Space Security Agent Marc Cory has discovered that the Daleks are planning the conquest of the Milky Way with the help of other hostile extra-galactic powers. They are on the nightmarish planet of Kembel where they have arranged a conference. Meanwhile, Cory and Gordon Lowery must send a message warning of the attack to the Solar System before they are killed by the Daleks or the horrors they have brought with them.
This is the hors d'œuvre to the epic that is to come, and is extremely satisfying. The absence of the TARDIS crew means that we do not have their reassuring presence and the outcome is by no means certain. Indeed, the sheer urgency of the episode wipes all memories of the clumsy farce of The Chase from the mind. The Daleks’ sense of menace is very much restored the stakes are much higher- it is no longer the fate of mere planets that are in question, but galaxies. Edward de Souza plays Marc Cory very well and Jeremy Young puts real humanity into Gordon Lowery, and there is a fascinating array of aliens at the conference. The Varga plants are truly terrifying monsters and the appetite is piqued for the main course…
Next: The Myth Makers
Showing posts with label verity lambert. Show all posts
Showing posts with label verity lambert. Show all posts
Thursday, 25 September 2008
Tuesday, 23 September 2008
Galaxy 4
Galaxy 4 starts a long line of episodes that, sadly, must be enjoyed by sound alone. In this adventure, the Doctor and his companions arrive on a desolate planet with two crashed spaceships on it. One belongs to the Drahvins, beautiful humanoid women. The other belongs to the Rills, whom the Drahvins describe as ‘disgusting’. However, beauty turns out to be only skin deep….
The story is a very simple one, and there are no prizes for guessing the outcome. There is only one real character in the story, that of Maaga, leader of the Drahvins and a limited number of locations. Yet this story works, and works very well. Stephanie Bidmead’s performance as Maaga is masterful. She commands her troops mercilessly, but introduces a hint of perverted maternalism which makes for a very interesting dynamic between Maaga and her troops. Although they are killers, they whimper like scolded children when faced with Maaga’s wrath. Her description of what it would be like to watch her enemies die is genuinely chilling. It is not surprising that she harbours an extreme xenophobic hatred towards the Rills.
Of course, it is the Rills who are truly the noble creatures and their realisation is very striking, with the tanks of ammonia that they dwell in and the Chumblies which are their voices and charming servants. It is a real pity that we are denied the shock cliff-hanger at the end of "Trap of Steel" where the Rill is finally seen by Vicki. By this point, even through the soundtrack alone, we realise that it’s the Drahvins who are the monsters. They are said to be ‘inferior products’ bred for war, and are incapable of abstract thought. However, they seem to crave Maaga’s approval, an approval they will never get. There is something simply ‘wrong’ with them, and there are times that I really pitied them, like one pities all the archetypal monsters.
Again, the regulars put in great work, with Vicki still managing to be lively and humorous without being annoying. Peter Purves shows in this story that, although Steven fills the same role as Ian, he does it in a completely different way. Hartnell manages to convey joy at new things with a stern morality that guides his actions throughout.
What is left of the story, visually, is excellent. The realisation of the Chumblies manages to be cute without being impractical. The sets and costumes also seem to be first rate. William Emms works in some gorgeous dialogue, such as when the Doctor describes the vapourisation of the planet as being ‘like silver’.
A summary of this story would make it look like a dumbed down version of The Sensorites. In reality it is so much more.
NEXT: "Mission to the Unknown"
The story is a very simple one, and there are no prizes for guessing the outcome. There is only one real character in the story, that of Maaga, leader of the Drahvins and a limited number of locations. Yet this story works, and works very well. Stephanie Bidmead’s performance as Maaga is masterful. She commands her troops mercilessly, but introduces a hint of perverted maternalism which makes for a very interesting dynamic between Maaga and her troops. Although they are killers, they whimper like scolded children when faced with Maaga’s wrath. Her description of what it would be like to watch her enemies die is genuinely chilling. It is not surprising that she harbours an extreme xenophobic hatred towards the Rills.
Of course, it is the Rills who are truly the noble creatures and their realisation is very striking, with the tanks of ammonia that they dwell in and the Chumblies which are their voices and charming servants. It is a real pity that we are denied the shock cliff-hanger at the end of "Trap of Steel" where the Rill is finally seen by Vicki. By this point, even through the soundtrack alone, we realise that it’s the Drahvins who are the monsters. They are said to be ‘inferior products’ bred for war, and are incapable of abstract thought. However, they seem to crave Maaga’s approval, an approval they will never get. There is something simply ‘wrong’ with them, and there are times that I really pitied them, like one pities all the archetypal monsters.
Again, the regulars put in great work, with Vicki still managing to be lively and humorous without being annoying. Peter Purves shows in this story that, although Steven fills the same role as Ian, he does it in a completely different way. Hartnell manages to convey joy at new things with a stern morality that guides his actions throughout.
What is left of the story, visually, is excellent. The realisation of the Chumblies manages to be cute without being impractical. The sets and costumes also seem to be first rate. William Emms works in some gorgeous dialogue, such as when the Doctor describes the vapourisation of the planet as being ‘like silver’.
A summary of this story would make it look like a dumbed down version of The Sensorites. In reality it is so much more.
NEXT: "Mission to the Unknown"
Monday, 22 September 2008
The Time Meddler
In which the Doctor discovers one of his own race is attempting to change the course of history by destroying the forces of Harald Hardrada, so that the Battle of Stamford Bridge does not occur.
