Carnival of Monsters

Before 1973, there were four stories written by a writer called Robert Holmes. It was in the tenth season, however, that 'Robert Holmes: Greatest Doctor Who Writer of Them All' made his debut. Carnival of Monsters is one of those stories that are just effortlessly good, succeeding in accomplishing everything it set out to do.

A major reason for its quality is its script. The plot is intriguing enough, but the structure of the narrative is very skilfully constructed for maximum effect. At the start of the story, it appears that we are watching two completely separate stories, but the links become more and more obvious in the first episode, until one of the most startling cliff-hangers of all time. The story is brimming with witty dialogue and every speaking role is a real character, with great interplay between them- the famous 'Robert Holmes double-acts'. Holmes succeeds in making Inter Minor a thoroughly convincing alien world, with the elite speaking in an excessively formal manner and the Functionaries being a very literal lumpenproletariat. Of course, the story also works as a satire of television itself, with the environments in the MiniScope being on separate 'channels' and an 'aggrometer' being used to make the inhabitants more violent (but only to a certain level of acceptability, of course!)

The quality of the characterisation and dialogue is heightened by the use of a uniformally excellent cast. Leslie Dwyer and Cheryl Hall are great fun as Vorg and Shirna and Michael Wisher and Peter Halliday great as Kalik and Orum. As far as the regulars are concerned, both Jon Pertwee and Katy Manning put in some of their best work yet. The characterisation of the Doctor in this story is, together with Inferno probably the best of the whole Pertwee era- the Doctor makes a stand for all that is right, yet takes time to communicate with chickens.

The production values are first rate, with great sets and simple, yet effective makeup for the Minorans. The Drashigs are excellently realised monsters, being well designed, mobile and having that amazing screaming roar. Barry Letts calls the shots with consummate skill throughout. The only real criticism I have is with some of the shots of the Drashigs where video and film are mixed, which is extremely jarring for the viewer.

In case you haven't realised, I love this story, a contender for the best Pertwee story and one of the best Doctor Who stories full stop.

NEXT: Frontier in Space