Patrick McGoohan
Patrick McGoohan (March 19, 1928 – January 13, 2009) was an Irish-American actor, writer, director, and creator of the cult classic The Prisoner. His intense screen presence, commitment to creative autonomy, and elusive mystique made him one of television’s most memorable figures.
Introduction
Patrick Joseph McGoohan was a rare kind of actor who transcended genre: a performer, storyteller, and provocateur whose work in spy dramas and surreal television left a deep cultural imprint. Although born in the United States, McGoohan’s life was largely shaped by his upbringing in Ireland and England, and his most famous creation—The Prisoner—remains a touchstone in discussions of freedom, identity, and surveillance. His career spanned film, TV, theatre, and writing, and he is still celebrated today for his uncompromising integrity and the enigmatic aura he brought to his characters.
Early Life and Background
Patrick McGoohan was born in Astoria, Queens, New York City on March 19, 1928, to Irish Catholic parents, Thomas McGoohan and Rose McGoohan (née Fitzpatrick). Shortly after his birth, his family returned to Ireland, settling in County Leitrim. When he was about seven years old, the family moved to England, eventually settling around Sheffield.
In England, McGoohan attended St. Marie’s School, St. Vincent’s, and De La Salle College in Sheffield. During World War II, he was evacuated to Loughborough and studied at Ratcliffe College.
From a young age, McGoohan showed wide-ranging interests—he excelled in mathematics, had a penchant for boxing, and exhibited physical and intellectual discipline. He left school around 16 and worked various jobs—chicken farming, bank clerk, lorry driving—before finding entry into theatre work. His break into acting came when, as a stage manager for the Sheffield Repertory Theatre, he was pressed into performance when an actor fell ill.
Career & Major Works
Early Career & Film Roles
McGoohan’s early film and television work in the 1950s included small roles and television anthology drama. He was under contract with the Rank Organisation for some roles, often cast in villainous turns.
He appeared in films like High Tide at Noon (1957), Hell Drivers (1957), The Gypsy and the Gentleman (1958), and All Night Long (1962).
Danger Man / Secret Agent
McGoohan’s first major television breakthrough came with Danger Man (also known as Secret Agent in the U.S.), a spy series that premiered in 1960, where he played John Drake. McGoohan had strong creative conditions: he insisted that his character use brains before violence, that fights always differ, and that his character never kiss a woman not his wife. During the 1960s, he became one of the highest-paid actors in British television.
Creating The Prisoner
Tired of repeating formats, McGoohan devised a more ambitious project: The Prisoner (1967–1968). In this series, he played Number Six, a former secret agent abducted to a mysterious, stylized village and pressured by unseen forces to reveal why he resigned. McGoohan served as executive producer, writer, and director of multiple episodes, sometimes under pseudonyms (e.g., “Paddy Fitz” for writing, “Joseph Serf” for directing).
The series ran 17 episodes and has since become a cult classic, noted for its surreal, allegorical themes, existential tension, and its exploration of identity, freedom, and power. The show’s filming location—the Welsh coastal village of Portmeirion—became iconic.
The ending of The Prisoner—the episode titled Fall Out—has been subject to debate and controversy for its surreal, ambiguous resolution. McGoohan later remarked that, although it was divisive, he would make it again, if he had to: “As long as people feel something.”
Later Work & Film Roles
Following The Prisoner, McGoohan appeared in a variety of films and television series:
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Ice Station Zebra (1968) as David Jones
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Mary, Queen of Scots (1971), portraying James Stewart, 1st Earl of Moray
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Escape from Alcatraz (1979), as the Warden
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Scanners (1981) as Dr. Paul Ruth
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Braveheart (1995) as Edward I of England
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A Time to Kill (1996) as Judge Omar Noose
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His final screen role was as the voice of Billy Bones in Disney’s Treasure Planet (2002).
McGoohan also had a long association with Columbo, appearing and writing/directing episodes over decades, which earned him two Emmy awards for Outstanding Guest Actor.
Personal Life & Philosophy
McGoohan married actress Joan Drummond on May 19, 1951. They had three children, among them actress Catherine McGoohan.
Notoriously, McGoohan is said to have refused roles or scenes that conflicted with personal principles—for example, he reportedly would not kiss a woman on screen unless she was his real-life wife at that time.
He maintained a rather private, self-reliant persona. As a performer, he was known for intensity, moral gravity, and a tendency to withhold full emotional expression from his characters—often leaving audiences unsettled and contemplative.
Legacy & Influence
Patrick McGoohan’s impact is felt in many dimensions:
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Television as art
The Prisoner expanded what television could do intellectually and thematically, blending allegory, genre, and social commentary into a surreal puzzle. -
Creative control
McGoohan asserted greater agency over his projects—writing, directing, producing. That model inspired future actors and creators to push for creative autonomy. -
Cult status & lasting fascination
The Prisoner remains a subject of fan analysis, reboots, and academic interest. Its ambiguous symbolism and provocative ideas have endured in popular culture. -
Strategic selectivity
McGoohan’s later film and TV work was selective—taking roles that resonated rather than pursuing high output—which many view as a mark of integrity and focus. -
Recognition & awards
He won the BAFTA TV Award for Best Actor in 1960 for Danger Man. He also received two Primetime Emmy Awards for his guest roles on Columbo.
Memorable Quotes & Reflections
While McGoohan was not known as a prolific quotist, several remarks and attributes remain evocative:
“I must have individuality in everything I do. It’s not easy to find it always – I question everything. I don’t accept anything on face value.”
On his approach to The Prisoner: McGoohan conceived and wrote extensive background material—a “Bible” for The Village—to ensure internal coherence and depth in the storytelling.
In discussing the show's conclusion, he acknowledged it was divisive yet defended it: “As long as people feel something, that’s the great thing.”
These reflect his restless spirit, his concern for inner logic, and a desire to provoke reflection, not merely entertain.
Lessons from Patrick McGoohan
From McGoohan’s life and work, several lessons emerge:
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Artistic integrity over mass appeal
He prioritized roles and projects aligned with his values—even at the cost of broader commercial comfort. -
Control of one’s narrative
By writing, directing, and producing, he shaped the stories he believed in, rather than being constrained by others. -
Power in ambiguity
His best work often leaves space for interpretation and invites audiences to engage, rather than passively consume. -
Longevity through selectivity
Rather than diluting his brand by overexposure, he maintained relevance through carefully chosen projects. -
Respect for the audience’s intelligence
McGoohan’s work assumes an audience capable of grappling with moral and existential questions.
Conclusion
Patrick McGoohan was more than a memorable face or cult icon; he was a creative force who challenged television’s conventions and elevated the medium’s possibilities. From Danger Man to The Prisoner, his roles, principles, and mystique continue to intrigue and inspire. His legacy is not just in the lines he delivered or the plots he enacted, but in the creative courage he demonstrated—and in the unresolved questions he left us to ponder.