The above description would indicate a run-of-the-mill pseudo-historical had it referred to a story set a decade later. But this was only the seventeenth Doctor Who serial and, to the viewing public who had followed the Doctor’s adventures for the past two years, this would have been a thoroughly shocking episode that turned everything you knew about the Doctor on its head. It is clear that there is something very different about this journey into the past. Donald Cotton’s historicals had been increasingly moving away from John Lucarotti’s in theme as well as style. In Lucarotti’s historicals, the Doctor and his companions do not change the status quo and the Doctor states that ‘not one line’ of history can be changed. In The Romans, the Doctor inspires Nero to burn Rome, which means that the Doctor has been the cause of a historical fact. Of course, Nero (as the story depicts him) would probably have decided to burn Rome anyway. However, with The Time Meddler, we have a character that has directly influenced history (helping raise the megaliths of Stonehenge, putting the idea of powered flight to Leonardo Da Vinci) and now intends to alter it. History is no longer sacrosanct and history can be rewritten, and the anachronistic objects that increasingly turn up during the story add to this sense of ‘temporal violation’.
However, the greatest shock is that the Doctor is no longer unique. This is clear from the very start, when the Monk witnesses the materialisation of the TARDIS. There is surprise on his face, but not fear or shock, and when the regulars go into the sarcophagus and find themselves in a TARDIS, several assumptions about the Doctor are questioned. To viewers, it was assumed that the Doctor was the inventor of the TARDIS and he was unique amongst his people. This is no longer the case.
The Monk is clearly not evil- he tends Eldred’s wounds and, in aiming to destroy Hardrada’s army, rather than Williams, he will not be killing anyone who would not have died anyway. Indeed, rather than mistreat the imprisoned Doctor, the Monk goes to the trouble of cooking him a full-English breakfast. However, even though there is no direct threat to the Doctor’s life (apart from the cholesterol) the Doctor still puts his all into stopping the Monk and stranding him in time. Peter Butterworth is phenomenal as the Monk, giving a performance that is full of humour but doesn’t obscure the calculating intelligence in the character. The sense of fun that Butterworth imbues in the Monk means that we can accept ludicrous things like the very large to-do list and his diary of time meddling. Despite this, the Monk’s wail of anger and despair at being marooned still feels genuine.
The scenes with the regulars are a delight. Although we are still missing Ian and Barbara, Peter Purves is instantly likeable as Steven and his initial TARDIS scene is charming and very funny. Hartnell plays the Doctor as being increasingly annoyed with the relentless faux piety of the Monk and puts in one of his funniest performances.
Amongst the supporting cast, Alethea Charlton and Michael Miller are also excellent as Edith and Wulnoth. Charlton again plays a character from the past with bad hair, but she gives the character warmth and steel, sometimes within the same scene. Unfortunately there is precious little of note provided by the other speaking roles. Peter Russell lacks charisma as Eldred and Norman Hartley and David Anderson are far from memorable as the main Viking characters.
Cotton’s script full of funny lines, but the story is not just comedic. There is a shocking and very well acted scene where it is strongly implied that Edith has just been raped by the Vikings in which both Charlton and Miller give their all. Douglas Camfield does some good work in making Barry Newbery’s excellent sets look very convincing with canny use of stock footage. However, the fight scenes (arranged by David Anderson) are rather limp. Some might be turned off by the rather slow pacing and the fact that both the Doctor and the Monk practically soliloquise when they are alone.
The importance of this story cannot be overstated. When it was first broadcast, it was an oddity, but it increasingly became the template for the Doctor Who historical to come.
NEXT: Galaxy 4
The above description would indicate a run-of-the-mill pseudo-historical had it referred to a story set a decade later. But this was only the seventeenth Doctor Who serial and, to the viewing public who had followed the Doctor’s adventures for the past two years, this would have been a thoroughly shocking episode that turned everything you knew about the Doctor on its head. It is clear that there is something very different about this journey into the past. Donald Cotton’s historicals had been increasingly moving away from John Lucarotti’s in theme as well as style. In Lucarotti’s historicals, the Doctor and his companions do not change the status quo and the Doctor states that ‘not one line’ of history can be changed. In The Romans, the Doctor inspires Nero to burn Rome, which means that the Doctor has been the cause of a historical fact. Of course, Nero (as the story depicts him) would probably have decided to burn Rome anyway. However, with The Time Meddler, we have a character that has directly influenced history (helping raise the megaliths of Stonehenge, putting the idea of powered flight to Leonardo Da Vinci) and now intends to alter it. History is no longer sacrosanct and history can be rewritten, and the anachronistic objects that increasingly turn up during the story add to this sense of ‘temporal violation’.
However, the greatest shock is that the Doctor is no longer unique. This is clear from the very start, when the Monk witnesses the materialisation of the TARDIS. There is surprise on his face, but not fear or shock, and when the regulars go into the sarcophagus and find themselves in a TARDIS, several assumptions about the Doctor are questioned. To viewers, it was assumed that the Doctor was the inventor of the TARDIS and he was unique amongst his people. This is no longer the case.
The Monk is clearly not evil- he tends Eldred’s wounds and, in aiming to destroy Hardrada’s army, rather than Williams, he will not be killing anyone who would not have died anyway. Indeed, rather than mistreat the imprisoned Doctor, the Monk goes to the trouble of cooking him a full-English breakfast. However, even though there is no direct threat to the Doctor’s life (apart from the cholesterol) the Doctor still puts his all into stopping the Monk and stranding him in time. Peter Butterworth is phenomenal as the Monk, giving a performance that is full of humour but doesn’t obscure the calculating intelligence in the character. The sense of fun that Butterworth imbues in the Monk means that we can accept ludicrous things like the very large to-do list and his diary of time meddling. Despite this, the Monk’s wail of anger and despair at being marooned still feels genuine.
The scenes with the regulars are a delight. Although we are still missing Ian and Barbara, Peter Purves is instantly likeable as Steven and his initial TARDIS scene is charming and very funny. Hartnell plays the Doctor as being increasingly annoyed with the relentless faux piety of the Monk and puts in one of his funniest performances.
Amongst the supporting cast, Alethea Charlton and Michael Miller are also excellent as Edith and Wulnoth. Charlton again plays a character from the past with bad hair, but she gives the character warmth and steel, sometimes within the same scene. Unfortunately there is precious little of note provided by the other speaking roles. Peter Russell lacks charisma as Eldred and Norman Hartley and David Anderson are far from memorable as the main Viking characters.
