The Time Monster

It is interesting to compare The Time Monster with The Mutants. In the earlier story, a conceptually ambitious and intelligent idea is let down by poor storytelling and variable acting. The Time Monster is the same, except for the conceptual ambition and intelligence bit.

The basic plot is this. The Master, disguised as Professor Thaskalos has set up a project called TOMTIT. The real purpose of the project is to summon and control a being called Kronos, from a race called the Kronovores. The key to true control of Kronos lies 3500 years in the past, in the lost realm of Atlantis, where Kronos created a golden age.

There is nothing really wrong with that as a plot. However, in turning that plot into a script, would you a) get to the Atlantis part as quickly as possible or (b) waste four episodes with increasingly ludicrous set pieces that all make the same point- time does funny things when there’s a Kronovore about. In these four episodes, we learn nothing new about the characters and not only is there no actual worsening crisis, there is no plot progression at all. As if this wasn’t bad enough, the dialogue varies in quality from forgettable to excruciating and we have some truly awful guest performances. Wanda Moore and Ian Collier aren’t actually bad actors, but their characters are irritating. Donald Eccles is clearly doing proper acting, but utterly failing in turning that into a performance. This is the worst example of directing an ensemble in Doctor Who since The Underwater Menace- in their scenes together Roger Delgado and Eccles seem to be saying their lines without realising there is another actor in the room. However, I sympathise with Paul Bernard- if I was presented with a script this awful, I would consider it dramatically unsalvageable and simply try to make the actual production as bearable as possible for myself, even if it stretches to zooming for no reason or getting the actors to pretend to run on the spot in slow motion.

Part four is much better, purely because it is a competently made piece of television. Then we get to the Atlantis part, which contains the one outstanding performance from a member of the guest cast. George Cormack is suitably dignified and sympathetic as King Dalios. Ingrid Pitt is less skilful as Queen Galleia, but she’s so damn sexy, I can forgive this. Aidan Murphy as Hippias gives a performance that is, what people who have never been to the theatre call theatrical, with unsubtle gesturing and vocalisation. Susan Penhaligon, however, is quietly effective as Lakis.

The design work is sound, particularly in Atlantis. However, the realisation of Kronos is absolutely awful- a monster that not only looks like, but is treated as a pigeon that has accidentally flown into a room. The final appearance of Kronos, as a vast disembodied head, is far more effective. Dudley Simpson seems to be as annoyed by the story as Bernard and seems to be improvising badly at some points.

The regulars are about as effective as they can be in this fiasco- bizarrely, this is one of Katy Manning’s best performances. Pertwee manages to be effective throughout, as does Courtney. Delgado is very good, considering what he had to work with, especially in the sexual tension he has with Galleia. However, the scene where he begs Kronos for mercy is pitched and performed in the wrong way.

This story is an overlong, brainless, lumbering mess, the worst story since The Underwater Menace. I had to watch it. You don’t.

NEXT: The Three Doctors