When the Doctor and Sarah land in a quarry, they find themselves in the middle of an explosion which releases a stone hand that has been entombed in the rock since the Jurassic. It is the hand of Eldrad, a member of the Kastrian race. As Eldrad is reconstructed, the Doctor decides to help- but is Eldrad to be trusted?
Bob Baker and Dave Martin return with an offering that has first draft written all over it. The basic storyline is not particularly great, but there is nothing wrong with it. However, the structure and plotting leave a good deal to be desired. I know that the story is called The Hand of Fear, but there is no reason for the titular manus to be the only manifestation of Eldrad for two episodes. Episode 2, in particular is mainly padding. Sarah attempts to put the hand in the core of the reactor only to be stopped. However, Driscoll then simply does exactly the same thing as Sarah did, this time successfully. This is particularly irksome as Episode 3 is actually very impressive and the female Eldrad deserved more screen time than just one and a bit episodes. She is one of the most intriguing antagonists that the programme has had, someone whose true motivations are, for the moment, clouded and we truly believe that Eldrad may not be truly villainous. If the events of the first two episodes had been condensed into one, this fascinating character would have been a far more effective focus for two episodes There is some truly memorable and mythic dialogue given to King Rokon and Kastria is a reasonably successful exercise in world building, but the dénouement of the story is seriously fumbled.
Perhaps it is unfortunate that Sarah is again possessed by the antagonist, as she was in The Masque of Mandragora. Again, Baker and Martin show their complete lack of awareness of radiation, making the same assumption they made in The Claws of Axos- apparently, all one has to do to escape a giant nuclear explosion is to drive away a few miles and duck. As this story was filmed in a real nuclear power station, one can imagine the guffaws that the script must have caused there.
The guest cast is mainly dull. Glyn Houston is quite effective as Professor Watson, and Rex Robinson is dependable as usual, but the rest of the humans are badly written and limply performed. What goes a long way to redeeming the story is Judith Paris as the female Eldrad. Her striking look and deep voice is combined with a very carefully judged performance, which towers over her fellow guest performers. It is a pity that the true Eldrad is Stephen Thorne again booming away under heavy makeup in a performance that, while it is by no means bad, is nothing like as skilful as Paris’s.
Visually, the story impresses. Lennie Mayne had a great eye for shots and some very effective location work is combined with great set design- the eerie crystalline Kastrian sets are very effective. Unfortunately, not even he could save the risible climax. Eldrad is defeated by tripping over the Doctor’s scarf and falling into a (very narrow) chasm. Even if this was not ineptly realised, it seems that Eldrad would have simply walked into the abyss anyway.
Of course, the most memorable thing about the story is that it is Sarah Jane’s last appearance as a companion. One thing that struck me in this marathon is that Sarah was actually less capable of taking care of herself in a crisis than Jo Grant was- Jo frequently used force in escaping from a crisis, whereas Sarah was more likely to scream for help. However, the performance of Elisabeth Sladen cannot be praised highly enough, particularly her interplay with Tom Baker. Sarah Jane always real, no matter what situation she was in, and it is not surprising that she is the companion that everyone remembers. Her leaving scene is wonderful, bursting with the unsaid and repressed feelings. The look on her face when she finds that the Doctor has not dropped her off in Croydon (actually, as we find out 30 years later, in Aberdeen!) is wonderful, speaking of annoyance, amusement and sadness.
This is another story of which it is impossible to give a clear thumbs up or thumbs down to. All that can be said that it has a good deal to offer.
NEXT: The Deadly Assassin
Showing posts with label Lennie Mayne. Show all posts
Showing posts with label Lennie Mayne. Show all posts
Wednesday, 25 March 2009
Wednesday, 18 February 2009
The Monster of Peladon
The Curse of Peladon was an excellent story and was granted this sequel for Jon Pertwee's last season. Things seem to be on track for a successful sequel- rather than rehashing the same themes as the original, the sequel explored the consequences of them, the first time this had been done since The Ark. Unfortunately, things aren't that simple.
