Doctor Who's 20th Anniversary was marked by this feature length episode. As expected, the story is primarily there to celebrate Doctor Who's history, of which there was a hell of a lot. Terrence Dicks's script was a last-minute rush job that juggled five Doctors and their companions and the usual array of guest characters, so it is a miracle that the story works so well. Dicks reuses a plot element from The War Games (kidnapping alien beings to do battle in a game) and uses it to give each Doctor breathing space in this convoluted affair and the quest aspect is well handled to bind the differing journeys together. The story is also a quest for the identity of the Doctor himself, something made explicit in the plot and also lying implicit in the story's aim to be a celebration. Gallifrey is again given a sense of history with great economy and Dicks includes a great deal of memorable dialogue in a script that shows his skill and consummate professionalism.
Peter Moffat is hardly the most visually adventurous director, but he does reasonably good work here. Despite Gallifrey having a similar look to Arc of Infinity, scenes are cut with more urgency which compensate for this. The locations are well shot, with some very atmospheric scenes in the caves, and there is some great matte painting work for the exterior of the Dark Tower and great set design for the interior. We get some of the series' most celebrated monsters, with the appearance of a Dalek and a Yeti, but the main 'monsters' are the Cybermen. These are of similar design to those in Earthshock but, unfortunately, the key touch that made this design so great (the silver jaw visible behind the face-plate) has been omitted. However, the Cybermen form part of perhaps the most memorable set-piece in the story, the Raston Warrior Robot. This is a shockingly violent scene, where a platoon of Cybermen are impaled and dismembered by the Robot. The Robot is instantly memorable in a scene that is immaculately shot and edited.
Of course, the main attraction is the appearance of the five Doctors themselves, although, in reality, this is really another 'three doctors'- William Hartnell had been dead for 8 years and Tom Baker declined to appear. Jon Pertwee and Patrick Troughton effortlessly ease back into their roles and their interplay with their companions is excellently written and performed. Tom Baker appears in the form of a scene from Shada, but the First Doctor has been recast. Doing an impersonation of the inimitable Hartnell would have been disastrous, so it is good that Richard Hurndall gives us his own interpretation- he doesn't giggle or go 'hmm', but we still believe in him as the Doctor. If it had been up to me, I would not have had the First Doctor in it, but Hurndall does a good enough job. The guest performances are good, with Phillip Latham's power-mad Borusa being a highlight. The characterisation of the Master as being thwarted in his attempts to help the Doctor is highly amusing and works well.
The Five Doctors is eminently successful in both celebrating the programme and entertaining the viewer. This is the first story where I have had to review two versions. In 1995, an extended edition was released with 'improved' special effects and extra scenes. However, there are only two actual improvements, in my opinion- the first entrance of Borusa and the Doctor going into Borusa's office are better edited, but, in general, the pace is lost in the new edit. Also, the iconic black trapezoid used to represent the time scoop has been needlessly replaced with what looks like a CGI ice cream. If you only have time for one, make it the original.
NEXT: Warriors of the Deep
Showing posts with label Zoe. Show all posts
Showing posts with label Zoe. Show all posts
Wednesday, 22 July 2009
Saturday, 29 November 2008
The War Games
The Doctor, Jamie and Zoe find themselves in what appears to be the Western Front in World War I. The truth, however, is more sinister- an alien race is kidnapping human soldiers from wars that have occurred throughout human history prior to the 21st century (actually, it seems to be prior to World War II) to create the ultimate army, an army which will be used to conquer the galaxy.
Patrick Troughton’s tenure as the Doctor comes to an end with this epic 10-part story, second only to The Daleks’ Master Plan in length (yes, yes, Trial of a Time Lord blah, blah). There is just over 4 hours of material here, yet it never becomes boring or repetitive. The story gradually escalates in scale- the first episode feels like it actually takes place on the Western Front, with aliens having infiltrated. When Jamie meets the Redcoat from Culloden, this interpretation is questioned and we find that there are soldiers from throughout human history and mysterious machines that materialise with a sound similar, but not identical to, the TARDIS. We are then taken to the control centre where we see the aliens processing the humans and, indeed, pitting the humans against each other like they are playing a deadly game of Risk (perhaps a hint of Malcolm Hulke's communist leanings seeping through?). There are power struggles in the higher echelons of the aliens’ command structure. We then discover that the similarities of the time machines to the TARDIS are not a coincidence and we find out more about the Doctor than we have ever done before. Terrence Dicks and Malcolm Hulke manage to fill the story with memorable dialogue and good characterisation throughout and expertly weave a narrative that moves from the grittiness of the trenches to the ‘futurama’ of the aliens’ domain. There is a distinct stylistic difference between the two, but it works thematically- the aliens maintain a detachment from the affairs of the humans at all times. In a story of ten parts, there is, obviously, some padding evident, but much less than one would expect. It is interesting to note that there are several Troughton stories (The preceding Space Pirates leaps to mind) which are six parters by design, that are considerably more padded than stories which had extra parts foisted on them.
Visually, the story is a triumph. The Western Front zone (the war zone that is explored the most fully) is excellently realised and could come from a respectable historical drama dealing with the period. The scenes at the alien control point are as differentiated visually as they are thematically and never crosses the line into cheesiness- even the bizarre goggles that are worn do not look ridiculous. David Maloney again directs with consummate style and subtlety with very effective camera work and an unshowy but highly effective use of lighting.
The guest cast is extensive and astonishingly good. James Bree is memorable as the security chief- his diction is almost Dalek like, but seems natural with the character and makes the struggles he has with Edward Brayshaw’s marvellous War Chief very memorable. Philip Madoc is outstanding as the War Lord, a figure who is usually shown speaking calmly with the ghost of a smile on his face, but still projects a horrifying amorality. This makes the depiction of his breakdown in the final episode all the more effective. David Savile and Jane Sherwin are very effective as Lt Carstairs and Lady Jennifer Buckingham. Unlike in The Tomb of the Cybermen, the blatant nepotism (Jane Sherwin was married to Derrick Sherwin) is vindicated. Even minor roles are excellently portrayed- it is not surprising that many were played by future stars. Most notable is Rudolph Walker as the doomed Harper, who puts in a brilliant performance for what amounts to about 5 minutes of screen time.