Cotton’s script full of funny lines, but the story is not just comedic. There is a shocking and very well acted scene where it is strongly implied that Edith has just been raped by the Vikings in which both Charlton and Miller give their all. Douglas Camfield does some good work in making Barry Newbery’s excellent sets look very convincing with canny use of stock footage. However, the fight scenes (arranged by David Anderson) are rather limp. Some might be turned off by the rather slow pacing and the fact that both the Doctor and the Monk practically soliloquise when they are alone.
The importance of this story cannot be overstated. When it was first broadcast, it was an oddity, but it increasingly became the template for the Doctor Who historical to come.
NEXT: Galaxy 4
Wednesday, 17 September 2008
The Chase
The Daleks are back pursuing the Doctor and his companions throughout eternity, or at least as much of eternity that can be depicted on a Doctor Who budget, stopping at the Empire State Building, the Mary Celeste and Ghana amongst other places. The Daleks pursue in a vehicle with the same dimensionally transcendental properties as the TARDIS and gain on the Doctor with every step.
The first episode, "The Executioners" is reasonably good. The scenes from history that are displayed on the Time-Space Visualiser are well done, particularly the charming Elizabethan one (we also get a vintage performance of "Ticket to Ride" from The Beatles). However, I must say that the Time-Space Visualiser is a bit of pseudo-science I cannot quite suspend my disbelief for, especially when it tunes into the Daleks that are on the TARDIS’s trail, rather than any other event that has ever happened or will happen. However, the story dips in quality once episode 2 starts. The Aridians are sketchily written and only adequately acted. Hywel Bennett would eventually become a great actor, but here, he is no better than any other young actor making their start in the profession. The Mire beasts are merely pathetic and immobile octopus models and hardly the stuff of nightmares.
This is nothing, however, compared to the abortions that are episodes 3-5. The Empire State Building at least has an amusing performance by an actor whom we will hear more of later. However, the Mary Celeste sequence is utterly amateurish and the haunted house segment plays like The Munsters but is even less funny. We are then given the atrocious ‘robot double’ of the Doctor which is, in actuality, poor Edmund Warwick who is taller than Hartnell and is dubbed very poorly. This episode is, very rightly, called "The Death of Doctor Who".
Then, miraculously, episode 6, "The Planet of Decision" manages to be excellent. The Mechanoids are excellently realised, with their incomprehensible alphanumeric dialogue, and the battle between them and the Daleks is excellently rendered with a well-constructed montage. The design of the Mechanoid city is great, and even the Michael Bentinesque miniatures actually work. We are also introduced to Steven Taylor, who is brilliantly brought to life from the start, by Peter Purves- speaking as a fan of all three characters, it is a real joy to have Ian, Barbara and Steven sharing scenes. There is also the ending of the story, which I shall return to later.
By all accounts, The Chase was written in a hurry at the last minute, and it really shows. Terry Nation would often resort to cliché, but this is actually worse. The middle episodes consist of ‘sketches’ that are clumsily tied together in order to boost the running time. The robot double segment is wholly unnecessary dramatically and, honestly, could not have been realised more poorly. Richard Martin’s excellent direction in "The Planet of Decision" is all the more astonishing because the preceding episodes have seen some of the sloppiest visual direction the programme has ever seen. The editing, too, is atrocious- look at the scene where Ian tricks the Dalek into a trap on Aridius (imaginative name there, Terry. Was it the planet Soakedus when it had an ocean?)
The portrayal of the Daleks is more comedic, but this approach is a failure. There is one Dalek who is a bit thick, but he is so underused that it does not work comedically and just looks like a mistake. The Daleks also fall into the sea for no reason and are beaten up by an amusement park Frankenstein(‘s monster). Even in the strong final episode, a fatally wounded Dalek screams ‘Am Exterminated! Am Exterminated!’.
The regulars make the best of what they are given and make this mess watchable, but it is the end of the story where they are shown at their best. This is, of course, Ian and Barbara’s final story and their leaving scene is utterly gorgeous. Ian states firmly to the doctor that he misses the ordinary things in life, the sense of belonging. The Doctor is furious that they would risk their lives in the Dalek machine, but programs the machine to take them back. We are treated to a joyous photo montage of them in 1965 and the Doctor watching them on the Time-Space Visualiser. He is visibly upset at their leaving, as am I. Ian and Barbara have become two of my favourite companions of all time. William Russell’s portrayal always made Ian interesting, always avoiding being just the square jawed hero by injecting playfulness and humour into the role. And Jacqueline Hill as Barbara- brave, intelligent, creative, funny and very, very sexy. Yes, she screamed at times when a lot of people would, but she also held a knife to Tlotoxl’s throat. She confused the Daleks with pseudo history. And she looks really good in a Roman stola. I shall miss them too.
It is a good thing that the last episode was so good, because this story contains some of the worst episodes of Doctor Who I have ever seen. It is not quite enough to save it.
NEXT: The Time Meddler
The first episode, "The Executioners" is reasonably good. The scenes from history that are displayed on the Time-Space Visualiser are well done, particularly the charming Elizabethan one (we also get a vintage performance of "Ticket to Ride" from The Beatles). However, I must say that the Time-Space Visualiser is a bit of pseudo-science I cannot quite suspend my disbelief for, especially when it tunes into the Daleks that are on the TARDIS’s trail, rather than any other event that has ever happened or will happen. However, the story dips in quality once episode 2 starts. The Aridians are sketchily written and only adequately acted. Hywel Bennett would eventually become a great actor, but here, he is no better than any other young actor making their start in the profession. The Mire beasts are merely pathetic and immobile octopus models and hardly the stuff of nightmares.
This is nothing, however, compared to the abortions that are episodes 3-5. The Empire State Building at least has an amusing performance by an actor whom we will hear more of later. However, the Mary Celeste sequence is utterly amateurish and the haunted house segment plays like The Munsters but is even less funny. We are then given the atrocious ‘robot double’ of the Doctor which is, in actuality, poor Edmund Warwick who is taller than Hartnell and is dubbed very poorly. This episode is, very rightly, called "The Death of Doctor Who".
