Logopolis

The most iconic era of 20th Century Doctor Who comes to an end with Logopolis, which is the first script by Christopher Bidmead. Bidmead’s tenure as script editor was one of the factors which made Doctor Who worth watching again after the very patchy Season 17 and his first full contribution is a very interesting story. The plotting is very odd- for the first episode and a half, the Doctor is concerned with measuring the TARDIS, but ends up materialising around another TARDIS which results in bizarre dimensional anomalies. Outside, on the Barnet Bypass, Australian air stewardess Tegan Jovanka is changing the tyre on her Aunt Vanessa’s car. However, there are two other presences- the other TARDIS belongs to the resurrected Master, who begins his new life with callous murder. Dispassionately observing this is the Watcher, a terrifying figure swathed in white- but the (unheard) conversations he has with people indicate he is a figure to be trusted, if not welcomed. Perhaps the first 40 minutes is unnecessary in plot terms, but it is very well executed- there could have been a bit of trimming in some of the Bypass scenes and the Doctor’s plan to flush out the Master’s TARDIS is one of the stupidest things the programme has done in plot terms, but the rest is compelling, if sometimes baffling- how does the dimensional anomaly work, exactly?- too compelling to be dismissed as padding. The titular planet is a fascinating alien world- the inhabitants form a giant organic computer that is used for ‘Block Transfer Computation’- using pure mathematics to create events in space/time. Bidmead’s skill at presenting scientific concepts with beautifully written dialogue cannot be underestimate it- ‘The essence of matter is structure and the essence of structure is mathematics’ is understandable by anyone, and sounds great. Into this society we first see the Master and his rash meddling results in the death of Logopolis and the doom of the Universe- Block Transfer Computation actually created the CVEs and, possibly, the micro-universes they opened into (neatly tying in the adventures in E-Space) to drain the waste energy of the Universe. For the first time, the Doctor literally saves the entire Universe, paying the ultimate price.

Bidmead’s script is one of the most cerebral that the programme has ever had, but he does not forget characterisation and is helped by some excellent performances. New regular Janet Fielding is instantly memorable as Tegan and Sarah Sutton is very effective as Nyssa. Matthew Waterhouse does not offend (the viewer can actually accurately gauge the acting talents of the three regulars by looking at their reactions to the doctor falling from the radio telescope!) Anthony Ainley makes his first proper appearance as the Master. He seems eerily cadaverous in his first scenes with Nyssa and he underplays very effectively throughout, but always giving a hint of the madness that has now taken over the character. He may have a goatee, but this is a very different character to the Delgado version.

Season 18 is one of the most visually striking eras of Doctor Who. Unfortunately, despite good direction from Peter Grimwade, there are hints of the money running out for the season, especially in the climactic scenes on the radio telescope unfortunately. However, Logopolis itself and the wonderful TARDIS Cloisters are very effectively realised.

Tom Baker’s portrayal of the Doctor grabbed the attention of the world and didn’t fully relinquish its dominance for twenty-four years. There were times when he gave the best performance yet in the title role. There were other times when he actually failed to give a convincing performance as the Doctor- something that I would not say about his three predecessors. However, his performance in his final story is phenomenal. The Fourth Doctor has always been slightly avuncular, but Baker plays it in a more grandfatherly way in the opening scenes. His dismissal of Adric Nyssa and Tegan is beautifully played, as is his discovery of the extent of the Master’s madness. Despite all this, all the character traits the Fourth Doctor ever had are still present including, most crucially, his sense of humour.

Everything comes magnificently together in the best regeneration scene yet. The Doctor sees visions of past adversaries as he hangs from the radio telescope and he falls. His broken body lies at the foot of the telescope, but he is still alive and, as his new companions call his name, he sees his old friends doing the same. ‘It’s the end, but the moment has been prepared for’. He beckons to the Watcher, who is a projection of the Fifth Doctor. They merge and the Doctor sits up, a new man.

Logopolis has its faults, but it contains intelligence, humour and emotion, a great ending to a great season and a great Doctor.

NEXT: Castrovalva