I have said before that I find the team of the Doctor, Jamie and Zoe to be the best line-up of the Troughton era and this story demonstrates this excellently. Frazer Hines displays for the last time that irresistible blend of unschooled resourcefulness and fiery energy that makes Jamie one of the greatest companions of all time and Wendy Padbury’s infectious enthusiasm continues to endear the viewer. We can see that the relationship between the characters has deepened considerably- when the Doctor is about to face a firing squad, he gives Zoe an avuncular kiss on the cheek. When the Doctor is faced with his greatest challenge yet, it is made clear- for the very first time- that his companions are willing to spend their entire lives with him.
This story presents the greatest challenge as an actor that Patrick Troughton ever achieved in the role and, of course, we all know that he is more than up to the task. Half-way through the story we hear of a mysterious and powerful race called the Time Lords. We find out that the War Chief is one of them and, in a wonderful moment, it only takes one glance for the Doctor and the War Chief to recognise each other and it is later revealed that the Doctor too is a Time Lord. There is a scene that consists entirely of exposition that is utterly fantastic, starting with the War Chief saying ‘You may have changed your appearance, but I know who you are.’ In this scene, we see the Doctor as we have never seen him before. The Doctor, this incarnation especially, has always been mysterious, always guarded about his origins and past. Now he is with a true peer who knows exactly who he really is. From this pivotal scene onwards, the Doctor is forever changed in our eyes. Troughton’s performance is effortless, yet hugely effective.
The Doctor has to summon the Time Lords as the task of returning tens of thousands of soldiers to their times is beyond him. He tries to escape, but the Time Lords have complete control over the TARDIS- the cliffhanger to episode 9 has the Doctor, Jamie and Zoe running more and more slowly towards the TARDIS as the Time Lords slow down time around them. However, they are eventually brought back to the Doctor’s home planet, where we see the Time Lords for the first time, imposing, forbidding and, by all appearances, well-nigh omnipotent. The Doctor is forced to take leave of Jamie and Zoe in what has to be the most touching departure scene since Ian and Barbara left, which is beautifully played by the three actors. The Doctor is sentenced to exile on earth with a new appearance and we see him continuing to protest as he spirals off into infinity…
Unlike William Hartnell, Patrick Troughton chose to leave the programme and, therefore, is given this thoroughly amazing story as a send off. The faults are very few and far between- the only notable one I can think of is the fact that most of the fight scenes are very poorly done. However, this story has so much more to offer and is excellent as a final Troughton story, one of his best, and would even work well as a final ever Doctor Who adventure. Seven years on the air and 253 episodes is a phenomenally good run by any standards, but, although viewing figures were down…
NEXT: Spearhead from Space
Patrick Troughton’s tenure as the Doctor comes to an end with this epic 10-part story, second only to The Daleks’ Master Plan in length (yes, yes, Trial of a Time Lord blah, blah). There is just over 4 hours of material here, yet it never becomes boring or repetitive. The story gradually escalates in scale- the first episode feels like it actually takes place on the Western Front, with aliens having infiltrated. When Jamie meets the Redcoat from Culloden, this interpretation is questioned and we find that there are soldiers from throughout human history and mysterious machines that materialise with a sound similar, but not identical to, the TARDIS. We are then taken to the control centre where we see the aliens processing the humans and, indeed, pitting the humans against each other like they are playing a deadly game of Risk (perhaps a hint of Malcolm Hulke's communist leanings seeping through?). There are power struggles in the higher echelons of the aliens’ command structure. We then discover that the similarities of the time machines to the TARDIS are not a coincidence and we find out more about the Doctor than we have ever done before. Terrence Dicks and Malcolm Hulke manage to fill the story with memorable dialogue and good characterisation throughout and expertly weave a narrative that moves from the grittiness of the trenches to the ‘futurama’ of the aliens’ domain. There is a distinct stylistic difference between the two, but it works thematically- the aliens maintain a detachment from the affairs of the humans at all times. In a story of ten parts, there is, obviously, some padding evident, but much less than one would expect. It is interesting to note that there are several Troughton stories (The preceding Space Pirates leaps to mind) which are six parters by design, that are considerably more padded than stories which had extra parts foisted on them.
Visually, the story is a triumph. The Western Front zone (the war zone that is explored the most fully) is excellently realised and could come from a respectable historical drama dealing with the period. The scenes at the alien control point are as differentiated visually as they are thematically and never crosses the line into cheesiness- even the bizarre goggles that are worn do not look ridiculous. David Maloney again directs with consummate style and subtlety with very effective camera work and an unshowy but highly effective use of lighting.
The guest cast is extensive and astonishingly good. James Bree is memorable as the security chief- his diction is almost Dalek like, but seems natural with the character and makes the struggles he has with Edward Brayshaw’s marvellous War Chief very memorable. Philip Madoc is outstanding as the War Lord, a figure who is usually shown speaking calmly with the ghost of a smile on his face, but still projects a horrifying amorality. This makes the depiction of his breakdown in the final episode all the more effective. David Savile and Jane Sherwin are very effective as Lt Carstairs and Lady Jennifer Buckingham. Unlike in The Tomb of the Cybermen, the blatant nepotism (Jane Sherwin was married to Derrick Sherwin) is vindicated. Even minor roles are excellently portrayed- it is not surprising that many were played by future stars. Most notable is Rudolph Walker as the doomed Harper, who puts in a brilliant performance for what amounts to about 5 minutes of screen time.
I have said before that I find the team of the Doctor, Jamie and Zoe to be the best line-up of the Troughton era and this story demonstrates this excellently. Frazer Hines displays for the last time that irresistible blend of unschooled resourcefulness and fiery energy that makes Jamie one of the greatest companions of all time and Wendy Padbury’s infectious enthusiasm continues to endear the viewer. We can see that the relationship between the characters has deepened considerably- when the Doctor is about to face a firing squad, he gives Zoe an avuncular kiss on the cheek. When the Doctor is faced with his greatest challenge yet, it is made clear- for the very first time- that his companions are willing to spend their entire lives with him.