The Curse of Peladon had an economical narrative that was well paced over four episodes. The Monster of Peladon, despite having more plot, is still blatantly padded to six episodes. Time and time again, the narrative is broken to have a fight scene and the Doctor keeps escaping and getting captured, with Ortron finding a new reason every time to have the Doctor put to death. This is a pity, as the basic plot is quite sophisticated- joining the federation has meant prosperity for the Pel aristocracy, but no change for the masses. The advent of a war with Galaxy 5 has meant more work for the miners, causing discontent that may result in revolution. However, when hostile forces, in the shape of rebel Ice Warriors arrive, the Pels unite against them. This development doesn't quite work, although there is no reason why it shouldn't have.
The design work is variable. Elements used for The Curse of Peladon work well, but the new elements are less successful. The Vegan miner Nexos looks like a cross between Azal and a chicken and the Pel miners look like blaxploitation badgers. There are only a few sets, something which is unwise in a 150 minute story. Lennie Mayne is too good a director to be totally overcome and it is thanks to him that the story doesn't completely collapse.
Hayles's script lacks the efficiency and great dialogue of the original story.The characterisation is also far weaker, and the guest cast is variable. Frank Gatliff is good as Ortron and Alan Bennion again radiates menace as the Ice Lord. Rex Robinson is not a brilliant actor, but his gruff charisma makes Gebek very likeable. However, Nina Thomas comes short with her portrayal as Queen Thalira and Ralph Watson fails to rescue the rather poorly written part of Ettis. However, the main casting failure is Donald Gee as Eckersley, a thoroughly lazy performance by someone who is clearly at least a competent actor.
Despite the cringe inducing 'women's lib' scene, Elisabeth Sladen is fantastic as Sarah Jane- her grief over the apparent loss of the Doctor is perfectly conveyed and she does, for the first time, her 'about to be shot' performance, something Sladen can do like no-one else. Pertwee is clearly putting his all into it and is great throughout.
Other commentators have repeatedly stated how bad the story is. In my opinion, the story isn't actually bad. It just fails.
NEXT: Planet of the Spiders
The Curse of Peladon had an economical narrative that was well paced over four episodes. The Monster of Peladon, despite having more plot, is still blatantly padded to six episodes. Time and time again, the narrative is broken to have a fight scene and the Doctor keeps escaping and getting captured, with Ortron finding a new reason every time to have the Doctor put to death. This is a pity, as the basic plot is quite sophisticated- joining the federation has meant prosperity for the Pel aristocracy, but no change for the masses. The advent of a war with Galaxy 5 has meant more work for the miners, causing discontent that may result in revolution. However, when hostile forces, in the shape of rebel Ice Warriors arrive, the Pels unite against them. This development doesn't quite work, although there is no reason why it shouldn't have.
The design work is variable. Elements used for The Curse of Peladon work well, but the new elements are less successful. The Vegan miner Nexos looks like a cross between Azal and a chicken and the Pel miners look like blaxploitation badgers. There are only a few sets, something which is unwise in a 150 minute story. Lennie Mayne is too good a director to be totally overcome and it is thanks to him that the story doesn't completely collapse.
Hayles's script lacks the efficiency and great dialogue of the original story.The characterisation is also far weaker, and the guest cast is variable. Frank Gatliff is good as Ortron and Alan Bennion again radiates menace as the Ice Lord. Rex Robinson is not a brilliant actor, but his gruff charisma makes Gebek very likeable. However, Nina Thomas comes short with her portrayal as Queen Thalira and Ralph Watson fails to rescue the rather poorly written part of Ettis. However, the main casting failure is Donald Gee as Eckersley, a thoroughly lazy performance by someone who is clearly at least a competent actor.
Despite the cringe inducing 'women's lib' scene, Elisabeth Sladen is fantastic as Sarah Jane- her grief over the apparent loss of the Doctor is perfectly conveyed and she does, for the first time, her 'about to be shot' performance, something Sladen can do like no-one else. Pertwee is clearly putting his all into it and is great throughout.
