IMDb > "The Equalizer" Beyond Control (1987)

"The Equalizer" Beyond Control (1987)

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Overview

User Rating:
7.6/10   19 votes »
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Director:
Writers:
Michael Sloan (creator) and
Richard Lindheim (creator) ...
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Contact:
View company contact information for Beyond Control on IMDbPro.
Original Air Date:
14 January 1987 (Season 2, Episode 13)
Genre:
Plot:
The death of a KGB mole forces Control to operate without the resources or knowledge of the Company; he asks for McCall's help to locate the stolen files of a secret committee while avoiding one of the KGB's top operatives. | Add synopsis »
User Reviews:
"It's What I Do for A Living Robert" See more (1 total) »

Cast

 (Episode Cast) (in credits order) (complete, awaiting verification)

Edward Woodward ... Robert McCall

Liane Curtis ... Elaine Ferris

Brian Bedford ... Paul Coble
Philip Kraus ... Durkin
Dan Ziskie ... John Ferman (as Daniel Ziskie)

Keith Szarabajka ... Mickey Kostmayer

Robert Lansing ... Control
Paula Trueman ... Mrs. Hammerschmidt

Josh Mostel ... Winston Erdlow
Scott Rhyne ... Policeman

Episode Crew
Directed by
Alan Metzger 
 
Writing credits
Michael Sloan (creator) and
Richard Lindheim (creator)

Coleman Luck (written by)

Produced by
Alan Barnette .... producer
Dan Lieberstein .... co-producer: New York (as Daniel Lieberstein)
Coleman Luck .... co-producer
James Duff McAdams .... executive producer (as James McAdams)
Peter A. Runfolo .... co-producer: New York
Scott Shepherd .... co-producer
Ed Waters .... supervising producer
 
Original Music by
Stewart Copeland (music by)
 
Cinematography by
Geoffrey Erb (director of photography)
 
Film Editing by
Scott Vickrey 
 
Casting by
Lois Planco 
 
Production Design by
Richard Bianchi 
 
Art Direction by
Wing Lee 
 
Costume Design by
Linda Wayne 
 
Makeup Department
Joe Cuervo .... makeup artist
Jerry Masarone .... hair stylist (as Masarone)
 
Production Management
Diane Foti .... unit production manager
 
Second Unit Director or Assistant Director
Ellen H. Schwartz .... second assistant director
Robert E. Warren .... first assistant director
 
Art Department
Linda Skipper .... scenic artist
 
Sound Department
Fred Rosenberg .... supervising sound editor (uncredited)
 
Visual Effects by
Mitch Wilson .... optical effects (uncredited)
 
Stunts
Harry Madsen .... stunt coordinator
 
Casting Department
Sylvia Fay .... extras casting
 
Editorial Department
JoAnn M. Laub .... assistant film editor
Stuart Lieberman .... post-production coordinator
Valerie Schwartz .... editorial coordinator
 
Music Department
Thomas S. Drescher .... music editor (as Thomas Drescher)
Jeff Seitz .... music performer
 
Other crew
Carleton Eastlake .... story editor
Ira Hurvitz .... script supervisor
Soomi Marano .... production office coordinator
Kim Nielsen .... executive assistant
Mike Marcucci .... production assistant (uncredited)
Chris Schutsky .... set location assistant (uncredited)
 
Crew believed to be complete


Production CompaniesDistributors

Additional Details

Runtime:
48 min | Germany:46 min
Country:
Language:
Color:
Aspect Ratio:
1.33 : 1 See more »
Sound Mix:
Certification:

Did You Know?

Quotes:
Robert McCall:Your uncle has been working for a secret organization. He infiltrated it, and he copied most of their files.
Elaine:You mean he stole information from the Russians?
Robert McCall:No. He wasn't working for the American government. He was working for the Russians.
Elaine:I-I don't believe you. He never would've done that.
Robert McCall:I did tell you the truth was painful.
See more »

FAQ

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2 out of 2 people found the following review useful.
"It's What I Do for A Living Robert", 19 January 2014
Author: Matt Cummings from United States

'Beyond Control' is the kind of episode that makes you realize what can happen when all the "pieces" in the visual medium fit. It is the best Equalizer episode ever, the benchmark that sets the bar not only for the series, but for every spy-driven series after.

It is a story driven primarily by strong character interaction (of which the series always excelled), but several aspects and particular scenes separate it from the others.

First, the direction by Alan Metzger is flawless - scenes throughout the episode feature a bevy of smart camera shots, including an incredible close-in sequence in the episode's last scene. That one, in which McCall questions Control's motives, is one of the greatest scenes ever shot for television.

Another reason why 'Beyond Control' exceeds in its efforts is Coleman Luck's penning of the script. Luck weaves an engaging tale of lies and deceit by placing central characters at philosophical odds with each other. This type of drama was a bedrock of the series, but Luck is hitting on all the cylinders here, with McCall and Control set as uneasy partners throughout the episode. The dialogue is crisp, and the story has enough plot twists to keep anyone on their toes. Listen to the final scene of 'Control' and you'll hear a familiar Equalizer theme: those that are in power lie at all costs to protect that power. When McCall confronts his former boss as to why he lied about Exden, Control's response is cool and premeditated: "It's what I do for a living, Robert..."

Perhaps the greatest and most underrated aspect of successful television encompasses my final reason for elevating 'Control' to the Mount Olympus of episodes. Music in television and film add necessary depth to a scene, round out the visual eye candy, and send strong messages to the viewer about the story's intent, all without using a single word of dialogue. Stewart Copeland delivers a brooding and dark ambiance to the series, and 'Beyond Control' benefits greatly from it. His orchestrations paint the auditory equivalent of the deep grays and dark corners which McCall journeyed through as he attempted to right the wrongs of the world. Replace the musical landscape with another (as was attempted in several episodes with Cameron Allan), and the result is pale at best. Again, watch that final scene to see Copeland weave his mastery.

In the end, 'Beyond Control' is a study in great television, when all those potentially problematic pieces come together to form something profound that demands our attention, shapes our understanding, and inspires us to take valuable lessons from its production. Simply put, it is television brilliance.

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