This story presents the greatest challenge as an actor that Patrick Troughton ever achieved in the role and, of course, we all know that he is more than up to the task. Half-way through the story we hear of a mysterious and powerful race called the Time Lords. We find out that the War Chief is one of them and, in a wonderful moment, it only takes one glance for the Doctor and the War Chief to recognise each other and it is later revealed that the Doctor too is a Time Lord. There is a scene that consists entirely of exposition that is utterly fantastic, starting with the War Chief saying ‘You may have changed your appearance, but I know who you are.’ In this scene, we see the Doctor as we have never seen him before. The Doctor, this incarnation especially, has always been mysterious, always guarded about his origins and past. Now he is with a true peer who knows exactly who he really is. From this pivotal scene onwards, the Doctor is forever changed in our eyes. Troughton’s performance is effortless, yet hugely effective.
The Doctor has to summon the Time Lords as the task of returning tens of thousands of soldiers to their times is beyond him. He tries to escape, but the Time Lords have complete control over the TARDIS- the cliffhanger to episode 9 has the Doctor, Jamie and Zoe running more and more slowly towards the TARDIS as the Time Lords slow down time around them. However, they are eventually brought back to the Doctor’s home planet, where we see the Time Lords for the first time, imposing, forbidding and, by all appearances, well-nigh omnipotent. The Doctor is forced to take leave of Jamie and Zoe in what has to be the most touching departure scene since Ian and Barbara left, which is beautifully played by the three actors. The Doctor is sentenced to exile on earth with a new appearance and we see him continuing to protest as he spirals off into infinity…
Unlike William Hartnell, Patrick Troughton chose to leave the programme and, therefore, is given this thoroughly amazing story as a send off. The faults are very few and far between- the only notable one I can think of is the fact that most of the fight scenes are very poorly done. However, this story has so much more to offer and is excellent as a final Troughton story, one of his best, and would even work well as a final ever Doctor Who adventure. Seven years on the air and 253 episodes is a phenomenally good run by any standards, but, although viewing figures were down…
NEXT: Spearhead from Space
Wednesday, 26 November 2008
The Space Pirates
Robert Holmes returns with this story about pirates. In space. Anyway, shipments of aragonite have been stolen by these interstellar buccaneers and they have now started attacking space beacons which are made of this precious metal. The opportunistic Milo Clancy seems to be the prime suspect, but who is the real culprit?
There is nothing wrong with taking the tropes of pirate stories and westerns and locating them in outer space. A good case in point is Joss Whedon’s Firefly, one of the greatest works of television sci-fi of all time. The basic storyline of The Space Pirates could have been used in an episode of Firefly, but it would have had the advantage of a well-thought out back story and engaging characters and it is the lack of these that makes The Space Pirates fail. There are hints of Holmes’ future talent for world building and the basic plot is by no means bad. However, there is no need for this story to be four episodes in length, much less six. It takes an agonising 15 minutes before the TARDIS appears in episode one, and it is only at the end of episode two that the Doctor, Jamie and Zoe even meet with any of the supporting characters. There are vast quantities of padding throughout, which are murder to get through some of the time.
This is a pity as the surviving episode and clips show excellent production values with the best model shots yet seen in the series, which would only be surpassed in 1986. The sets and costumes are excellent, as is the music. The supporting cast are generally good, especially Jack May as General Hermack, a hugely under-written role. However there are two actors whose performances are problematic. Dudley Foster might have compensated in his physical performance, but vocally, he seems to lack the presence for Caven, the major villain. I suppose it is refreshing that they didn’t make Caven a literal space pirate, making Dervish walk a space plank and whatnot. Far more seriously, Gordon Gostelow is absolutely terrible as Milo Clancey. He appears to be trying to impersonate American actor Pat Buttram, but bizarrely, seems to lapse into Harold Steptoe sometimes. What with his futile effort to maintain an accent and his lethargic body language, he fails to emote effectively. Clancey is a nicely written character, but jars both visually (he dresses as a prospector from the Wild West) and thematically with the story and is a major distraction. Because he is such a key character, the story suffers as a result.
Needless to say, the regulars again put in good work- Troughton has some great comic moments, such as when he falls on the bag of drawing pins he has about his person (‘I like drawing pins!) and uses marbles to overpower a guard. However, this story has very little in it to attract the viewer and is eminently skippable.
NEXT: The War Games
There is nothing wrong with taking the tropes of pirate stories and westerns and locating them in outer space. A good case in point is Joss Whedon’s Firefly, one of the greatest works of television sci-fi of all time. The basic storyline of The Space Pirates could have been used in an episode of Firefly, but it would have had the advantage of a well-thought out back story and engaging characters and it is the lack of these that makes The Space Pirates fail. There are hints of Holmes’ future talent for world building and the basic plot is by no means bad. However, there is no need for this story to be four episodes in length, much less six. It takes an agonising 15 minutes before the TARDIS appears in episode one, and it is only at the end of episode two that the Doctor, Jamie and Zoe even meet with any of the supporting characters. There are vast quantities of padding throughout, which are murder to get through some of the time.
This is a pity as the surviving episode and clips show excellent production values with the best model shots yet seen in the series, which would only be surpassed in 1986. The sets and costumes are excellent, as is the music. The supporting cast are generally good, especially Jack May as General Hermack, a hugely under-written role. However there are two actors whose performances are problematic. Dudley Foster might have compensated in his physical performance, but vocally, he seems to lack the presence for Caven, the major villain. I suppose it is refreshing that they didn’t make Caven a literal space pirate, making Dervish walk a space plank and whatnot. Far more seriously, Gordon Gostelow is absolutely terrible as Milo Clancey. He appears to be trying to impersonate American actor Pat Buttram, but bizarrely, seems to lapse into Harold Steptoe sometimes. What with his futile effort to maintain an accent and his lethargic body language, he fails to emote effectively. Clancey is a nicely written character, but jars both visually (he dresses as a prospector from the Wild West) and thematically with the story and is a major distraction. Because he is such a key character, the story suffers as a result.
