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Convergences: Emma Peel Diana Rigg
Domestic
Life: Both Diana and Emma show several similarities in their raising,
at least in terms of harmony. Although when she was only 7, Diana was
sent back to England along with her brother to live with her grandparents,
she always remembers that stage of her life with great emotion. Not only
for all the things her grandfather taught her during those 3 years, but
basically for a discovery which would change her character forever - independence.
Whenever her packed agenda allowed it, Diana took advantage of the chance
to enjoy an outdoor life at her parents' house in Yorkshire. Her family
has always been essential to her personal life and career as well, to
the point of turning down important offers only to stay close to her dearest.
As for Emma, we don't have exhaustive details on her domestic life, though
we do know, thanks to the episode The House that Jack Built, that Emma
has always remained so very close to her parents and has contributed to
the success of Knight Industries, the family business she would take over
once her father passed away.
Sense of Humor: Although many people think of her as one of the
greatest exponents of the English tragedy, Diana confesses she never took
herself seriously, which perhaps has prevented her from giving much more
important performances than those she has so far. She describes herself
as a person with an irreverent spirit. And if we take the trouble to check
the reviews Diana got about several of her most acclaimed roles, we'll
find that a number of them agree in her outstanding ability to transform
an absurd or tragic line into a humorous and tongue-in-cheek one. The
Steed-Peel association is regarded as one of wittiest ever seen on television,
and obviously, the formula for this success lies in the shared sense of
humor that always existed, and still does, between Patrick and Diana.
Both Steed and Emma succeed to make us break into a giggle with situations
as simple as Emma trying to put a peanut in Steed's mouth or playing the
tuba at Steed's apartment. Not to mention those times at which both tried
to have a serious talk, as inevitably they finished with a certain remark
that suggested something more than a mere working relationship was going
on...
Liking for champagne: It's in this point, perhaps, at which Diana
and Emma agree more than in any other. Diana never denied her fondness
for a certain bubbling drink, which incidentally was also Emma Peel's
delight (although they actually sipped carbonated lemonade in the set,
any imaginative viewer might decide that in fact, Emma and Steed drank
champagne). However, a rule was followed every time Diana and Patrick
shared a bottle of champagne: it could be taken only after the work was
finished, never during rehearsals or filming. The same went for Emma Peel,
who only clinked her glass with Steed's once the current assignment came
to an end successfully.
Kinkiness: Diana always acknowledged proudly her lack of affection
for brassieres, perhaps for finding them uncomfortable or perhaps for
her eternal interest in generating controversy. This attitude encouraged
Laurence Olivier to affectionately dub her "Tits" during her
stay at the Sir Laurence Olivier National Theatre Company. In 1973, during
a photo session to promote the series Diana, the first thing a photographer
of Los Angeles magazine asked her was how would she feel showing her nipples,
since NBC (the network airing the series) disliked the exhibition of nipples,
navels, or another manifestation of the human body.
However Diana and Emma's kinkiness got merged together once, and this
was shown to the audience through the Avengers episode A Touch of Brimstone,
a highly controversial one, mostly due to its impressive scenes in which
Emma was attacked with a whip, no less. Aside from these scenes, though,
this episode will always be remembered for the extremely erotic garments
Mrs. Peel wore in the presence of an open-mouthed audience (Steed being
among them) when she was introduced as the Queen of Sin. Such costumes
were designed by Diana Rigg herself, and consisted of a tight-on Edwardian-style
black corset, high heeled leather boots, and 3-inch long spike collar.
After this episode further evidence appeared around the fact that Emma
Peel wasn't a disconsolate widow at all, but rather a bachelor excited
by both erotic and dangerous things.
The Way She Dressed (Fifth Season): From the first episode of
the fifth season, one can appreciate how Diana Rigg has developed the
classy, true style in her character, especially through her clothes. The
famed miniskirts, as well as suits and dresses in smooth colors came out.
Leather suits were put aside, since in Diana's own words, "it
[leather gear] wasn't me, it belonged to Cathy Gale" (The Complete
Avengers, Dave Rogers). Alun Hughes, designer of Emma's new wardrobe,
had been suggested by Diana herself. ABC's directives to Hughes suggested
that he made her look feminine, elegant and dangerous, all rolled into
one. Her active participation in her costume design, reflected how Diana
felt much more comfortable with her character, to the point of wishing
to dress her the way she usually did in her private life.
Her Determination: In describing the character of Emma Peel, the
main attributes usually arise are: feline beauty, talent, conviction,
and both physical and intellectual strength in times of crisis. Perhaps
these characteristics are best reflected on Murdersville, where Emma hadn't
even time to mourn the death of her childhood friend, since she had to
keep herself calm and clear-headed so as to try to escape from that ghastly
town. In the end, she succeeded with Steed's help, but prior to this,
she did her utmost to escape on her own, because, as she said, "nothing
is impossible". Other episodes in which her determination is
also evident are The House that Jack Built and The Joker, both favorites
among Emma fans. Many people, including myself, have come to admire Emma
Peel due in no small part to these episodes, Emma proves that not all
women lose their decision making and reasoning ability every time they
have their backs to the wall.
Diana has showed these same features throughout her life: from the time
she made her first steps at RSC, she always did all her best in order
to play her roles as perfectly as possible. She even borrowed a bit of
the stage scenery if necessary, or tried to get the most important female
leads in theatrical history. This was always done with the strong determination
to leave her mark in all the various entertainment media (cinema, theater,
television and radio). Her natural disposition to acknowledge her mistakes,
to learn from them and move on, married with a firm conviction have lead
her to become one of the best actresses of her generation.
Her Independence: Emma Peel's independence and self-assurance
is no doubt due in the main to Diana Rigg, no matter how many strokes
the scriptwriters made over this character in order to make the viewer
to understand. From the first episode, she enjoyed complete freedom. Emma's
basic traits indicative of her total independence are: her expertise in
kung-fu and tai-chi, which allowed her to deal with her opponent without
having to ask for helpespecially from a man; her insistence on living
alone with both social and sexual autonomy once she was widowed; the possession
of a sport car (a Lotus Elan S2); her ability to deal with a tense situation
all on her own, and to make decisions whenever she and Steed decided to
split up during an assignment, in search of separate clues. Once again
this is an art-imitating-life case. Diana found the independence she yearned
for so much during her childhood, once her family sent her and her brother
back to England for further education, and consequently she had to leave
her parents, home, and all those who she knew and loved. She suddenly
found herself amidst strangers in an unknown building, under high standards
of discipline, yet rather opposite to the life of an ordinary child.
That independence she would lead her to develop, through most of her life,
quite negative opinions regarding marriage and the control a man could
exert on her persona. In a way, these experiences left a bad taste in
her mouth, to such an extent, that now in her 60s, after two failures,
she refuses to talk about marrying again, just for fear of losing her
beloved independence.
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