopted a three-legged dog and a cat.”

“Have you done the posters for your Edinburgh show?” I asked.

“We’re going to do very simple printed leaflets,” replied Sean, “of the sort you’d see in a church. And then we’re going to staple condoms to them.”

“This afternoon,” I said,” I was talking to Kate Copstick and she told me that, if you go to Poundland, you can buy 12 condoms for £1.”

“It’s been worth talking to you tonight,” Sean said and left quickly.

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