Needless to say, the regulars again put in good work- Troughton has some great comic moments, such as when he falls on the bag of drawing pins he has about his person (‘I like drawing pins!) and uses marbles to overpower a guard. However, this story has very little in it to attract the viewer and is eminently skippable.
NEXT: The War Games
Monday, 24 November 2008
The Seeds of Death
The Ice Warriors return to Doctor Who in this ambitious 6-parter, attempting to invade Earth at a time when teleportation, or "T-Mat" has replaced all traditional forms of transport, including manned space flight. They plan to use this technology to spread deadly Martian seed pods throughout the world that will drastically reduce the oxygen content of the atmosphere.
As in their debut outing, The Seeds of Death has mankind relying too much on one piece of technology, and that over-reliance being a severe handicap. However, unlike most of the Cybermen stories, this is not simply a rewrite of the earlier story and has the advantage of not having a plot of torturous stupidity. The story’s main asset is the very slick direction by Michael Ferguson. The Ice Warriors’ initial attack is done using POV shots, there are interesting high and low angle shots. There is a conversation scene in episode one which is shot with a very shallow depth of field, so that the speaker is brought into focus and the other person taken out of focus. This slickness is also evident in the model shots- I would hazard a guess that this was, conceptually, the first post-2001: A Space Odyssey Doctor Who story. The episode titles are filmed over an ersatz (but quite effective) version of the title sequence from 2001 and the special effects team have realised that you can get much better effects by moving the camera rather than moving the model. Unfortunately, the seeds and the fungus they spread are realised by using white balloons and foam. (incidentally, I fail to see what was so alien about foam in late 60s Britain- had they never done the washing up?)
In all this slickness, the Ice Warriors themselves can sometimes be a bit lost. There are a few too many scenes where they take ages to shoot someone, or fail to see someone in the periphery of their line of sight. However, the scenes where the lone Ice Warrior is stalking the grounds of Earth Control are very effective. Also effective is the performance of Alan Bennion as Slaar, the Ice Lord. Bennion projects incredible menace in his rasping voice, and his sleeker costume makes him seem more agile.
The supporting cast is good, especially Terry Scully, who is excellent as the frightened Fewsham. Louise Pajo also gives a nicely modulated performance as Gia Kelly and Philip Ray works well as Professor Eldred (although he lingually titubates more than Hartnell ever did!). The regulars are again brilliant- I am convinced, now, that the Doctor, Jamie and Zoe are the best team we’ve had since the Hartnell era.
There is inevitable padding out of the script to make it a 6-parter (although nothing like as egregious as the padding in season 5) and it lacks a degree of thematic depth. However, this is hugely enjoyable and recommended.
NEXT: The Space Pirates
As in their debut outing, The Seeds of Death has mankind relying too much on one piece of technology, and that over-reliance being a severe handicap. However, unlike most of the Cybermen stories, this is not simply a rewrite of the earlier story and has the advantage of not having a plot of torturous stupidity. The story’s main asset is the very slick direction by Michael Ferguson. The Ice Warriors’ initial attack is done using POV shots, there are interesting high and low angle shots. There is a conversation scene in episode one which is shot with a very shallow depth of field, so that the speaker is brought into focus and the other person taken out of focus. This slickness is also evident in the model shots- I would hazard a guess that this was, conceptually, the first post-2001: A Space Odyssey Doctor Who story. The episode titles are filmed over an ersatz (but quite effective) version of the title sequence from 2001 and the special effects team have realised that you can get much better effects by moving the camera rather than moving the model. Unfortunately, the seeds and the fungus they spread are realised by using white balloons and foam. (incidentally, I fail to see what was so alien about foam in late 60s Britain- had they never done the washing up?)
In all this slickness, the Ice Warriors themselves can sometimes be a bit lost. There are a few too many scenes where they take ages to shoot someone, or fail to see someone in the periphery of their line of sight. However, the scenes where the lone Ice Warrior is stalking the grounds of Earth Control are very effective. Also effective is the performance of Alan Bennion as Slaar, the Ice Lord. Bennion projects incredible menace in his rasping voice, and his sleeker costume makes him seem more agile.
The supporting cast is good, especially Terry Scully, who is excellent as the frightened Fewsham. Louise Pajo also gives a nicely modulated performance as Gia Kelly and Philip Ray works well as Professor Eldred (although he lingually titubates more than Hartnell ever did!). The regulars are again brilliant- I am convinced, now, that the Doctor, Jamie and Zoe are the best team we’ve had since the Hartnell era.
There is inevitable padding out of the script to make it a 6-parter (although nothing like as egregious as the padding in season 5) and it lacks a degree of thematic depth. However, this is hugely enjoyable and recommended.
NEXT: The Space Pirates
Saturday, 22 November 2008
The Krotons
The Krotons is a similar type of story to The Dominators- the Doctor helps a race of humanoids against alien aggressors. This time, however, the story succeeds because it is far more intelligently scripted. This is the début story for Doctor who stalwart Robert Holmes, who would go on to become one of the programme's most respected writers.
The story (which has shades of John Christopher's Tripods books) deals with the Gonds, a race who are ruled by the unseen Krotons. The Krotons spoon-feed knowledge to the Gonds very selectively, making sure they do not get too advanced in areas that will enable them to threaten their dominance. In return, the brightest Gond students are sent to become 'companions' of the Krotons. In reality, their mental energy is drained and then they are disintegrated. The script touches on themes such as colonialism (the Gonds being a subject race with the conquerors inhibiting their development and stealing their resources) and religious faith (the Krotons are seen as being almost gods, and they forbid certain areas of study) without beating the viewer over the head with them. The script also contains some fascinating ideas. The Krotons themselves are crystalline beings who cannot really die, but can be 'deactivated' if their structure dissolves. They can, however, recrystallise later. They use mental power to fly their spaceship, the Dynatrope and are on the lookout for two more 'high brains' to enable them to leave. Ironically, their limitation of the Gonds learning has led to none of them being suitable, which makes the arrival of the Doctor and Zoe very interesting for the Krotons. While Holmes's script doesn't have the excellent characterisation he would become famous for later, it is very economical, especially when compared with the bloated 6-parters of the previous season.