Then, miraculously, episode 6, "The Planet of Decision" manages to be excellent. The Mechanoids are excellently realised, with their incomprehensible alphanumeric dialogue, and the battle between them and the Daleks is excellently rendered with a well-constructed montage. The design of the Mechanoid city is great, and even the Michael Bentinesque miniatures actually work. We are also introduced to Steven Taylor, who is brilliantly brought to life from the start, by Peter Purves- speaking as a fan of all three characters, it is a real joy to have Ian, Barbara and Steven sharing scenes. There is also the ending of the story, which I shall return to later.
By all accounts, The Chase was written in a hurry at the last minute, and it really shows. Terry Nation would often resort to cliché, but this is actually worse. The middle episodes consist of ‘sketches’ that are clumsily tied together in order to boost the running time. The robot double segment is wholly unnecessary dramatically and, honestly, could not have been realised more poorly. Richard Martin’s excellent direction in "The Planet of Decision" is all the more astonishing because the preceding episodes have seen some of the sloppiest visual direction the programme has ever seen. The editing, too, is atrocious- look at the scene where Ian tricks the Dalek into a trap on Aridius (imaginative name there, Terry. Was it the planet Soakedus when it had an ocean?)
The portrayal of the Daleks is more comedic, but this approach is a failure. There is one Dalek who is a bit thick, but he is so underused that it does not work comedically and just looks like a mistake. The Daleks also fall into the sea for no reason and are beaten up by an amusement park Frankenstein(‘s monster). Even in the strong final episode, a fatally wounded Dalek screams ‘Am Exterminated! Am Exterminated!’.
The regulars make the best of what they are given and make this mess watchable, but it is the end of the story where they are shown at their best. This is, of course, Ian and Barbara’s final story and their leaving scene is utterly gorgeous. Ian states firmly to the doctor that he misses the ordinary things in life, the sense of belonging. The Doctor is furious that they would risk their lives in the Dalek machine, but programs the machine to take them back. We are treated to a joyous photo montage of them in 1965 and the Doctor watching them on the Time-Space Visualiser. He is visibly upset at their leaving, as am I. Ian and Barbara have become two of my favourite companions of all time. William Russell’s portrayal always made Ian interesting, always avoiding being just the square jawed hero by injecting playfulness and humour into the role. And Jacqueline Hill as Barbara- brave, intelligent, creative, funny and very, very sexy. Yes, she screamed at times when a lot of people would, but she also held a knife to Tlotoxl’s throat. She confused the Daleks with pseudo history. And she looks really good in a Roman stola. I shall miss them too.
It is a good thing that the last episode was so good, because this story contains some of the worst episodes of Doctor Who I have ever seen. It is not quite enough to save it.
NEXT: The Time Meddler
Monday, 15 September 2008
The Space Museum
The Space Museum is perhaps the most overlooked Hartnell episode of all- when it was released in VHS, it was put on the same tape as the surviving episodes of The Crusade and, of course, it was treated as a ‘supporting feature’ and therefore one would assume that it was just filler. It has a simple plot- the Morok Empire has conquered the planet Xeros and turned it into a museum dedicated to their empire building. The Xerons are planning a rebellion to overthrow the Moroks. So far, so generic. However, the way in which the story does this is what sells this.
The eponymous first episode is truly brilliant. The TARDIS crew arrive on Xeros, but they find that they are wearing their usual clothes, not the clothes they were wearing at the end of The Crusade. They leave no footprints, cannot be seen, cannot hear the Moroks or Xerons and cannot touch anything. Finally, we see their bodies in display cases- they have arrived in their own future, but are not fully synchronised with time. This episode is brilliantly disorientating and keeps the viewer wondering what the hell is going on (in a good way) thanks to Mervyn Pinfield‘s assured direction, great performances and some simple, but very effective effects work. The remaining three episodes are not as striking, but are effective enough. I must also mention that the fight scenes are some of the most effective I have seen in any era of the programme.
On a deeper level, the story deals with the age-old philosophical propositions of free-will and determinism. The characters are obviously trying to avoid ending up in those display cases, but wonder if their attempts to avoid it are actually leading them to that fate. Of course, free-will wins out, and furthermore the story seems to suggest that the fact that they acted at all, as opposed to accepting the ‘future’ is why that future did not come to pass. Which is brilliant. Just as importantly, the triumph of free will shows, for the first time, that history can be changed. It is this that lifts episodes 2-4 from the standard ‘rebels vs invaders’ story it could have been.
The performances of the regulars are brilliant as usual. There is a great sequence in "The Dimensions of Time" where the Doctor is interrogated by Lobos, the Morok Governor. He makes the mistake of informing the Doctor that he can see what he is thinking on a screen, whereupon the Doctor brilliantly misdirects Lobos with images of penny-farthings, walruses and himself in a bathing suit. The Doctor’s giggling at his own cleverness is a joy to behold. Ian is the consummate hero here, being intelligent, resourceful and single-minded in his quest to rescue the Doctor. However, this is the story where Vicki shines. We see her inspire the Xerons to seize control of the Morok Armoury, where she fools the computer into allowing the Xerons to take the weapons. Maureen O'Brien is fantastic throughout.
On the minus side, the Xerons and Moroks are slightly disappointing in their realisation (The Xerons’ alien feature is that they have four eyebrows) and although their portrayal is sound, there are no real stand-out performances amongst the guest cast. It is also unclear as to what exactly happened when the TARDIS crew saw their futures and the Doctor’s explanation makes no sense. These days, of course, there would be a wibbly-wobbly timey-wimey explanation that would be more convincing. Also, the presence of the Dalek in the museum sort of implies that the Moroks conquered them, which I doubt- although, of course, there is another reason for the Dalek’s presence…
This story is a neglected gem of the Hartnell era. Watch it now!
