The Leisure Hive

The Leisure Hive marks the biggest stylistic change in Doctor Who since Spearhead from Space, something which is obvious from the start. For the first time, someone other than Delia Derbyshire has realised the theme tune. Peter Howell’s arrangement is the earliest one I remember and I still think it is a very good reinterpretation of the Grainer/Derbyshire original.

But onto the story. David Fisher shows us Argolis, a world that has been ravaged by nuclear war, whose sterile survivors have constructed the titular Leisure Hive- a recreation complex that aims to teach the value of tolerance to the Galaxy as a lat gift to the ages. However, the Leisure Hive is on the brink of bankruptcy, just at the time when the Hive’s pioneering science of tachyonics might provide hope for the doomed Argolin race. How much of this is Fisher’s is unclear- the tone is somewhat more serious than his previous contributions, probably due to Christopher Hamilton Bidmead being the script editor. However, the script is by no means mirthless, showing that Bidmead knew the value of carefully used humour. Whoever was the main force behind the script, it is very effective. There is very little padding (this is, incidentally a rather short four parter, running only 90 minutes in total) and there is some very effective world building. We have the dying Argolins, whom the war have mutated into a race with a long youth and middle age, but a very rapid old-age. They were the aggressors in the war and are now attempting to atone. Their former enemies, the Foamasi, are a somewhat socialistic reptilian race who have, nevertheless, have fringe groups devoted to capitalism. The characters are very well written, with Pangol, the bellicose youngster Argolin contrasting well with Mena’s dignified elder.

However, what really distinguishes the story is the direction, from the very first scene which begins with a very long tracking shot of Brighton Beach. Lovett Bickford seems to have abandoned the usual method of studio direction – sitting in the gallery and cutting from camera to camera. Here, every shot has been planned and individually lit, meaning that the editing was done mainly in post-production. The story tries to find a new way of doing even the most basic shot- for the first time, the camera moves when the TARDIS materialises. However, The Leisure Hive is not merely a simple montage of ambitious techniques. Bickford has not forgotten the power of an arresting image, with the memorable tachyon dismemberments and the way in which the Argolins rapidly age. The scene where Brock is unmasked is edited in a genuinely terrifying way. Bickford also manages to get superb performances from the guest cast. A young, but still instantly recognisable, David Haig is superb Pangol and Adrienne Corri is very memorable as Mena. I must also comment on the relationship between Hardin and Mena, a relationship that might blossom into love in different circumstances, beautifully played by Corri and Nigel Lambert. Tom Baker’s performance is the best in what seems like ages. He is more subdued, but by no means serious and his portrayal of the aged Doctor is wonderful. Lalla Ward is wonderful as Romana, from her petulance in the early scenes to the sense given that she has grown closer to the Doctor since the previous story.

This is the beginning of John Nathan-Turner’s tenure as producer. There are still a few fans who see JNT as the ruination of Doctor Who. Whatever else he would do, it is blatantly obvious that The Leisure Hive is far superior to most of Season 17 and I thoroughly enjoyed it.

NEXT: Meglos

The Creature from the Pit

Season 17 moves from art to arse in with the dread coming of The Creature from the Pit. The production is not a resounding success by any standard, but it is the script which is the real reason why this story is so awful. The premise is not a bad one- the planet Chloris is rich in vegetation (David Fisher obviously following the Terry Nation school of planetary nomenclature) but lacking in metallic ores. The only mine on the planet is owned by the Lady Adrasta and Chloris is kept at a mediæval level of development and bandits roam the land scavenging and killing for metal. Adrasta protects her monopoly ruthlessly and condemns dissenters by throwing them into the Pit to the dreaded Creature. However, the creature is not a monster, but Erato, ambassador from the planet Typhonus, which has little vegetation but has a great deal of metallic ore.

There are some nice concepts, like the egg-like Tythonian ship and Erato's method of communication. However, this is one of the very rare stories where a simple plot has been padded to bursting point and still fails to make it to four episodes, meaning that a second ending has to be clumsily grafted on. The second ending consists entirely of technobabble and mediocre special effects, which is about the worst thing it could have done dramatically- it is comprehensible, but is disconnected with most of the story preceding it, making it very unsatisfying. This is not helped by the fact that the preceding storyline is full of wandering around caves, McGuffins being lost or stolen and very basic characterisation.

Christopher Barry fights valiantly to make the story at least watchable, but he fights a losing battle. There are some nice sets, but the costumes are mainly leftovers from other BBC productions and Adrasta looks like a character from a children's version of Derek Jarman's Jubilee. Worst of all is the realisation of Erato, a giant green bin-liner with some very dodgy looking appendages in various states of tumescence. The nadir of the story (and possibly the entire programme since The Time Monster) has Tom Baker actually blowing into one of these protuberances. There is a time and a place for such visual images and, however open one's mind is, this isn't it.

The cast is either bland or overwrought, with Myra Frances strangely wavering between totally convincing as a ruthless grandee and a woman pretending to be a pantomime dame. The bandits are inexplicably attired as cavemen, but talk like low-rent Fagins, which borderlines on the offensive. The only decent performances are the, always watchable, Eileen Way and Geoffrey Bayldon's entertaining Organon. Tom Baker and Lalla Ward are clearly as unimpressed as the viewer and seem only to be interested in mollifying their own irritation.