David Maloney's direction is understated, but very effective, as are the designs. The sets for the Dynatrope are excellently designed and lit and the Krotons themselves are effective, if a bit cumbersome, with great booming voices (one of which, strangely, sounds either South African or from Northampton!). The story is notorious for the first shot, where the shutter for the Krotons' message delivery system doesn't close properly. This is actually only really noticeable if you're looking for it and doesn't really detract at all.
The guest cast are solid, although the only real standout performance is the excellent Philip Madoc as Eelek. The regulars are given some very good material and do their usual magic. Wendy Padbury is particularly marvellous- only she could pull off the line 'The Doctor's almost as clever as I am' without being annoying. All in all, this is a hugely underrated story and well worth a look.
NEXT: The Seeds of Death
The story (which has shades of John Christopher's Tripods books) deals with the Gonds, a race who are ruled by the unseen Krotons. The Krotons spoon-feed knowledge to the Gonds very selectively, making sure they do not get too advanced in areas that will enable them to threaten their dominance. In return, the brightest Gond students are sent to become 'companions' of the Krotons. In reality, their mental energy is drained and then they are disintegrated. The script touches on themes such as colonialism (the Gonds being a subject race with the conquerors inhibiting their development and stealing their resources) and religious faith (the Krotons are seen as being almost gods, and they forbid certain areas of study) without beating the viewer over the head with them. The script also contains some fascinating ideas. The Krotons themselves are crystalline beings who cannot really die, but can be 'deactivated' if their structure dissolves. They can, however, recrystallise later. They use mental power to fly their spaceship, the Dynatrope and are on the lookout for two more 'high brains' to enable them to leave. Ironically, their limitation of the Gonds learning has led to none of them being suitable, which makes the arrival of the Doctor and Zoe very interesting for the Krotons. While Holmes's script doesn't have the excellent characterisation he would become famous for later, it is very economical, especially when compared with the bloated 6-parters of the previous season.
David Maloney's direction is understated, but very effective, as are the designs. The sets for the Dynatrope are excellently designed and lit and the Krotons themselves are effective, if a bit cumbersome, with great booming voices (one of which, strangely, sounds either South African or from Northampton!). The story is notorious for the first shot, where the shutter for the Krotons' message delivery system doesn't close properly. This is actually only really noticeable if you're looking for it and doesn't really detract at all.
The guest cast are solid, although the only real standout performance is the excellent Philip Madoc as Eelek. The regulars are given some very good material and do their usual magic. Wendy Padbury is particularly marvellous- only she could pull off the line 'The Doctor's almost as clever as I am' without being annoying. All in all, this is a hugely underrated story and well worth a look.
NEXT: The Seeds of Death
Wednesday, 19 November 2008
The Invasion
The Cybermen are second only to the Daleks in the Doctor Who monster popularity stakes. It is, therefore, unfortunate that Cybermen stories have, so far, been vastly inferior in quality to Dalek stories. Dalek stories have been very ambitious, ranging from the post-nuclear-holocaust morality tale of their first story to the epic plot for galactic domination of The Daleks’ Master Plan. Cybermen stories have been basically the same story every time. The one time they tried something different (The Tomb of the Cybermen) they ran out of plot half-way through.
It is, therefore, a genuine pleasure to announce how much I enjoyed The Invasion. There are two reasons for this which are evident from the start. Firstly, it is not a ‘base under siege’ story, of which there were far, far too many in season 5. Earth invasion stories are also common in Doctor Who, but they offer far more opportunity for variation and creativeness. Secondly, the Cyber-plan is not idiotically over-complicated- I was beginning to think that the Cybermen were being led by a Cyber-Heath Robinson (or Rube Goldberg, if you’re American). The plan is simple, to take over the human race by installing control devices in electronic products. This is effective and also ties in well, conceptually with the Cybermen themselves. There is surprisingly little padding on the story, considering its length.
Interestingly, the Cybermen feature less than in any other story- they do not even appear until half-way through. They have changed appearance again, to perhaps their most iconic look. This makeover is the most successful realisation of the Cybermen since their debut and is very effective (apart from the fact that they wear laced boots!) and, thankfully, the cybermats are nowhere to be seen.
With the Cybermen reduced in prominence, the focus is on the human villain, Tobias Vaughan. Kevin Stoney’s utterly astonishing performance would stand out in any season of Doctor Who, but coming just after a time when the adversaries were becoming increasingly similar, the phrase ‘breath of fresh air’ is totally inadequate. Stoney plays Vaughan as being a bit unhinged, but not mad, ruthless but not inhuman. He roars at his subordinates, banging his fist on the table and when they acquiesce, he calmly says ‘Good chap’. Although he wants to dominate the world, he does not want the human race converted into Cybermen, for reasons both selfish and unselfish. Stoney truly gives one of the best guest performances in the programme ever, making me sad all over again about his recent death. There are some good performances from the other guest stars. Peter Halliday is fun as the sadistic but dim Packer and Sally Faulkner is wonderfully sparky as Isobel Faulkner. This is a very location rich production- Douglas Camfield shoots with a filmic dynamism. The use of lighting is great, especially in the dank sewer sets. The set design is also up to scratch and the use of real military aircraft gives this story a very expensive look. The music by Don Harper is very distinctive, very redolent of an ITC serial. There is one rather bad gaffe- when Gregory reports the rescue of Professor Watkins, it abruptly cuts from him in the office telling Vaughan to him (or a badly disguised double) running from Packer in the sewers. This cut seems to suggest that Vaughan has an identical office in the sewer!
The regulars are on great form, with Troughton and Hines getting better with every episode. Troughton’s scenes with Stoney, in particular, positively sparkle. This is also a great story for Zoe- the scene where UNIT use her computations for launching the missile at the Cyber-fleet is great. And, of course, this is the first UNIT story, with Nicholas Courtney effortlessly bringing the Brigadier to life with a great sense of authority and a dry sense of humour.
This is a wonderfully entertaining story, easily better than all the other 60s Cybermen stories combined.
