The Brain of Morbius is inspired by the Frankenstein story or, more precisely, the Frankenstein story as told in the 1931 James Whale/ Boris Karloff film. We have the scientist attempting to animate a creature he has created from dead body parts. We have the deformed monosyllabic henchman. The story takes place in a castle-like building which is introduces in a flash of lightning during a storm. This story is one which has been trumpeted as a ‘classic’ but, I must confess, it has never been a favourite of mine. The problem is that it is the sum of its parts- perhaps a bit less, certainly not more. It sets out to do a story of the creation of a body for the preserved brain of a Time Lord criminal, combined with a ‘guardians of the fountain of youth’ storyline, with the Sisterhood of Karn, and accomplishes that, but little more. It doesn't add a Doctor Who twist to the Frankenstein story, it pretty much is the Frankenstein story- a disappointment after the brilliance of Pyramids of Mars. There are a few musings on stagnation being the price of immortality and some excellent bits of dialogue, but the story, overall, has always seemed a bit functional and lightweight to me. This is not helped by the characterisation- Solon is written as a stock mad scientist, Morbius as the usual ranting megalomaniac, Condo as a very stereotypical ‘Igor’ and the sisterhood are basically stereotypical Vestal Virgins (an odd addition!).
There are, however, some aspects that compensate for this. Although Christopher Barry’s direction is rather flat, visually, there is some effective use of lighting. The design work is also very good, managing to draw inspiration from 1930s horror films without unimaginatively aping them. It is a pity that this story is so studio bound, as scenes where characters clunk into plastic rocks tend to undermine the suspension of disbelief. The costumes for the sisterhood are also imaginatively designed and the dynamism between the burning reds of the Sisterhood’s lair and the sepulchral greys and greens of Solon’s castle. The brain itself is brilliantly realised- I love the ‘speech membrane’ especially. However, there is one effect that jars with the tone of the whole series- Solon shooting Condo in the gut. However effective the result, there was no need to show the bloody wound exploding- an effect that I am surprised the BBC allowed to pass.
As far as the guest cast goes, I cannot speak highly enough of Philip Madoc. As I said before, Solon is written as a typical mad scientist, but Madoc’s excellent performance makes him a far more interesting character than written. His ad-libbed ‘pun’ is a very welcome bit of extra characterisation, making Solon appear more human. Condo is ludicrously written, but Colin Fay manages the impressive feat of making him both sympathetic and repulsive. The sisterhood, however, are less effective, coming across as a bunch of pretentious interpretive dancers, rather than the mental equals of the Time Lords. Only Cynthia Grenville as Maren (with some very effective old age makeup) conveys any authority. Michael Spice’s vocal performance as Morbius is very effective but, as said, the character is not well written and the scene where he is pursued over the edge of a cliff by the Sisterhood is hardly a great climax. The regulars are good as ever (although Elisabeth Sladen’s ‘blind’ acting is far from perfect).
Overall, this is a watchable, though by no means essential story.
NEXT: The Seeds of Doom
There are, however, some aspects that compensate for this. Although Christopher Barry’s direction is rather flat, visually, there is some effective use of lighting. The design work is also very good, managing to draw inspiration from 1930s horror films without unimaginatively aping them. It is a pity that this story is so studio bound, as scenes where characters clunk into plastic rocks tend to undermine the suspension of disbelief. The costumes for the sisterhood are also imaginatively designed and the dynamism between the burning reds of the Sisterhood’s lair and the sepulchral greys and greens of Solon’s castle. The brain itself is brilliantly realised- I love the ‘speech membrane’ especially. However, there is one effect that jars with the tone of the whole series- Solon shooting Condo in the gut. However effective the result, there was no need to show the bloody wound exploding- an effect that I am surprised the BBC allowed to pass.
As far as the guest cast goes, I cannot speak highly enough of Philip Madoc. As I said before, Solon is written as a typical mad scientist, but Madoc’s excellent performance makes him a far more interesting character than written. His ad-libbed ‘pun’ is a very welcome bit of extra characterisation, making Solon appear more human. Condo is ludicrously written, but Colin Fay manages the impressive feat of making him both sympathetic and repulsive. The sisterhood, however, are less effective, coming across as a bunch of pretentious interpretive dancers, rather than the mental equals of the Time Lords. Only Cynthia Grenville as Maren (with some very effective old age makeup) conveys any authority. Michael Spice’s vocal performance as Morbius is very effective but, as said, the character is not well written and the scene where he is pursued over the edge of a cliff by the Sisterhood is hardly a great climax. The regulars are good as ever (although Elisabeth Sladen’s ‘blind’ acting is far from perfect).
Overall, this is a watchable, though by no means essential story.
NEXT: The Seeds of Doom
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