Other commentators have repeatedly stated how bad the story is. In my opinion, the story isn't actually bad. It just fails.
NEXT: Planet of the Spiders
Monday, 26 January 2009
The Three Doctors
Doctor Who managed to overcome the problem of how to survive after the lead actor left with immense creativity. Yet there must have still been some who missed Patrick Troughton and some (many of whom were now adults) who still remembered William Hartnell fondly. Both groups wondered what ‘their’ Doctor would have made of their successors and the start of the tenth season gave these fans what they had been hoping for. It is this aspect of the story that must be looked at first. There is a plot, but the plot is not the point of this story. There is a guest cast, but only two of them really matter. This is about fondly looking at the past, about younger siblings bonding with their older ones, of parents watching a programme with their children for exactly the same reason.
From the second he materialises, Patrick Troughton plays the Doctor like he’d never been away. Whatever the quality of the story (and he was in quite a few stinkers) Troughton was never less than excellent as the Doctor. His interpretation of the Doctor as someone who acted the fool in order to get his enemies to underestimate him makes an interesting contrast with the more diplomatic, yet confrontational Doctor as played by Jon Pertwee. The interaction between the two of them is utterly fantastic and is enough to make this story worth watching on its own. Then, of course, there is William Hartnell. One thing I have come to realise in this little project of mine is that the Hartnell era was the best, one of the many reasons for which being Hartnell’s consistently outstanding performance. Unfortunately, Hartnell’s declining health led to him having a very restricted role in the story. The fact that his performance is still thoroughly convincing despite the fact that he was reading from cue cards is testament to the great skill of the actor. Even in such a limited capacity, it is truly joyous seeing William Hartnell as Doctor Who for the last time.
The script by Bob Baker and Dave Martin is very interesting. The Time Lords are having their power drained into a universe of anti-matter. The culprit is discovered to be Omega, a stellar engineer who created the immense power source needed to fuel time travel, but trapping himself in a black hole in the process. The only option for the Time Lords is to pit the three Doctors against Omega, and the denizens of the anti-matter universe that he has created. Baker/Martin scripts usually demand a great deal on the production side and one can imagine what Cardiff today could do with anti-matter creatures, black holes and singularities and the like. It is, therefore, remarkable that the visualisation of Omega and his world is (although far from ideal) capable of suspending our disbelief. The Gel-Guards are, of course, utterly rubbish, with their ridiculous appearance and the ridiculous ‘blobby-blobby’ noises they make. However, although the sets are a bit garish, they are reasonably effective. The realisation of the singularity as a column of smoke works well- we are in Omega’s world and can accept such figurative realisations better. The success of the visual side is also helped by the fact that Lennie Mayne directs. Mayne never let the fact that he was working on a tiny budget in a television studio stop him from creating interesting shots and compositions. The one creative decision I find fault with is that we only see Hartnell on a TV screen by shooting the screen itself and we never see the actual footage shot of Hartnell on its own.
The regulars are on good form. Katy Manning seems to mesh well with Mayne’s directorial style and Benton is given much more to do than usual, which John Levene takes full advantage of. There has been much criticism of the treatment of the Brigadier’s character, but I found that to mainly refer to the scene where UNIT HQ is transported to Omega’s world. In the rest of the story, the Brig is resourceful and shows great humanity in the scene where they have to part with the Doctors. Stephen Thorne brings a great deal of energy into the role of Omega, together with some amount of pathos. His shouting is sometimes ineffective, though.
This story is hugely enjoyable throughout, well worth investing 100 minutes in!