NEXT: The Krotons
It is, therefore, a genuine pleasure to announce how much I enjoyed The Invasion. There are two reasons for this which are evident from the start. Firstly, it is not a ‘base under siege’ story, of which there were far, far too many in season 5. Earth invasion stories are also common in Doctor Who, but they offer far more opportunity for variation and creativeness. Secondly, the Cyber-plan is not idiotically over-complicated- I was beginning to think that the Cybermen were being led by a Cyber-Heath Robinson (or Rube Goldberg, if you’re American). The plan is simple, to take over the human race by installing control devices in electronic products. This is effective and also ties in well, conceptually with the Cybermen themselves. There is surprisingly little padding on the story, considering its length.
Interestingly, the Cybermen feature less than in any other story- they do not even appear until half-way through. They have changed appearance again, to perhaps their most iconic look. This makeover is the most successful realisation of the Cybermen since their debut and is very effective (apart from the fact that they wear laced boots!) and, thankfully, the cybermats are nowhere to be seen.
With the Cybermen reduced in prominence, the focus is on the human villain, Tobias Vaughan. Kevin Stoney’s utterly astonishing performance would stand out in any season of Doctor Who, but coming just after a time when the adversaries were becoming increasingly similar, the phrase ‘breath of fresh air’ is totally inadequate. Stoney plays Vaughan as being a bit unhinged, but not mad, ruthless but not inhuman. He roars at his subordinates, banging his fist on the table and when they acquiesce, he calmly says ‘Good chap’. Although he wants to dominate the world, he does not want the human race converted into Cybermen, for reasons both selfish and unselfish. Stoney truly gives one of the best guest performances in the programme ever, making me sad all over again about his recent death. There are some good performances from the other guest stars. Peter Halliday is fun as the sadistic but dim Packer and Sally Faulkner is wonderfully sparky as Isobel Faulkner. This is a very location rich production- Douglas Camfield shoots with a filmic dynamism. The use of lighting is great, especially in the dank sewer sets. The set design is also up to scratch and the use of real military aircraft gives this story a very expensive look. The music by Don Harper is very distinctive, very redolent of an ITC serial. There is one rather bad gaffe- when Gregory reports the rescue of Professor Watkins, it abruptly cuts from him in the office telling Vaughan to him (or a badly disguised double) running from Packer in the sewers. This cut seems to suggest that Vaughan has an identical office in the sewer!
The regulars are on great form, with Troughton and Hines getting better with every episode. Troughton’s scenes with Stoney, in particular, positively sparkle. This is also a great story for Zoe- the scene where UNIT use her computations for launching the missile at the Cyber-fleet is great. And, of course, this is the first UNIT story, with Nicholas Courtney effortlessly bringing the Brigadier to life with a great sense of authority and a dry sense of humour.
This is a wonderfully entertaining story, easily better than all the other 60s Cybermen stories combined.
NEXT: The Krotons
Monday, 17 November 2008
The Mind Robber
The Mind Robber is one of the most bizarre Doctor Who stories ever broadcast. The only story it can be compared to is The Celestial Toymaker- both stories involve the TARDIS being drawn into a realm where the controller of that realm has absolute control over its reality. However, The Mind Robber is even more daring and creative than its predecessor, a story that would stand out in any season of Doctor Who, but especially so after the 'monster of the week' stories of the preceding seasons.
The TARDIS travels out of time and space and is drawn into the domain of the 'Land of Fiction' where characters from myth, fairy tale and literature exist. It turns out that the realm is the creation of the Master Brain, a powerful computer that feeds off the imagination of 'The Master', a writer for a boys' magazine (Interestingly, in the same way that Cyril from The Celestial Toymaker is 'not' Billy Bunter' the Master is 'not' Frank Richards!)
This type of storyline, if used at its most basic level, can be a fun runaround where the protagonist interacts with famous fictitious characters and this is indeed, what we get. However, this story has so much more besides. It takes on the question of free will versus determinism in a completely different way from The Space Museum- the Doctor realises that he must be a writer, not a character in this reality, or he will become fiction, and when Jamie and Zoe are fictionalised, they are unable to do more than speak lines which were written for them. It also deals with the process of writing for Doctor Who itself- witness the 'write-off' between the Master and the Doctor. Both are suffused with a subtly different form of the existential horror present in The Celestial Toymaker. Peter Ling's script manages to be very thought provoking without rubbing your face in how profound it is.
Of course, for such an ambitious script to succeed, it would have to work visually. Not only does it do so, this story is stuffed to the brim with memorable images. The white void, the destruction of the TARDIS, the forest of words, Medusa coming to life, Jamie having his face taken away, the creaking toy soldiers, Jamie and Zoe being fictionalised by being trapped in a giant book… David Maloney doesn't put a foot wrong in his realisation of this wacky world in one of the best directorial jobs ever seen on the programme. Even the fight between the Karkus and Zoe, which should have been a rush job, works wonderfully.
The supporting performances are all superb. Bernard Horsfall is excellent as Gulliver, who can only speak in lines given to him by Jonathan Swift. Emrys James is phenomenal as the Master, making him both an affable old buffer and a harsh machine-controlled intelligence. The regulars put in their best performances yet, each one of them being thoroughly compelling throughout.
In an era that is affected by the purging of the BBC archives more than any other, it is a joy that this, Troughton's best story, exists in its entirety. It is so good, so entertaining and so much damn fun that I am not even going to mention the couple of very small niggles I had with it.
NEXT: The Invasion
The TARDIS travels out of time and space and is drawn into the domain of the 'Land of Fiction' where characters from myth, fairy tale and literature exist. It turns out that the realm is the creation of the Master Brain, a powerful computer that feeds off the imagination of 'The Master', a writer for a boys' magazine (Interestingly, in the same way that Cyril from The Celestial Toymaker is 'not' Billy Bunter' the Master is 'not' Frank Richards!)
This type of storyline, if used at its most basic level, can be a fun runaround where the protagonist interacts with famous fictitious characters and this is indeed, what we get. However, this story has so much more besides. It takes on the question of free will versus determinism in a completely different way from The Space Museum- the Doctor realises that he must be a writer, not a character in this reality, or he will become fiction, and when Jamie and Zoe are fictionalised, they are unable to do more than speak lines which were written for them. It also deals with the process of writing for Doctor Who itself- witness the 'write-off' between the Master and the Doctor. Both are suffused with a subtly different form of the existential horror present in The Celestial Toymaker. Peter Ling's script manages to be very thought provoking without rubbing your face in how profound it is.
