It’s 1972. Missions to the moon are still being launched. A space station is about to go into orbit. Live television broadcasts and telephone communications via satellite are becoming commonplace, as are computers capable of handling and sorting immense amounts of information. In this context, the idea of one man, an Aston Martin, and a martini (shaken, but not stirred) standing between the free nations of the world and domination by evildoers seems quaint.
At least that’s the idea in NBC’s Search, a short-lived “spy-fi” series dreamed up by Leslie Stevens, the producer who had brought us The Outer Limits in its original 1960s incarnation. Search involves the top-secret World Security Corporation, evidently a commercial entity with connections in all the right (high) places. Deep inside World Security’s office building lies PROBE Control, a kind of “mission control” guiding the activities of an elite handful of special agents around the globe.
[Via] Warner Archive
Sitting in the big chair at the center of PROBE Control is V.C.R. Cameron (the simply amazing Burgess Meredith), a veteran at the spy game who now turns his expertise toward guiding younger agents in the field. Surrounding “Cam” is a circle of specialists in data retrieval and analysis who, together with PROBE’s amazing computer power, can piece together information on the fly to help agents in the field.
Those agents are themselves called Probes. Each agent has been fitted with an implant that allows them to hear and speak to PROBE Control via satellite, and each agent has a tiny camera, worn either as a pendant or as a ring, allowing PROBE Control to see what they say, analyze things or even people at the spectroscopic level, and monitors and records the agent’s vital signs.
Perhaps most importantly, there’s more than one agent, and an acknowledgement that each Probe needs time off to recover from each taxing adventure. One of three agents leads the charge in each episode: Hugh O’Brian as Lockwood, a.k.a. “Probe One”, the best and brightest of the agents; Anthony Franciosa as Nick Bianco, a.k.a. “Omega Probe”, a former cop with deep knowledge of the criminal underworld; and Doug McClure as the carefree C.R. Grover, the Backup Probe, who gets the assignments no one else wants – or inherits hazardous assignments from Probes who die in the line of duty. (On a purely logistical level, this arrangement would allow for multiple filming crews to be filming multiple scripts at multiple locations, and future-proofs the show against such real-world incidents as a star being hurt…or demanding a larger salary.)
The action starts with the pilot movie PROBE, which aired early in 1972, starring Hugh O’Brian and no less a guest star than Sir John Gielgud. Introducing the show’s jetsetting international scope, flashy stunt work, and the seemingly vast PROBE Control set, the movie can’t have been cheap, but it sets up the concept and some of the characters – and hooked enough viewers to get a go-ahead as a series.
There’s just one problem: PBS was airing a documentary/news series called Probe at the same time, and the producers were asked to change the name of the series when it returned in the fall, hence its rebirth as Search. O’Brian and Burgess Meredith were still aboard, along with many of the same actors who played the PROBE Control computer operators, but O’Brian began rotating episodes more or less evenly with Franciosa and McClure, and the settings changed drastically from week to week.
Search is fun in that early ’70s gotta-have-a-car-chase-if-it’s-on-TV kind of way. Each of the leading men have their own quirks and charms (though Franciosa, as Nick Bianco, emerges as an early favorite just for his character’s Rat-Pack-worthy swagger), and Burgess Meredith anchors each episode, providing his trademark good-natured crankiness.
And that awesome spy tech? The funny thing is, in this world of the internet and cell phones (and, yes, cell phones that can get on the internet), Search’s technology is just now landing this side of the “plausible” line. In 1972, the technology depicted, and its abilities, were pure science fiction, an attempt to transplant the NASA technology that everybody had seen get men to the moon into a spy thriller setting.
After decades of obscurity and being forgotten, Search is back, with the full series available on DVD. PROBE is available on its own disc. It may not be worthy of binge watching as we now know it, but it’s fun to watch an episode now and again. And how did Search fans enjoy the show after it played on their local NBC stations? Believe it or not…there was an official set of Search ViewMaster reels…because nothing is more fun for kids than reliving Hugh O’Brian stoically putting down a terrorist plot!
As cool as that is, however, Search – and its whistle-able theme song and neat spy tech – signed off after a single season. Over the course of its months on the air, the expense of mounting weekly international spy capers (even if “international” meant “Hollywood backlot”) was evidently getting to be a bit much, as PROBE Control shrinks noticeably as the show wears on.
Had the show stayed on for a second year, it would seem like getting the three leading men together, either for a one-off mission to save the world, or as part of an all-hands PROBE effort to stop some global scheme, would’ve been a no-brainer for a sweeps month – kind of like doing Doctor Who’s celebrated Five Doctors episode in year two instead of year 20.
Is this one of those underground classics that needs a modern reboot? Should the Search continue? Seek out the original and judge for yourself.
Latest posts by Earl Green (see all)
- Retroist Scoreboard: Tangerine Dreams and Space Spinach - August 2, 2017
- Retroist Scoreboard: The Dog and Jedi and Klown Days of Summer - July 22, 2017
- Retroist Scoreboard: The Summer Soundtrack Smorgasbord - July 11, 2017