|
|
 |
Feathered Serpent (The) (TV)
R2 - United Kingdom - Network Review written by and copyright: Paul Lewis (21st February 2009). |
|
The Show
   Produced for Thames Television, The Feathered Serpent is an example of the type of challenging children’s serial that was popular during the 1960s and 1970s but which no longer exists. The Feathered Serpent ran for two series; the first series was broadcast by ITV in June-July of 1976, and the second series was broadcast two years later, in April-May of 1978. Each series contained six half-hour episodes.  Featuring the respected actor Patrick Troughton in a lead role (as the High Priest Nasca), The Feathered Serpent is set amongst the Aztec civilisation. Constructed as a historical drama, the series also has a strong educational function: the series focuses in detail on the belief systems of the Aztecs, outlining the conflict between what is often referred to within the series as ‘the old religion’ and a new, more power-oriented approach to faith. This conflict is symbolised through the power struggles that take place between the High Priest Nasca, who has facilitated the acceptance of a new god and believes in the symbolic (and spiritual) power of the Aztec practice of ritual sacrifice, and Emperor Kukulkhan (Tony Steedman). A follower of the ‘old god’, Kukulkhan disagrees strongly with the process of ritual sacrifice. However, Nasca’s dogmatic belief in the new god is more (or less) than a simple matter of courage in his convictions: it is prejudiced by his desire to retain the power that his position holds. (There’s a fairly overt allegorical dimension to the narrative, as this very brief synopsis might suggest.) As the narrative progresses, Nasca’s scheming has a negative effect on the lives of Kukulkhan’s daughter Chimalma (Diane Keen), a young servant named Tozo (Richard Willis) and the boy prince Heumac (Brian Deacon).   Compared to many modern children’s television programmes, The Feathered Serpent is mostly action-less; studio-bound, it’s surprisingly wordy and concerned with the politics that are thrown up by the conflict between Nasca and Kukulkhan. The series is both educational and challenging, taking its time to tell its story and therefore never patronising the patience of its young audience. Sadly, it’s difficult to imagine a children’s drama like The Feathered Serpent being commissioned in today’s climate, where there’s an unproven assumption that narratives should be fast-paced and action-based, and even adult-oriented dramas shy away from engaging with the kind of dialogue-driven political intrigue represented here. The Feathered Serpent is also quite challenging in its focus on the issue of ritual child sacrifice, and its approach to the polytheistic belief systems of the Aztecs is objective and free from prejudice; not only does the series not patronise its child audience, but it also does not patronise the ancient culture that is represented in the narrative. Disc One: Series 1 (6 episodes) Stills gallery Disc Two: Series 2 (6 episodes)
Video
The series is presented in its original broadcast screen ratio of 1.33:1. The episodes seem to be intact. Shot entirely in a studio, the series was recorded on videotape. This DVD release looks about as good as a release of a thirty-year old shot-on-videotape drama can be expected to look, and is never less than watchable.  
Audio
Audio is presented via a two-channel mono track. Dialogue is clear. There are no subtitles.
Extras
Disc one, containing the first series (from 1976), also includes an image gallery.
Overall
The kind of thoughtful and challenging children’s drama which, to the detriment of television culture, would probably not be commissioned in today’s television climate, The Feathered Serpent is a fascinating and seemingly carefully-researched series. The show is essentially a historical drama (of the I, Claudius variety) produced for a young audience, and as noted above the series does not patronise its child audience, never underestimating their capacity for carefully-scripted ‘slow-burning’ drama. It’s fascinating viewing, although the studio-bound shot-on-VT aesthetic may not be to everyone’s taste. 
|
|||||
|