"Look - (stop me if you've heard this one) But There Were These Two Fellers..." is unique and one of a kind, the only full blown comedy, and the most controversial episode of the entire series. For the first time, Tara wears a long haired brunette wig, making her look more like Emma Peel than ever before (exactly the opposite of what the original producers intended). A pair of vaudeville clowns are killing off the entire board of a development company taking the blame for putting their fellow performers out of work. A simple red nose left behind provides a vital clue as to the killer's identity, with future Monty Python star John Cleese making a brief but memorable appearance as Marcus Rugman, hilariously nervous caretaker of the clown makeup copyrights, carefully preserved on fragile eggs, laid out in a most unaccommodating series of shelves! (Tara: "you are a public office?" Marcus: "yes, that's the trouble!") The sort of uptight role that Cleese truly excels at, perhaps the single funniest part of his scenes is the elaborate messages ("Don't knock, don't even breathe!") posted on the door to his sanctuary (completed March 1968, 18 months before Python's debut). A vibrant combination of mirth and malice, Julian Chagrin's silent pantomime as Jennings conjures fond memories of Harpo Marx, but it's Jimmy Jewell's quick changing Merry Maxie Martin who steals the show, his climactic tussle with Steed yielding 7 different costume changes. Also featuring Bernard Cribbins ("The Girl from Auntie") playing gag writer Bradley Marler, who laughs at every groaner he utters, Johnny Vyvyan, later seen on THE BENNY HILL SHOW, showing up in costume at the rest home where the comics receive their marching orders, plus Talfryn Thomas ("A Surfeit of H2O"), John Woodvine ("Dead of Winter" and "The Murder Market"), and Robert James, veteran of "Hot Snow," "Brought to Book," "Death A La Carte," and "Too Many Christmas Trees." Echoing "How to Succeed....at Murder," which also featured a ventriloquist, and best seen when familiar with the AVENGERS formula, as described by Patrick Macnee (for whom this entry remained a favorite); that is, to take perfectly ordinary situations and tilting them slightly, emphasizing the humor, which had been sadly lacking throughout the earliest Tara shows. Better than ever as Tara (her 8th episode), Linda Thorson's delightfully charming performance compares most favorably with the departed Diana Rigg, in keeping with the overall tone, finally on equal footing with Macnee's Steed (who does his share of quick changes in the tag scene). And to think, all it took was a little bit (a lot?) of humor!
The Avengers (TV Series)
Look - (Stop Me If You've Heard This One) But There Were These Two Fellers... (1968)
User Reviews
Review this title11 Reviews
"An underrated episode from the Tara King era."
jamesraeburn20034 December 2006
Warning: Spoilers
Steed and Tara are assigned to investigate the mysterious murders of the directors of the Caritol Land And Development Corporation. Clues such as red noses, giant footprints and magical walking sticks suggest that The Avengers are searching for a killer clown. But despite the comedic ring to the killings, Steed and Tara fear that there is a deadly serious motive behind it all, the corporation recently won the contact to build a top secret underground headquarters for the government to be used in the event of war. In reality, at Vaudevilla, a home for retired artistes, the mastermind in the guise of a Punch and Judy act is ordering a group of redundant variety artistes to murder the directors of the company in order to ruin the government project and clean up with enemy powers. Steed and Tara reveal retired clown Merry Maxie Martin (Jimmy Jewel) to be carrying out the crimes but its not until Tara narrowly avoids being burned in half by Fiery Frederick (Talfryn Thomas) that Seagrave (John Woodvine), one of the Caritol company directors, as the brains behind the plot.