NEXT: The Chase
The eponymous first episode is truly brilliant. The TARDIS crew arrive on Xeros, but they find that they are wearing their usual clothes, not the clothes they were wearing at the end of The Crusade. They leave no footprints, cannot be seen, cannot hear the Moroks or Xerons and cannot touch anything. Finally, we see their bodies in display cases- they have arrived in their own future, but are not fully synchronised with time. This episode is brilliantly disorientating and keeps the viewer wondering what the hell is going on (in a good way) thanks to Mervyn Pinfield‘s assured direction, great performances and some simple, but very effective effects work. The remaining three episodes are not as striking, but are effective enough. I must also mention that the fight scenes are some of the most effective I have seen in any era of the programme.
On a deeper level, the story deals with the age-old philosophical propositions of free-will and determinism. The characters are obviously trying to avoid ending up in those display cases, but wonder if their attempts to avoid it are actually leading them to that fate. Of course, free-will wins out, and furthermore the story seems to suggest that the fact that they acted at all, as opposed to accepting the ‘future’ is why that future did not come to pass. Which is brilliant. Just as importantly, the triumph of free will shows, for the first time, that history can be changed. It is this that lifts episodes 2-4 from the standard ‘rebels vs invaders’ story it could have been.
The performances of the regulars are brilliant as usual. There is a great sequence in "The Dimensions of Time" where the Doctor is interrogated by Lobos, the Morok Governor. He makes the mistake of informing the Doctor that he can see what he is thinking on a screen, whereupon the Doctor brilliantly misdirects Lobos with images of penny-farthings, walruses and himself in a bathing suit. The Doctor’s giggling at his own cleverness is a joy to behold. Ian is the consummate hero here, being intelligent, resourceful and single-minded in his quest to rescue the Doctor. However, this is the story where Vicki shines. We see her inspire the Xerons to seize control of the Morok Armoury, where she fools the computer into allowing the Xerons to take the weapons. Maureen O'Brien is fantastic throughout.
On the minus side, the Xerons and Moroks are slightly disappointing in their realisation (The Xerons’ alien feature is that they have four eyebrows) and although their portrayal is sound, there are no real stand-out performances amongst the guest cast. It is also unclear as to what exactly happened when the TARDIS crew saw their futures and the Doctor’s explanation makes no sense. These days, of course, there would be a wibbly-wobbly timey-wimey explanation that would be more convincing. Also, the presence of the Dalek in the museum sort of implies that the Moroks conquered them, which I doubt- although, of course, there is another reason for the Dalek’s presence…
This story is a neglected gem of the Hartnell era. Watch it now!
NEXT: The Chase
Saturday, 13 September 2008
The Crusade
The TARDIS lands in the middle of the Third Crusade, where the Doctor and his companions find themselves embroiled in struggles on all levels of society. Saladin and Richard I are considering peace. The emir El Akir yearns for Saladin’s favour, but his pride and wrath threaten those underneath him.
This is another excellent historical, excellently directed by Douglas Camfield and with some brilliant performances, Julian Glover is excellent as Richard and Jean Marsh exudes fire and regality as Joanna. Their interplay is a joy to behold. Walter Randall, in a performance of great control, makes El Akir a memorable villain and George Little is excellent as his nemesis Haroun.
The story almost seems to want to be a Shakespearean history. A good deal of the dialogue is in iambic pentameter and the story is more concerned with politics and court intrigue than actual crusading. This results in some absolutely wonderful dialogue, but Whitaker doesn’t have the luxury of writing a five act play with lengthy soliloquies and characterisation suffers slightly. In addition, a sense of realism is lost when actors speak in metre. This affects the character of Saladin the most, which is probably why Bernard Kay seems a bit stifled in the role.
I am also not sure whether the plot quite manages to mesh together. The critical figure is El Akir- his loss of face before Saladin causes his vendetta against Barbara. Haroun is out for vengeance against El Akir. The trouble is that Haroun is introduced too late in the story for his victory to be as cathartic as it could be- there should have been a real feeling of ‘chickens coming home to roost’ when El Akir died.
Again, the regulars are excellent, with Vicki’s impish charm winning over all and Ian finally becoming a literal knight in shining armour. Barbara again shows her real courage and resourcefulness- her defiance of El Akir in front of Saladin is wonderful. The Doctor, meanwhile, shoplifts at a bazaar, wins a swordfight, advises the King and basically pulls out a plum with every digit he sticks his thumb into, with Hartnell delivering in spades.
Again, we have the question of white actors made up to be non-white characters. As in Marco Polo and The Aztecs, this is done sensitively on the most part (although Tutte Lemkow seems to have wandered in from It Ain’t Half Hot Mum!) and both sides are treated with respect (although Richard was a far less likeable figure in real life).
This does not detract from the fact that I was totally enthralled by the story- about as resoundingly successful as a qualified success can be!
NEXT: The Space Museum
This is another excellent historical, excellently directed by Douglas Camfield and with some brilliant performances, Julian Glover is excellent as Richard and Jean Marsh exudes fire and regality as Joanna. Their interplay is a joy to behold. Walter Randall, in a performance of great control, makes El Akir a memorable villain and George Little is excellent as his nemesis Haroun.
The story almost seems to want to be a Shakespearean history. A good deal of the dialogue is in iambic pentameter and the story is more concerned with politics and court intrigue than actual crusading. This results in some absolutely wonderful dialogue, but Whitaker doesn’t have the luxury of writing a five act play with lengthy soliloquies and characterisation suffers slightly. In addition, a sense of realism is lost when actors speak in metre. This affects the character of Saladin the most, which is probably why Bernard Kay seems a bit stifled in the role.
I am also not sure whether the plot quite manages to mesh together. The critical figure is El Akir- his loss of face before Saladin causes his vendetta against Barbara. Haroun is out for vengeance against El Akir. The trouble is that Haroun is introduced too late in the story for his victory to be as cathartic as it could be- there should have been a real feeling of ‘chickens coming home to roost’ when El Akir died.