This is road accident Doctor Who- if you do watch it, it's hard to take your eyes off it, but you still want to avoid it at all costs.

NEXT: Nightmare of Eden

The Androids of Tara

Doctor Who has always ‘borrowed’ from other sources, but this is the most blatant ‘homage’ that the programme has ever done. This is The Prisoner of Zenda rewritten as a Doctor Who story, with the human lookalikes changed into android duplicates and electric swords and crossbows, but it is still high adventure crammed with Ruritanian intrigue. There are a couple of things that raise it above mere pastiche. I like the way that the society of Tara is depicted- technologically advanced, but so steeped in the class system that anything that requires intelligence and inventiveness is deemed a ‘peasant skill’. This is not only interesting world-building in its own right, but a wry commentary about how useless the nobility ultimately are. Indeed, in the not-so-distant past, no ‘gentleman’ could style himself so if he ever lowered himself to actually working for his money! Beyond this, David Fisher writes some very witty dialogue and good characterisation, such as the relationship between Count Grendel and his servant Madame Lamia.

The production is exquisite, with great sets, costumes and locations (the matte work to augment Leeds Castle is almost flawless) some gorgeous film sequences and atmospheric lighting. Michael Hayes puts in some stellar work behind the camera with good use of high and low shots. True, the monster is rubbish, but it’s of no real importance to the story. Then there are the performances. Neville Jason is great as Prince Reynart and his android duplicate and actually manages to convey the difference between the real man, the android and the android playing the real man. There is good support from Simon Lack and Paul Lavers as the Prince’s aides. However, the show is very nearly stolen by the wonderful Peter Jeffrey as Count Grendel, villainous, deceitful but incorrigibly likeable throughout. Lois Baxter puts in a very nice performance as Lamia and there’s a good little role for Jabba the Hutt himself, Declan Mulholland. Once Tom Baker tries to stop upstaging everyone around him, he puts in a very good performance and Mary Tamm is just as good as Neville Jason in playing herself, her android duplicate and the very different character of Princess Strella.

The Androids of Tara may not be the most necessary Doctor Who story, but it is highly enjoyable.

NEXT: The Power of Kroll

The Stones of Blood

Doctor Who is very used to demystifying myths and legends- a god, fabulous beast or superstition turns out to be an alien or a computer. This is the basis behind The Stones of Blood; the ancient Celtic goddess Cailleach turns out to be the alien criminal Cessair of Diplos. However, unlike other stories which have kept the Hammeresque atmosphere throughout, the revelation of Cessair of Diplos is accompanied by a wholesale change in the mood of the story. The ‘horror’ aspect of the story is well done, with a mix of latter-day Druidic revivalists, standing stones that come to life and drink blood, ravens acting as spies and a friendly archaeologist. David Fisher has clearly put some thought into the script, such as the Doctor pointing out to De Vries that understanding of ancient Druidic behaviour is mainly based on supposition. There are a few problems with this half of the story. Most obvious is the godawful literal cliff-hanger to part one and De Vries is killed off too early. However the real problems start once the action shifts to the space-craft lurking in hyperspace above the stone circle. There is nothing inherently wrong with the change in mood that this development brings with it- in fact it could have benefitted the story greatly. Unfortunately, the opportunity is wasted. The Doctor is put on trial for a petty crime by the Megara justice machines, while he has to prove that Vivien Fay is really Cessair of Diplos. This leads to a tedious trial sequence that takes up fat too much time. Fisher clearly lost inspiration for this section, which is desperately uninteresting.

The production matches the script a little too well. The scenes set on Earth are very atmospheric, with great sets and locations that are atmospherically lit (although the unwise decision is made to shoot day-for-night and genuine night). The Ogri, the titular monsters, are quite effective most of the time- the deafening heart-beat sound they make is terrifying and there is a scene where De Vries and an acolyte have their skulls crushed by the Ogri that is very close to the mark. However, they lose a bit of their menace when they start moving quickly- at one point, when one bursts through the door, we not only see the trolley it’s on, but a man pushing it and a further man standing behind him! However, the hyperspace scenes are overlit and seem to have been shot in a rush. The Megara come across like two officious fairies, which looks as ridiculous as it sounds. Darrol Blake’s stint in the director chair is mixed, though not uninteresting.

This is a real pity, as there are some great performances to be found, most notable of which is Beatrix Lehmann as Professor Rumford, a wonderfully dotty character played to perfection. Susan Engel puts in a nicely restrained performance as Vivien/ Cessair and, as said, Nicholas McArdle makes De Vries very memorable. The regulars perform well throughout with Tom Baker working very well with Beatrix Lehmann. It is genuinely bizarre seeing Mary Tamm wearing a Burberry cap, considering the current image of that article.

The Stones of Blood is a real mixed bag. It’s certainly entertaining, but if you never see it, you won’t have exactly wasted your life.

NEXT: The Androids of Tara