Some people knock this episode but it is one of my favorites from the Linda Thorson era. It's eccentric plot about killer clowns and its wickedly funny idea of the arch criminal issuing his orders in the form of Punch and Judy hark back to the best of the Emma Peel days. Director James Hill stages an imaginative quick-change sequence at the episode's climax where Steed knocks out Maxie Martin (who has changed costumes at least six times during the ensuing fight) and as he falls backwards through the hall into a prop cupboard, through a series of sharply edited shots, he goes back through every single costume before falling down unconscious in the flannel blue suit he was wearing at the start. The supporting cast is also interesting as it includes Bernard Cribbins as Maxie Martin's one time gag writer whose office contains mountains of screwed up paper containing the most pathetic jokes imaginable. Then there's a young John Cleese (long before his Fawlty Towers and Monty Python days) in a small part as the eccentric Marcus who specializes in copy writing every clown's make up on eggs! Jimmy Jewel is perfectly cast as the hilarious Maxie Martin and Macnee and Thorson enter nicely into the spirit of the thing. There's a great teaser at the end as Tara turns up all dressed up to go to the opera only to find Steed not ready. He's been mastering the art of quick change and goes through a variety of ridiculous costumes before finding the correct evening attire only that isn't quite right either as it has a mini-neon sign reading "Eat At Joe's Cafe" attached to the back!
Some people knock this episode but it is one of my favorites from the Linda Thorson era. It's eccentric plot about killer clowns and its wickedly funny idea of the arch criminal issuing his orders in the form of Punch and Judy hark back to the best of the Emma Peel days. Director James Hill stages an imaginative quick-change sequence at the episode's climax where Steed knocks out Maxie Martin (who has changed costumes at least six times during the ensuing fight) and as he falls backwards through the hall into a prop cupboard, through a series of sharply edited shots, he goes back through every single costume before falling down unconscious in the flannel blue suit he was wearing at the start. The supporting cast is also interesting as it includes Bernard Cribbins as Maxie Martin's one time gag writer whose office contains mountains of screwed up paper containing the most pathetic jokes imaginable. Then there's a young John Cleese (long before his Fawlty Towers and Monty Python days) in a small part as the eccentric Marcus who specializes in copy writing every clown's make up on eggs! Jimmy Jewel is perfectly cast as the hilarious Maxie Martin and Macnee and Thorson enter nicely into the spirit of the thing. There's a great teaser at the end as Tara turns up all dressed up to go to the opera only to find Steed not ready. He's been mastering the art of quick change and goes through a variety of ridiculous costumes before finding the correct evening attire only that isn't quite right either as it has a mini-neon sign reading "Eat At Joe's Cafe" attached to the back!
Crazy good fun, plenty of clowning about.
Sleepin_Dragon7 September 2022
Members of The Board from The Capitol Land and Development Company are being picked off, the only clues as to the assailant's identity, big feet and a red nose.
What did I just watch? Seriously what on Earth did I just watch?
I didn't have a clue what was going on for the most part, but I absolutely loved it, totally and utterly bonkers, that was without doubt, the maddest and most surreal episode I've ever seen.
I particularly enjoyed the punch and Judy scenes, there's something so entertaining about them visually, and I loved the array of clowns and performers.
Acting wise, Jimmy Jewell and Julian Chagrin were awesome as the clowns, those costume changes had me doubled up, Bernard Cribbins was great, but best of all, John Cleese and the eggs, that was straight out of Fawlty Towers, not just my favourite scene from the episode, but one of my favourite scenes ever.
Loved it, 8/10.
What did I just watch? Seriously what on Earth did I just watch?
I didn't have a clue what was going on for the most part, but I absolutely loved it, totally and utterly bonkers, that was without doubt, the maddest and most surreal episode I've ever seen.
I particularly enjoyed the punch and Judy scenes, there's something so entertaining about them visually, and I loved the array of clowns and performers.
Acting wise, Jimmy Jewell and Julian Chagrin were awesome as the clowns, those costume changes had me doubled up, Bernard Cribbins was great, but best of all, John Cleese and the eggs, that was straight out of Fawlty Towers, not just my favourite scene from the episode, but one of my favourite scenes ever.
Loved it, 8/10.
Send In The Clowns!
ShadeGrenade20 March 2009
Warning: Spoilers
A fabulous episode from the pen of Dennis Spooner, creator of 'The Champions' and 'Randall & Hopkirk ( Deceased )'.