Again, the regulars are excellent, with Vicki’s impish charm winning over all and Ian finally becoming a literal knight in shining armour. Barbara again shows her real courage and resourcefulness- her defiance of El Akir in front of Saladin is wonderful. The Doctor, meanwhile, shoplifts at a bazaar, wins a swordfight, advises the King and basically pulls out a plum with every digit he sticks his thumb into, with Hartnell delivering in spades.
Again, we have the question of white actors made up to be non-white characters. As in Marco Polo and The Aztecs, this is done sensitively on the most part (although Tutte Lemkow seems to have wandered in from It Ain’t Half Hot Mum!) and both sides are treated with respect (although Richard was a far less likeable figure in real life).
This does not detract from the fact that I was totally enthralled by the story- about as resoundingly successful as a qualified success can be!
NEXT: The Space Museum
Wednesday, 10 September 2008
The Web Planet
The very first time I saw William Hartnell as the Doctor, was when I saw a clip of this story. Likewise, the Marshall Cavendish History of the 20th Century showed a still from this story when describing Doctor Who, so it is this story (and not a more obvious one like An Unearthly Child or The Daleks) that shaped my vision of 1960s Doctor Who when I was a child. Which is strange, as this story is an oddity in an era where every story tried to be different from the one before. We have the planet of Vortis, where the intelligent life forms are the Menoptra who are similar to giant butterflies. The planet has been taken over by a malignant intelligence called the Animus that has control over one of the indigenous animals, the Zarbi, who are like giant bipedal ants. The larval Zarbi are living cannons, shooting…something…out of their proboscides that acts like a laser beam. The Animus is spreading over the entire planet, causing the vegetation to wither and the surface water to vanish, leaving a barren landscape with pools of formic acid. The immense power it uses has caused other planets to appear near Vortis and orbit round it, and most of the Menoptra have fled to one of them. During that time the Menoptra left on Vortis have speciated into the Optera, who resemble giant caterpillars.
All this sounds fantastic on paper, but it has to be realised on screen, and it is this which is the problem with The Web Planet. The production team try to make it look good. The facial make-up for the Menoptra breaks up the lines on the actors’ faces very well. The Menoptra’s communication device is a lattice of crystal that has to be manipulated. The costume for the Zarbi is detailed beyond what is required for 405-line television. The studio scenes on Vortis are shot with a diffusing filter to show the rarefied atmosphere visually and the backdrops show a good deal of imagination.
But the wings of the Menoptera look like cellophane kites and they fly on visible Kirby wires. Every time a Zarbi touches anything, the clunk of its fibreglass body is all too obvious. The backdrops are reasonably effective until someone casts a shadow on what is meant to be the sky. The Animus is excellently voiced by Catherine Fleming, but disappoints visually. Admittedly, most Doctor Who stories require one to suspend one’s disbelief but disbelief here weighs several tonnes and requires not so much suspension, but structurally sound load bearing support from beneath.
The performances by the regulars are solid, but Hartnell fluffs a great deal and he seems to be utterly bemused by his surroundings at some points. The Menoptra speak in thin reedy voices and seem to be waxing large invisible moustaches. The Optera speak in staccato grunts throughout. Richard Martin’s direction is variable. At some points he does succeed in convincing us that we are looking at a totally alien world. At other points Zarbi crash into the camera. The editing ranges from the adequate to the awful, meaning that the pacing is severely affected. Martin even fumbles the first appearance of the Zarbi- they simply wander on screen for a totally pointless scene.People might claim that it must have looked better when broadcast as the audience had lower expectations of special effects, but the audience must have had some reservations about the visual effectiveness of the story.
In places the script is fantastic. The dialogue given to the Optera has been rightly praised as being an attempt to show alien thought patterns and there is lyrical dialogue throughout. In fact, the world-building of Bill Strutton is intoxicatingly imaginative, a world that directors like Jean Cocteau and Hayao Miyazaki would have a field day with. However, it is poorly paced and far too long, and could have worked far better as a four parter.
Again, this is not a bad story per se, but I cannot say that it is one I genuinely enjoyed. Like Ian, I probably won’t be returning to Vortis.
NEXT: The Crusade
All this sounds fantastic on paper, but it has to be realised on screen, and it is this which is the problem with The Web Planet. The production team try to make it look good. The facial make-up for the Menoptra breaks up the lines on the actors’ faces very well. The Menoptra’s communication device is a lattice of crystal that has to be manipulated. The costume for the Zarbi is detailed beyond what is required for 405-line television. The studio scenes on Vortis are shot with a diffusing filter to show the rarefied atmosphere visually and the backdrops show a good deal of imagination.
But the wings of the Menoptera look like cellophane kites and they fly on visible Kirby wires. Every time a Zarbi touches anything, the clunk of its fibreglass body is all too obvious. The backdrops are reasonably effective until someone casts a shadow on what is meant to be the sky. The Animus is excellently voiced by Catherine Fleming, but disappoints visually. Admittedly, most Doctor Who stories require one to suspend one’s disbelief but disbelief here weighs several tonnes and requires not so much suspension, but structurally sound load bearing support from beneath.
The performances by the regulars are solid, but Hartnell fluffs a great deal and he seems to be utterly bemused by his surroundings at some points. The Menoptra speak in thin reedy voices and seem to be waxing large invisible moustaches. The Optera speak in staccato grunts throughout. Richard Martin’s direction is variable. At some points he does succeed in convincing us that we are looking at a totally alien world. At other points Zarbi crash into the camera. The editing ranges from the adequate to the awful, meaning that the pacing is severely affected. Martin even fumbles the first appearance of the Zarbi- they simply wander on screen for a totally pointless scene.People might claim that it must have looked better when broadcast as the audience had lower expectations of special effects, but the audience must have had some reservations about the visual effectiveness of the story.
In places the script is fantastic. The dialogue given to the Optera has been rightly praised as being an attempt to show alien thought patterns and there is lyrical dialogue throughout. In fact, the world-building of Bill Strutton is intoxicatingly imaginative, a world that directors like Jean Cocteau and Hayao Miyazaki would have a field day with. However, it is poorly paced and far too long, and could have worked far better as a four parter.