Of course, for such an ambitious script to succeed, it would have to work visually. Not only does it do so, this story is stuffed to the brim with memorable images. The white void, the destruction of the TARDIS, the forest of words, Medusa coming to life, Jamie having his face taken away, the creaking toy soldiers, Jamie and Zoe being fictionalised by being trapped in a giant book… David Maloney doesn't put a foot wrong in his realisation of this wacky world in one of the best directorial jobs ever seen on the programme. Even the fight between the Karkus and Zoe, which should have been a rush job, works wonderfully.
The supporting performances are all superb. Bernard Horsfall is excellent as Gulliver, who can only speak in lines given to him by Jonathan Swift. Emrys James is phenomenal as the Master, making him both an affable old buffer and a harsh machine-controlled intelligence. The regulars put in their best performances yet, each one of them being thoroughly compelling throughout.
In an era that is affected by the purging of the BBC archives more than any other, it is a joy that this, Troughton's best story, exists in its entirety. It is so good, so entertaining and so much damn fun that I am not even going to mention the couple of very small niggles I had with it.
NEXT: The Invasion
Saturday, 15 November 2008
The Dominators
The Dominators feels very much like a Hartnell story, purely because it doesn’t follow the ‘base-under-siege’ model that cropped up so many times in season 5. This makes for a refreshing change, as does the fact that this is a story that exists in its entirety. The story is simple- the planet Dulkis has had no wars or conflict of any kind for centuries. Dulkis is invaded by the warlike Dominators who find that the Dulcians’ pacifism makes them ripe for exploitation.
The main message of this story is that pacifism can lead to weakness. However, the way in which the story does this is extremely unsubtle. The Dulcians are all portrayed as indolent and lacking in initiative or creative thought. Knowledge is learned by rote, even by adults. The Councillors are depicted as being impotent and silly. This would be acceptable in a drama (if a bit reactionary) but the Dulcians are portrayed by actors who give some of the most listlessly awful performances I have ever seen. The Dominators, on the other hand are far more successfully realised. Ronald Allen and Kenneth Ives put in very good performances, with Allen’s glowering Rago being especially memorable. There is also an interesting dynamic between the two of them. Toba is sadistic, seemingly wanting to kill the Dulcians for sport. Rago does not see any value in killing the harmless. This dynamic does sometimes dissolve into mere bickering, but the fact remains that the Dominators are far more interesting than the Dulcians, who come off as being annoying. This is a big problem, as we are not meant to cheer every time an annoying Dulcian is killed. The script (mercifully truncated from a proposed 6-episode length) clearly has the same contempt for the Dulcians as the Dominators do. If you compare the treatment of pacifism between this and The Daleks, The Dominators comes off as merely pointing and laughing at pacifism, rather than taking any time to ponder its advantages and effectiveness.
Morris Barry does some very good work visually, with lots of quick zooms being made on location. However, as said before, he doesn’t manage to get good performances out of the Dulcians, which seems to suggest he found them as annoying as we do. The set design is very good- I like the contrast between the forbidding Dominator ship and the airy Dulcian locations, but the costumes leave a lot to be desired. The Dominators’ exaggerated shoulder pads are forgivable, but the Dulcians all seem to be clad in a mixture of togas, bathing suits and maternity dresses. The Quarks are very well realised, but come off as being too cute to be really threatening. Also, it’s hard to understand what they are saying.
The regulars work excellently together and Wendy Padbury meshes seamlessly with the established dynamic between Troughton and Hines. The Doctor’s attempts to appear stupid are funny without being over the top. However, this doesn’t stop this story being something very few Doctor Who stories are- run-of-the-mill. It’s not bad as such, but there is no reason to watch it other than for the sake of completeness.
NEXT: The Mind Robber
The main message of this story is that pacifism can lead to weakness. However, the way in which the story does this is extremely unsubtle. The Dulcians are all portrayed as indolent and lacking in initiative or creative thought. Knowledge is learned by rote, even by adults. The Councillors are depicted as being impotent and silly. This would be acceptable in a drama (if a bit reactionary) but the Dulcians are portrayed by actors who give some of the most listlessly awful performances I have ever seen. The Dominators, on the other hand are far more successfully realised. Ronald Allen and Kenneth Ives put in very good performances, with Allen’s glowering Rago being especially memorable. There is also an interesting dynamic between the two of them. Toba is sadistic, seemingly wanting to kill the Dulcians for sport. Rago does not see any value in killing the harmless. This dynamic does sometimes dissolve into mere bickering, but the fact remains that the Dominators are far more interesting than the Dulcians, who come off as being annoying. This is a big problem, as we are not meant to cheer every time an annoying Dulcian is killed. The script (mercifully truncated from a proposed 6-episode length) clearly has the same contempt for the Dulcians as the Dominators do. If you compare the treatment of pacifism between this and The Daleks, The Dominators comes off as merely pointing and laughing at pacifism, rather than taking any time to ponder its advantages and effectiveness.
Morris Barry does some very good work visually, with lots of quick zooms being made on location. However, as said before, he doesn’t manage to get good performances out of the Dulcians, which seems to suggest he found them as annoying as we do. The set design is very good- I like the contrast between the forbidding Dominator ship and the airy Dulcian locations, but the costumes leave a lot to be desired. The Dominators’ exaggerated shoulder pads are forgivable, but the Dulcians all seem to be clad in a mixture of togas, bathing suits and maternity dresses. The Quarks are very well realised, but come off as being too cute to be really threatening. Also, it’s hard to understand what they are saying.
The regulars work excellently together and Wendy Padbury meshes seamlessly with the established dynamic between Troughton and Hines. The Doctor’s attempts to appear stupid are funny without being over the top. However, this doesn’t stop this story being something very few Doctor Who stories are- run-of-the-mill. It’s not bad as such, but there is no reason to watch it other than for the sake of completeness.