Company directors are being ruthlessly eliminated by a pair of clowns, 'Merry Maxie Martin' ( Jimmy Jewel ) and 'Jennings' ( Julian Chagrin ). Each time they murder someone they exit the scene with a merry little dance. Then Maxie leaves a red nose behind, giving Steed and Tara a major clue.
Tara goes to see Marcus Rugman ( John Cleese ), who keeps a record of copyrighted clown make-up, stored in a room of specially-painted eggs. He identifies the nose as belonging to Martin, but then the clowns show up and kill him.
Martin, a one-time music-hall entertainer, is a resident at 'Vauda Villa' - a retirement home for showbiz entertainers. A Punch & Judy man is guiding the actions of the residents, forcing them to commit murder in revenge for all the theatres the corporation has closed. But the mastermind has another, more sinister reason behind his actions - the same corporation is behind 'Project Cupid' - the name of the secret underground base which the British Government will occupy in the event of nuclear war...
As previously mentioned, this story features John Cleese, some months ahead of 'Monty Python's Flying Circus'. He does not get a big role, certainly nothing comparable with 'Frost Report' co-star Ronnie Barker's contribution to 'The Hidden Tiger', but he represents the future of comedy in a story that virtually celebrates its past. The casting of Jimmy Jewel - one half of the double-act Jewel and Warriss - was indeed inspired, and Julian Chagrin's sad-face makes 'Jennings' seem incredibly sinister. Bernard Cribbins has a nice cameo as a gag writer, forever scribbling down jokes, reading them back to himself, and then throwing them away.
When Tracey Emin went on the B.B.C.'s 'Room 101', she chose clowns as one of the things she most wanted to rid the world of, and a clip of this episode was used to illustrate their potential creepiness.
Wonderful Welsh actor Talfryn Thomas ( 'Pte. Cheeseman' in 'Dad's Army' ) is 'Fiery Frederick'. His leering and grimacing as he plans to burn Tara in half is disturbing to behold.
The climax is a fight between Steed, Tara, Martin and Jennings, with the clowns changing costumes at lightning speed to confuse their opponents. You have got to see it to believe it!
Company directors are being ruthlessly eliminated by a pair of clowns, 'Merry Maxie Martin' ( Jimmy Jewel ) and 'Jennings' ( Julian Chagrin ). Each time they murder someone they exit the scene with a merry little dance. Then Maxie leaves a red nose behind, giving Steed and Tara a major clue.
Tara goes to see Marcus Rugman ( John Cleese ), who keeps a record of copyrighted clown make-up, stored in a room of specially-painted eggs. He identifies the nose as belonging to Martin, but then the clowns show up and kill him.
Martin, a one-time music-hall entertainer, is a resident at 'Vauda Villa' - a retirement home for showbiz entertainers. A Punch & Judy man is guiding the actions of the residents, forcing them to commit murder in revenge for all the theatres the corporation has closed. But the mastermind has another, more sinister reason behind his actions - the same corporation is behind 'Project Cupid' - the name of the secret underground base which the British Government will occupy in the event of nuclear war...
As previously mentioned, this story features John Cleese, some months ahead of 'Monty Python's Flying Circus'. He does not get a big role, certainly nothing comparable with 'Frost Report' co-star Ronnie Barker's contribution to 'The Hidden Tiger', but he represents the future of comedy in a story that virtually celebrates its past. The casting of Jimmy Jewel - one half of the double-act Jewel and Warriss - was indeed inspired, and Julian Chagrin's sad-face makes 'Jennings' seem incredibly sinister. Bernard Cribbins has a nice cameo as a gag writer, forever scribbling down jokes, reading them back to himself, and then throwing them away.
When Tracey Emin went on the B.B.C.'s 'Room 101', she chose clowns as one of the things she most wanted to rid the world of, and a clip of this episode was used to illustrate their potential creepiness.
Wonderful Welsh actor Talfryn Thomas ( 'Pte. Cheeseman' in 'Dad's Army' ) is 'Fiery Frederick'. His leering and grimacing as he plans to burn Tara in half is disturbing to behold.
