The Ark

Millions of years in the future, in what is called the 57th segment of time, the TARDIS lands on a vast ship on a voyage from Earth to the planet Refusis II. On board are the last humans and a race called the Monoids who act as servants, whole generations of which are born and die in the 700 year journey. Much has changed in the 57th segment of time and Dodo’s cold starts an epidemic that has far-reaching consequences.

The structure of this four part story is very interesting as it is really a pair of closely linked two-parters. "The Steel Sky" and "The Plague" deal with the deadly effect of Dodo’s cold on the Monoids and humans and, not surprisingly, the Doctor finds a cure and leaves. However, the TARDIS takes them back to the same ship only to find that the Monoids are now the masters- apparently the cure was merely a palliative, and the virus mutated and caused the humans to become weaker willed, allowing the Monoids to take over. They are now orbiting Refusis II, which is not as uninhabited as it appears.

The ‘world-building’ by writer Paul Erickson is very ambitious. We are so far in the future that calendars that measure in centuries no longer have meaning. Millions of Humans and Monoids are kept ‘miniaturised’ on slides and, critically, the split in the story actually shows how this world develops in 700 years. The conclusion is not based on one species defeating and exterminating the other and it is obvious that a good deal of thought has gone into the concepts. Steven wonders if they have been spreading diseases throughout time and space, and his subsequent illness shows that mankind lost their immunity millions of years before the Ark set out.

This is helped by the fact that this is the most visually stunning story since the first one. Michael Imison creates some very interesting both with montage and mise-en-scène (for the lack of a less pretentious term) that really stretch the boundaries of what was possible in a 1960s studio set. The first shot is an unbroken tracking shot that gradually reveals a Monoid walking towards where the TARDIS is materialising. When the Doctor states that they are in a vast space ship, it cuts to a high shot that pulls sharply back. The scenes where the Doctor is talking to the Guardians via monitors is expertly edited. The design work is utterly astonishing, with effective use of model shots and painted backdrops. I must also mention the special effect for the Earth’s destruction, which is not done using pyrotechnics, but by filming an effervescent ball in a tank and is very effective. The statue that is being build by the humans is a constant factor throughout the story. Originally meant to be a human, by the time the TARDIS crew return, it has a Monoid’s head. This is not only a striking image in itself, but effectively tells the story of the intervening 700 years. The Monoids themselves are brought to life reasonably convincingly, with their single eye being realised by having the actors hold a fake eye in their mouth that they can roll. a nice touch is that, in the first two episodes, the Monoids are mutes who communicate by sign language. In the concluding half, they have developed artificial voice boxes, but still gesticulate extensively when they speak.

Unfortunately, the performances of the guest cast are merely adequate, which comes as a bit of a disappointment after the excellent guest performances we have seen in this particular season so far. It is good, however, to see Michael Sheard’s first appearance in Doctor Who, looking very young (he was in his mid-twenties). Also, whilst Imison does come up with some fantastic shots, there is some clumsy editing elsewhere. Scenes virtually crash into each other and a key montage, where the Doctor creates the treatment for the virus could have been cut better.

Hartnell puts in another virtuoso performance, curing a plague, helping to build bridges between races and preventing disasters. Peter Purves is more of stock hero here, but it has been for some time that he has a very good idea of what Steven’s personality was, and he puts in another stellar performance. Jackie Lane’s Dodo is fine here, but her performance is nothing like as good as the other two regulars. Still, she manages not to be annoying, which is the main thing.

Overall, a very rewarding story- and I didn’t even mention that there is a real live elephant in it!

NEXT: The Celestial Toymaker