Again, this is not a bad story per se, but I cannot say that it is one I genuinely enjoyed. Like Ian, I probably won’t be returning to Vortis.
NEXT: The Crusade
Tuesday, 9 September 2008
The Romans
Dennis Spooner strikes again with his second historical, which finds the Doctor and his companions holidaying in Ancient Rome after the events of The Rescue. However, this leads to Ian and Barbara being captured by slave traders and the Doctor and Vicki going to Nero’s court in Rome, where the intrigue deepens.
As with The Reign of Terror, Spooner blends gritty realism with comedy, but the comedy is far more to the fore here. Nero is largely played as a comic character by the excellent Derek Francis, and his interplay with his annoying slave Tigellinus is hilarious (Brian Proudfoot also deserves special mention for his wonderful, wordless performance). Episode 3 is notable for being almost a sitcom, with the Barbara being chased by the lecherous Nero and just avoiding bumping into the Doctor and Vicki. Tigellinus’s casual poisoning had me in stitches. However, the scenes with Ian as a slave are pretty grim. Ian is a gladiator and a galley slave in this and the squalor of Roman slavery is not avoided by the story and the gladiatorial combat is actually rather well choreographed.
The regulars are on fine form, with Barbara again showing that intelligent, strong willed female companions are not an innovation of the 21st century. The interplay between Ian and Barbara is now unmistakeably that of a couple and there are times where you can imagine them kissing a moment later. Vicki’s excitement at her new life is infectiously brought to life by Maureen O'Brien. Here, Vicki shows she is more than a surrogate Susan when she almost poisons Nero because of Poppea’s plan to poison ‘some poor slave’. However, Hartnell continues to astonish as the Doctor, at one point punning relentlessly about playing in the arena, and at another having his first genuine fight scene, where it is clear no stunt-double was used.
If there is any criticism, the sitcom elements of the story seem to have brought with it sitcom production values. The sets are impressive, but not as brilliant as in previous historical (interestingly, Ray Cusick designed this one, rather than Barry Newbery). Christopher Barry’s direction is rather basic visually, although he manages to get good performances out of the whole cast.
It would be interesting at this point to compare Spooner's approach to the historical in Doctor Who with John Lucarotti’s. Lucarotti is intent on immersing the viewer in the time when the story is set, trying to make the viewer feel like they are back in time. The drama here comes as much from the personalities bred in the environments of the setting as in actual history. Spooner is far more interested in plot and intrigue and he picks periods where events are dramatic and iconic. Although a degree of research has gone into The Romans, the production team is not above changing things for effect- Nero is middle-aged, rather than young, Tigellinus is Nero’s personal slave rather than his sadistic lackey. These changes are nothing new or shocking- artistic licence was taken with the likes of Spartacus and Quo Vadis?. Spooner’s historicals are, perhaps, lesser as works of art than Lucarotti’s, but they are thoroughly entertaining throughout.
NEXT: The Web Planet
As with The Reign of Terror, Spooner blends gritty realism with comedy, but the comedy is far more to the fore here. Nero is largely played as a comic character by the excellent Derek Francis, and his interplay with his annoying slave Tigellinus is hilarious (Brian Proudfoot also deserves special mention for his wonderful, wordless performance). Episode 3 is notable for being almost a sitcom, with the Barbara being chased by the lecherous Nero and just avoiding bumping into the Doctor and Vicki. Tigellinus’s casual poisoning had me in stitches. However, the scenes with Ian as a slave are pretty grim. Ian is a gladiator and a galley slave in this and the squalor of Roman slavery is not avoided by the story and the gladiatorial combat is actually rather well choreographed.
The regulars are on fine form, with Barbara again showing that intelligent, strong willed female companions are not an innovation of the 21st century. The interplay between Ian and Barbara is now unmistakeably that of a couple and there are times where you can imagine them kissing a moment later. Vicki’s excitement at her new life is infectiously brought to life by Maureen O'Brien. Here, Vicki shows she is more than a surrogate Susan when she almost poisons Nero because of Poppea’s plan to poison ‘some poor slave’. However, Hartnell continues to astonish as the Doctor, at one point punning relentlessly about playing in the arena, and at another having his first genuine fight scene, where it is clear no stunt-double was used.
If there is any criticism, the sitcom elements of the story seem to have brought with it sitcom production values. The sets are impressive, but not as brilliant as in previous historical (interestingly, Ray Cusick designed this one, rather than Barry Newbery). Christopher Barry’s direction is rather basic visually, although he manages to get good performances out of the whole cast.
It would be interesting at this point to compare Spooner's approach to the historical in Doctor Who with John Lucarotti’s. Lucarotti is intent on immersing the viewer in the time when the story is set, trying to make the viewer feel like they are back in time. The drama here comes as much from the personalities bred in the environments of the setting as in actual history. Spooner is far more interested in plot and intrigue and he picks periods where events are dramatic and iconic. Although a degree of research has gone into The Romans, the production team is not above changing things for effect- Nero is middle-aged, rather than young, Tigellinus is Nero’s personal slave rather than his sadistic lackey. These changes are nothing new or shocking- artistic licence was taken with the likes of Spartacus and Quo Vadis?. Spooner’s historicals are, perhaps, lesser as works of art than Lucarotti’s, but they are thoroughly entertaining throughout.
NEXT: The Web Planet
Saturday, 6 September 2008
The Rescue
There isn’t really a lot to be said about The Rescue, apart from that it’s the story that introduces Vicki. This is not to say that it’s a bad story by any means. Vicki is engagingly played by Maureen O'Brien, Cusick’s design work is as good as ever and it is well directed by Christopher Barry, with effective lighting (which I was able to notice in spite of the appalling transfer used for the VHS, making my admiration for the Doctor Who Restoration Team all the greater).