The climax is a fight between Steed, Tara, Martin and Jennings, with the clowns changing costumes at lightning speed to confuse their opponents. You have got to see it to believe it!
The Avengers with style!
stockdall10 March 2020
I'll have to admit that this was the first Avengers episode that I ever seen. I remember being at my Dad's house and he was flipping through the channels and turned it over to AE. From beginning to end, it was awesome! I love the quirkiness of this episode from the clowns to seeing a young John Cleese being so strict about walking on the white line, pre-James Bond attitude. Such a great series and I would recommend it to anyone that likes mystery and crime shows.
A darkly comic instalment
Tweekums21 March 2015
Warning: Spoilers
This episode sees two assassins targeting the directors of a development company; they aren't ordinary killers though; they are two clowns who exit the murder scene with a little comedy routine. Steed and Tara are called in because the company had won the contract for the building of a secret government bunker. At the first scene the only clue is a pair of huge footprints. At the second scene one of the clowns, Merry Maxie Martin, loses his nose. This clue leads Tara to visit Marcus Rugman, the man responsible for the unique copywrited face each clown has; the faces are recorded on eggs so it isn't surprising that he is nervous about receiving visitors. This ultimately leads to Merry Maxie's identification and to find where he is now Steed visits his old gag-writer Bradley Marler whose office is piled high with discarded jokes. Tara manages to be captured again and is going to meet an unpleasant fate if Steed can't find where the clowns are based!
The Avengers had been a bit too serious lately but this episode takes things the other way in a most enjoyable manner. Merry Maxie Martin and his unspeaking partner Jennings, brilliantly portrayed by Jimmy Jewel and Julian Chagrin, prove to be more sinister than comic as they work their way through the directors they blame for the closure of the theatres they performed at. Even more sinister is Talfryn Thomas, who plays 'Fiery Frederick', one of the series nastiest characters, who plans to burn Tara in two with an oxyacetylene torch! The episode is also notable for two of its guest stars; John Cleese, who plays Marcus Rugman with a delightful nervousness; and Bernard Cribbins, who plays Bradley Marler, gag writer who can't stop laughing at his own material. The plot itself is pretty good; we have the two clowns killing board members for revenge not realising that they are being manipulated by somebody with entirely different motives. This man amusingly gives his orders via a Punch and Judy show. Linda Thorson is growing into the role of Tara, even if she does end up the 'damsel in distress' once again. The action is well handled with inventive clown themed murders and a great final fight between Steed and Merry Maxie Martin where the latter changes costume with every fall! Overall a fine episode; possibly the best of the 'Tara King' episodes so far.
The Avengers had been a bit too serious lately but this episode takes things the other way in a most enjoyable manner. Merry Maxie Martin and his unspeaking partner Jennings, brilliantly portrayed by Jimmy Jewel and Julian Chagrin, prove to be more sinister than comic as they work their way through the directors they blame for the closure of the theatres they performed at. Even more sinister is Talfryn Thomas, who plays 'Fiery Frederick', one of the series nastiest characters, who plans to burn Tara in two with an oxyacetylene torch! The episode is also notable for two of its guest stars; John Cleese, who plays Marcus Rugman with a delightful nervousness; and Bernard Cribbins, who plays Bradley Marler, gag writer who can't stop laughing at his own material. The plot itself is pretty good; we have the two clowns killing board members for revenge not realising that they are being manipulated by somebody with entirely different motives. This man amusingly gives his orders via a Punch and Judy show. Linda Thorson is growing into the role of Tara, even if she does end up the 'damsel in distress' once again. The action is well handled with inventive clown themed murders and a great final fight between Steed and Merry Maxie Martin where the latter changes costume with every fall! Overall a fine episode; possibly the best of the 'Tara King' episodes so far.
Look (Stop Me If You've Heard This One) But There Were These Two Fellers
dweilermg-131 March 2018
Look (Stop Me If You've Heard This One) But There Were These Two Fellers IS my personal favorite of the Tara King AVENGERS episodes. Loved how after every murder the 2 clowns dance away arms linked with music playing similar to a rim shot after a comedian's joke. Eerie and hilarious at the same time, truly brilliant black comedy at its best.
