The following sections of this BookRags Literature Study Guide is offprint from Gale's For Students Series: Presenting Analysis, Context, and Criticism on Commonly Studied Works: Introduction, Author Biography, Plot Summary, Characters, Themes, Style, Historical Context, Critical Overview, Criticism and Critical Essays, Media Adaptations, Topics for Further Study, Compare & Contrast, What Do I Read Next?, For Further Study, and Sources.
(c)1998-2002; (c)2002 by Gale. Gale is an imprint of The Gale Group, Inc., a division of Thomson Learning, Inc. Gale and Design and Thomson Learning are trademarks used herein under license.
The following sections, if they exist, are offprint from Beacham's Encyclopedia of Popular Fiction: "Social Concerns", "Thematic Overview", "Techniques", "Literary Precedents", "Key Questions", "Related Titles", "Adaptations", "Related Web Sites". (c)1994-2005, by Walton Beacham.
The following sections, if they exist, are offprint from Beacham's Guide to Literature for Young Adults: "About the Author", "Overview", "Setting", "Literary Qualities", "Social Sensitivity", "Topics for Discussion", "Ideas for Reports and Papers". (c)1994-2005, by Walton Beacham.
All other sections in this Literature Study Guide are owned and copyrighted by BookRags, Inc.
Conceived as a spoof on the James Bond films, The Man from U.N.C.L.E. was rooted in the cultural climate of the 1960s and was American television's most noteworthy nod to the international success of author Ian Fleming's spy hero. Created by Dr. Kildare producer Norman Felton, with initial support and assistance from Fleming, The Man from U.N.C.L.E. introduced audiences to Napoleon Solo (played by Robert Vaughn) and his Russian partner Ilya Kuryakin (David McCallum), secret agents for the United Network Command for Law and Enforcement. Their weekly battles against the evil minions of THRUSH attracted little critical or popular attention when the show made its debut in the fall of 1964. However, when NBC moved the show from Tuesday to Monday nights in early 1965, it rapidly gained a cult-like popularity, particularly among young viewers for whom lines of U.N.C.L.E. toys and books were manufactured. (In 1966 the network even commissioned a spinoff, The Girl from U.N.C.L.E., to take further advantage of the fad; the series ended after 29 episodes). However, U.N.C.L.E.'s outlandish plots and arch humor became too ridiculous to retain sufficiently wide appeal, and despite efforts to refocus the show on straight adventure, The Man from U.N.C.L.E. was retired to syndication in 1968. Various episodes were made up into feature films that enjoyed a modest success outside of the United States.