NEXT: Carnival of Monsters
From the second he materialises, Patrick Troughton plays the Doctor like he’d never been away. Whatever the quality of the story (and he was in quite a few stinkers) Troughton was never less than excellent as the Doctor. His interpretation of the Doctor as someone who acted the fool in order to get his enemies to underestimate him makes an interesting contrast with the more diplomatic, yet confrontational Doctor as played by Jon Pertwee. The interaction between the two of them is utterly fantastic and is enough to make this story worth watching on its own. Then, of course, there is William Hartnell. One thing I have come to realise in this little project of mine is that the Hartnell era was the best, one of the many reasons for which being Hartnell’s consistently outstanding performance. Unfortunately, Hartnell’s declining health led to him having a very restricted role in the story. The fact that his performance is still thoroughly convincing despite the fact that he was reading from cue cards is testament to the great skill of the actor. Even in such a limited capacity, it is truly joyous seeing William Hartnell as Doctor Who for the last time.
The script by Bob Baker and Dave Martin is very interesting. The Time Lords are having their power drained into a universe of anti-matter. The culprit is discovered to be Omega, a stellar engineer who created the immense power source needed to fuel time travel, but trapping himself in a black hole in the process. The only option for the Time Lords is to pit the three Doctors against Omega, and the denizens of the anti-matter universe that he has created. Baker/Martin scripts usually demand a great deal on the production side and one can imagine what Cardiff today could do with anti-matter creatures, black holes and singularities and the like. It is, therefore, remarkable that the visualisation of Omega and his world is (although far from ideal) capable of suspending our disbelief. The Gel-Guards are, of course, utterly rubbish, with their ridiculous appearance and the ridiculous ‘blobby-blobby’ noises they make. However, although the sets are a bit garish, they are reasonably effective. The realisation of the singularity as a column of smoke works well- we are in Omega’s world and can accept such figurative realisations better. The success of the visual side is also helped by the fact that Lennie Mayne directs. Mayne never let the fact that he was working on a tiny budget in a television studio stop him from creating interesting shots and compositions. The one creative decision I find fault with is that we only see Hartnell on a TV screen by shooting the screen itself and we never see the actual footage shot of Hartnell on its own.
The regulars are on good form. Katy Manning seems to mesh well with Mayne’s directorial style and Benton is given much more to do than usual, which John Levene takes full advantage of. There has been much criticism of the treatment of the Brigadier’s character, but I found that to mainly refer to the scene where UNIT HQ is transported to Omega’s world. In the rest of the story, the Brig is resourceful and shows great humanity in the scene where they have to part with the Doctors. Stephen Thorne brings a great deal of energy into the role of Omega, together with some amount of pathos. His shouting is sometimes ineffective, though.
This story is hugely enjoyable throughout, well worth investing 100 minutes in!
NEXT: Carnival of Monsters
Monday, 12 January 2009
The Curse of Peladon
The Curse of Peladon takes the Doctor and Jo away to the titular planet, a civilisation at an apparently European mediæval level of development, which is joining the galactic federation. However, there are elements in this society that oppose this and the mythical figure of Aggedor seems to be angered.
The plot of the story seems to be simple, with the Doctor helping to ease Peladon into the modern world and solve the mystery of Aggedor. However, the story manages to be utterly gripping from start to finish, purely because it does what it does utterly flawlessly. Brian Hayles’s script is fantastic, with the plot constructed very efficiently. The dialogue is beautiful- scenes that would seem clunky if written by a lesser writer are carried out with real elegance and wit. The characterisation is spot on. Peladon comes off as being progressive and merciful, without seeming weak. Hepesh is painted as being the antagonist, but we can see his motives, despite his adherence to primitive ritual and prejudice against aliens. In the most wonderful of twists, the Ice Warriors are brought back- but not as the villains. The presentation of a past enemy of the Doctor as now being benevolent is a welcome and mature development in the world of Doctor Who.
However, the appeal of the story is not merely in its deceptively simple story. In addition to the Ice Warriors, we have Alpha Centauri and Arcturus, a pair of wonderfully designed and realised aliens. Alpha Centauri is a one–eyed hermaphrodite hexapod (I can imagine the awkward explanations parents would have tried to give at the time!) with a shrill feminine voice, courtesy of Ysanne Churchman and Arcturus is realised as a kind of tentacled skull in a perspex dome. The interaction between the delegates is also well written.