Funny and effective
searchanddestroy-130 March 2019
One just little thing I want to add here. This episode is the closest to the Emma Peel seasons, because the eccentric characters, supporting characters, are back here. There was no one so far since the beginning of this series. I hope they will continue to appear.
Clowning around can be murderous
coltras358 May 2022
The jubilant spirit of vaudeville takes a murderous turn when Directors of the Capitol Land and Development Company are killed by two vaudeville clowns in various imaginative ways and perform a jig after the ghastly deed. The reason: they are irate that their variety theatre will be flattened to the ground, or is there a twist in the tale. Watch Steed and Tara try and figure who is doing the killing. And Clues such as a red nose and a giant footprint lead the Avengers to a home for retired clowns in this thoroughly bizarre, tongue-in-cheek and joyously absurd episode which is sort of an ode to vaudeville theatre. The finale is a cracker with poor Tara almost getting incinerated. The fight at the end with the change of costumes and Jack in the box trick is great fun and well imaginative.
Send in the clowns...
canndyman19 August 2019
Two contract killers dressed as clowns are responsible for a number of bizarre and grisly deaths of members of the board of the same company, and The Avengers are called in to investigate.
This rather odd episode sits rather awkwardly in what was, on the whole, a pretty good season. The sense of glossy unreality in The Avengers is usually much more subtle, but here it's the central theme - clowns who can commit murders in full make-up & costumes, and even do a quick-change in the blink of an eye! Colorful as it is, the overt comedy doesn't really work, and it never feels the least bit believable.
It's never been one of my favorite episodes, though I'm aware that some fans like it. It seems here that the writers are still getting to grips with the new series, and Tara as a character, and haven't fill cracked it yet. Much better stories were to come!
There's a couple of interesting cameos along the way though with Bernard Cribbins, and also John Cleese - seen here just a short while before the Monty Python series hit the screens.
All in all though, one of the lesser stories of the Thorson season, and definitely not a good place for anyone new to the series to start!
This rather odd episode sits rather awkwardly in what was, on the whole, a pretty good season. The sense of glossy unreality in The Avengers is usually much more subtle, but here it's the central theme - clowns who can commit murders in full make-up & costumes, and even do a quick-change in the blink of an eye! Colorful as it is, the overt comedy doesn't really work, and it never feels the least bit believable.
It's never been one of my favorite episodes, though I'm aware that some fans like it. It seems here that the writers are still getting to grips with the new series, and Tara as a character, and haven't fill cracked it yet. Much better stories were to come!
There's a couple of interesting cameos along the way though with Bernard Cribbins, and also John Cleese - seen here just a short while before the Monty Python series hit the screens.
All in all though, one of the lesser stories of the Thorson season, and definitely not a good place for anyone new to the series to start!
The Avengers do Benny Hill
mmallory-8992622 January 2020
Warning: Spoilers
"Look -- (Stop me...)" is the most polarizing "Avengers" episode of all, with some people (including Patrick Macnee) rating it the series' peak and others thinking it represents the show's having gone entirely too far. I lean toward the latter opinion because it is literally a live-action cartoon. "The Avengers" was always about putting two cunning, rational professionals into a mad world, but this time out the madness should be institutionalized. In other episodes, notably "The Winged Avenger," which is truly, outrageously bizarre, Steed and (in that case) Emma still act within the confines of reality. "Look -- (Stop...)" however is played as though all the characters, including Steed and Tara King, realize they are characters in a television show, and are there just for the laugh. This is fine for a Benny Hill or Morcambe and Wise sketch, but jarring for "The Avengers." Still, there's the spectacle of Linda Thorson briefly singing and dancing in a clown-nose, which counts for something, and John Cleese in a pre-Python appearance as an unbalanced government grunt in charge of cataloguing clown-makeup painted on eggs. (One guess what happens to the office.) Several of the Tara King episodes are short on humor (if not totally devoid of it), but it's like this show was designed to make up for that all in one swoop, and it's simply too much.
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