NEXT: The Mind Robber
Wednesday, 12 November 2008
The Wheel in Space
The Doctor and his companions arrive on an isolated base to find that the Cybermen are back. The villainous cyborgs plan to use a human invention to destroy the world. Yes, those are the exact same two sentences I used to start my review of The Moonbase. We have another base-under-siege story, but this time it is written by David Whitaker. Not all of Whitaker’s stories have been successful, but I always considered him to be too good a writer to produce something truly awful. Then I saw this story.
The Cybermen enact yet another dastardly plan. Are you ready? The cybermats infiltrate the Wheel, and then two Cybermen awake on the rocket (called Silver Carrier, geddit?). A star is destroyed, sending meteorites towards the Wheel. The cybermats eat the bernalium used to power the ‘X-ray laser’. The Cybermen stow away in crates of bernalium and are taken on board the Wheel. The Cybermen use the Wheel to guide their fleet to Earth.
Why are the Cybermen able to locate a space station, but not a planet? Why do they not just take the Wheel by force, rather than enacting a ludicrously complicated plan that can only succeed if the laser is sabotaged? I don’t point out every scientific error in the programme, but the ones in this story are just too stupid to ignore, in particular the Cybermen causing a supernova to shower the Wheel with meteorites, which is one of the most jaw-droppingly stupid things the programme has ever done, both scientifically and plotwise. If the Wheel is in the Solar System (as is implied) it will take years for the light from the supernova to reach the station. Any meteorites will take millennia to reach the Wheel, that is, presuming it is in exactly the right position, anyway. It’s like planning to kill someone on Hampstead Heath not by going up to them and stabbing them, or using a sniper, but by blowing up Ibiza the previous week and hoping a piece of it hits the target. Why not just shuttle some large rocks around and shoot them at the station if they want to be sneaky about it?
Apart from the idiocy of the Cyber-plan, the story itself is a demonstration on how not to plot a Doctor Who adventure. The pacing is terrible- episode 1 is basically a set of longueurs stitched together with some arresting images, and no attempt is made to build tension or make character react to plot (or vice versa). In places, the dialogue has a touch of the Whitaker magic, but is mostly awful. The characterisation is sloppy- only Tanya and Leo are believable as people. It consistently insults the viewers’ intelligence time and time again. The only thing that convinced me that Whitaker had anything to do with it was the fact that his bizarre obsession with mercury cropped up again.
On the plus side, it is nice to look at. The sets, costumes and model shots are great and Tristan de Vere Cole sets up some nice shots. The scene of the Cybermen hatching from eggs is memorable and the lost scene showing cybermat spheres infiltrating the Wheel certainly sounds impressive. He fails in directing the actors in some scenes - Kevork Malikyan seems to be doing a crab impression when his character dies- and the Cybermen don’t so much space walk as space mince. However, the performances are far better than the script deserves, with special credit to Anne Ridler, who manages to retain her dignity throughout. The Cybermen have had another makeover, being marginally more effective, visually, than in their previous two stories. Their new voices are, however, rubbish, and there are only two of them for most of the story.
Troughton and Hines work their usual magic and Zoe makes a very memorable début- in fact it is for Wendy Padbury’s performance that this story is worth sitting through at all, making her a fascinatingly sparky character, just the socially functional side of autistic. This is the worst Cyberman story so far which, considering that none have actually been good, is really saying something.
NEXT: The Dominators
The Cybermen enact yet another dastardly plan. Are you ready? The cybermats infiltrate the Wheel, and then two Cybermen awake on the rocket (called Silver Carrier, geddit?). A star is destroyed, sending meteorites towards the Wheel. The cybermats eat the bernalium used to power the ‘X-ray laser’. The Cybermen stow away in crates of bernalium and are taken on board the Wheel. The Cybermen use the Wheel to guide their fleet to Earth.
Why are the Cybermen able to locate a space station, but not a planet? Why do they not just take the Wheel by force, rather than enacting a ludicrously complicated plan that can only succeed if the laser is sabotaged? I don’t point out every scientific error in the programme, but the ones in this story are just too stupid to ignore, in particular the Cybermen causing a supernova to shower the Wheel with meteorites, which is one of the most jaw-droppingly stupid things the programme has ever done, both scientifically and plotwise. If the Wheel is in the Solar System (as is implied) it will take years for the light from the supernova to reach the station. Any meteorites will take millennia to reach the Wheel, that is, presuming it is in exactly the right position, anyway. It’s like planning to kill someone on Hampstead Heath not by going up to them and stabbing them, or using a sniper, but by blowing up Ibiza the previous week and hoping a piece of it hits the target. Why not just shuttle some large rocks around and shoot them at the station if they want to be sneaky about it?
Apart from the idiocy of the Cyber-plan, the story itself is a demonstration on how not to plot a Doctor Who adventure. The pacing is terrible- episode 1 is basically a set of longueurs stitched together with some arresting images, and no attempt is made to build tension or make character react to plot (or vice versa). In places, the dialogue has a touch of the Whitaker magic, but is mostly awful. The characterisation is sloppy- only Tanya and Leo are believable as people. It consistently insults the viewers’ intelligence time and time again. The only thing that convinced me that Whitaker had anything to do with it was the fact that his bizarre obsession with mercury cropped up again.
On the plus side, it is nice to look at. The sets, costumes and model shots are great and Tristan de Vere Cole sets up some nice shots. The scene of the Cybermen hatching from eggs is memorable and the lost scene showing cybermat spheres infiltrating the Wheel certainly sounds impressive. He fails in directing the actors in some scenes - Kevork Malikyan seems to be doing a crab impression when his character dies- and the Cybermen don’t so much space walk as space mince. However, the performances are far better than the script deserves, with special credit to Anne Ridler, who manages to retain her dignity throughout. The Cybermen have had another makeover, being marginally more effective, visually, than in their previous two stories. Their new voices are, however, rubbish, and there are only two of them for most of the story.
Troughton and Hines work their usual magic and Zoe makes a very memorable début- in fact it is for Wendy Padbury’s performance that this story is worth sitting through at all, making her a fascinatingly sparky character, just the socially functional side of autistic. This is the worst Cyberman story so far which, considering that none have actually been good, is really saying something.
NEXT: The Dominators
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