Lennie Mayne directs very atmospherically, getting great performances from the cast and overseeing some very creative camerawork and interesting compositions. A case in point is the revelation of Ssorg, the Ice Warrior. He lumbers onscreen from the right to the left in a very simple, but hugely effective shot. Every shot has obviously been created to be interesting and effective. The design throughout is excellent, from the castle through to the costumes, and very well lit, with the castle being lit as if burning torches are the only light source.
The cast is superlative. Alan Bennion makes Izlyr both a menacing Ice Lord and a benevolent character. I love the scene when he privately admits to Jo that he finds Alpha Centauri annoying. Then there is David Troughton. He is acclaimed today as one of the finest actors in the country (I have personally seen him be utterly fantastic in roles as varied as Richard II and Captain Hook) and he is thoroughly excellent here. Jon Pertwee has to play detective, fighter and politician here, and does that with humour and aplomb, fighting with Grun, King Peladon’s champion and taming Aggedor with a Venusian lullaby. Katy Manning is truly fantastic here, Jo showing initiative and diplomatic skills. Her budding romance with Peladon is beautifully written and both Troughton and Manning are well up to it. Lennie Mayne clearly knows exactly how to motivate this fantastic cast to give the best possible performance.
I don’t personally think The Curse of Peladon is the best Doctor Who story of all time. It is, however, pretty close and, as a Doctor Who story, utterly perfect.
NEXT: The Sea Devils
The plot of the story seems to be simple, with the Doctor helping to ease Peladon into the modern world and solve the mystery of Aggedor. However, the story manages to be utterly gripping from start to finish, purely because it does what it does utterly flawlessly. Brian Hayles’s script is fantastic, with the plot constructed very efficiently. The dialogue is beautiful- scenes that would seem clunky if written by a lesser writer are carried out with real elegance and wit. The characterisation is spot on. Peladon comes off as being progressive and merciful, without seeming weak. Hepesh is painted as being the antagonist, but we can see his motives, despite his adherence to primitive ritual and prejudice against aliens. In the most wonderful of twists, the Ice Warriors are brought back- but not as the villains. The presentation of a past enemy of the Doctor as now being benevolent is a welcome and mature development in the world of Doctor Who.
However, the appeal of the story is not merely in its deceptively simple story. In addition to the Ice Warriors, we have Alpha Centauri and Arcturus, a pair of wonderfully designed and realised aliens. Alpha Centauri is a one–eyed hermaphrodite hexapod (I can imagine the awkward explanations parents would have tried to give at the time!) with a shrill feminine voice, courtesy of Ysanne Churchman and Arcturus is realised as a kind of tentacled skull in a perspex dome. The interaction between the delegates is also well written.
Lennie Mayne directs very atmospherically, getting great performances from the cast and overseeing some very creative camerawork and interesting compositions. A case in point is the revelation of Ssorg, the Ice Warrior. He lumbers onscreen from the right to the left in a very simple, but hugely effective shot. Every shot has obviously been created to be interesting and effective. The design throughout is excellent, from the castle through to the costumes, and very well lit, with the castle being lit as if burning torches are the only light source.
The cast is superlative. Alan Bennion makes Izlyr both a menacing Ice Lord and a benevolent character. I love the scene when he privately admits to Jo that he finds Alpha Centauri annoying. Then there is David Troughton. He is acclaimed today as one of the finest actors in the country (I have personally seen him be utterly fantastic in roles as varied as Richard II and Captain Hook) and he is thoroughly excellent here. Jon Pertwee has to play detective, fighter and politician here, and does that with humour and aplomb, fighting with Grun, King Peladon’s champion and taming Aggedor with a Venusian lullaby. Katy Manning is truly fantastic here, Jo showing initiative and diplomatic skills. Her budding romance with Peladon is beautifully written and both Troughton and Manning are well up to it. Lennie Mayne clearly knows exactly how to motivate this fantastic cast to give the best possible performance.
I don’t personally think The Curse of Peladon is the best Doctor Who story of all time. It is, however, pretty close and, as a Doctor Who story, utterly perfect.
NEXT: The Sea Devils
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