Dennis Spooner comes up with some cracking dialogue, although the end is a bit rushed, with the Dido people turning up and causing Bennett to fall to his death. Also, the cliff-hanger to "The Powerful Enemy" seems to be there for the sake of providing a cliff-hanger. In these days where the Doctor seems to know about every species in the Universe, it is strange to note that this is the first time the Doctor arrives on a planet that he’s been to before. This means that the natives are people that he already knows and cares about, and we see that in his rage against Bennett for the apparent genocide of the Dido people, something the Doctor would do many times again.
We are treated to some cracking work from the regulars. Look at the expressions of William Hartnell’s face just after he has asked Susan to open the TARDIS door. Ian and Barbara’s reactions to being told that they are 550 years old are priceless. Ray Barrett as Bennett, however, seems to be going through the motions somewhat.
Many people seem to see this story as being merely filler. It is a bit inconsequential, but enjoyable nevertheless and well worth taking 51 minutes of your life to check out.
NEXT: The Romans
Dennis Spooner comes up with some cracking dialogue, although the end is a bit rushed, with the Dido people turning up and causing Bennett to fall to his death. Also, the cliff-hanger to "The Powerful Enemy" seems to be there for the sake of providing a cliff-hanger. In these days where the Doctor seems to know about every species in the Universe, it is strange to note that this is the first time the Doctor arrives on a planet that he’s been to before. This means that the natives are people that he already knows and cares about, and we see that in his rage against Bennett for the apparent genocide of the Dido people, something the Doctor would do many times again.
We are treated to some cracking work from the regulars. Look at the expressions of William Hartnell’s face just after he has asked Susan to open the TARDIS door. Ian and Barbara’s reactions to being told that they are 550 years old are priceless. Ray Barrett as Bennett, however, seems to be going through the motions somewhat.
Many people seem to see this story as being merely filler. It is a bit inconsequential, but enjoyable nevertheless and well worth taking 51 minutes of your life to check out.
NEXT: The Romans
Wednesday, 3 September 2008
The Dalek Invasion of Earth
For the first time, Doctor Who looks to its past, but this does not mean that the production team were treading water. On the contrary, all the stops were pulled out for the return of the Daleks, taking the programme into new areas. We are taken into a world where everyone’s favourite ‘motorised dustbins’ have taken over, and the TARDIS crew find themselves caught in the London of the 22nd century, where the Daleks have the few surviving humans by the throat, while their ultimate plan for Earth comes closer to fulfilment.
It is, perhaps, in this serial that the concept of Daleks as Nazis first becomes absolutely blatant. This is a world of black marketeers and blitzed buildings, but it is also a place with labour camps and summary executions, where the worst of the Blitz is combined with the occupation of Czechoslovakia and a vague hint of the horrors of Poland. One of the Daleks’ chanting sessions is chilling- upon the order to exterminate all humans, one chants ‘kill… kill… kill…’ and another chants ‘final solution…’ Off screen, we hear the extermination of a man who, in the midst of his terror, rages at them about the murder of his wife and brother. The first appearance of a Dalek, rising out of the Thames is justly famous and they are far from the pathetic creatures confined to their city that they were in their first appearance. Here they race along bridges and are shown at the Albert Memorial- meaning, of course that they can climb stairs. However, their voices are nothing like as effective as in their first story, the ring modulator barely affecting the actors’ voices.
The supporting cast are sound, without being spectacular, yet, again it is the regulars who make it work. Hartnell’s performance is astounding- this story providers the most proactive role for him yet, and he fires on all cylinders to fulfil that. This is Carole Ann Ford’s last story and, happily, her best. This could be because she is given so much more to do, and it is a real shame when she goes. More on that later.
Visually, this story is unlike any of the others that preceded it. There are extensive scenes filmed on location, and the direction, editing and cinematography are all first rate. The highlight, of course, is Barbara, Dortmun and Jenny being chased across a desolate London by the Daleks, a fantastic montage with frenetic camera work and razor sharp editing. There are some great design work with the Dalek sets and I love the Dalek lettering painted on streets and famous landmarks.
The first Dalek story contained quite a few longueurs (boring bits of padding, as less pretentious people call them) but in this story, the episode length is more justified. Events are kept interesting by splitting the travellers into groups, all of which work against the Daleks as well as trying to find each other. There are some genuinely surprising plot twists- I was not expecting the Doctor’s rescuer to get exterminated a minute afterwards. At this point, however, I must mention the last episode. The pacing is atrocious, but it contains some fantastic material- Barbara’s history lesson to the Daleks (resulting in the funniest Dalek line of the 20th Century 'Daleks are the Masters of India') and, of course the ending. David and Susan’s attraction is built up gradually as is the Doctor’s knowledge and acceptance of it. Despite some atrocious dialogue in the story, the Doctor’s farewell to Susan is utterly gorgeous and utterly convincing.
Of course there are numerous plot holes and some horrific scientific errors. I’m not usually bothered too much by scientific errors, but they are really bad here. The Earth does not have a magnetic core, it has a magnetic field, caused by the movement of the liquid outer core. Also, it is by no means the only planet with a magnetic field. I must also mention the flying saucer effects. They’re really, really, really bad and actually do look like hubcaps held up by string. Watch it on DVD with the CGI replacements if you don’t want to be totally dragged out of the story.
However, this story comes very highly recommended- good stuff!
NEXT: The Rescue
It is, perhaps, in this serial that the concept of Daleks as Nazis first becomes absolutely blatant. This is a world of black marketeers and blitzed buildings, but it is also a place with labour camps and summary executions, where the worst of the Blitz is combined with the occupation of Czechoslovakia and a vague hint of the horrors of Poland. One of the Daleks’ chanting sessions is chilling- upon the order to exterminate all humans, one chants ‘kill… kill… kill…’ and another chants ‘final solution…’ Off screen, we hear the extermination of a man who, in the midst of his terror, rages at them about the murder of his wife and brother. The first appearance of a Dalek, rising out of the Thames is justly famous and they are far from the pathetic creatures confined to their city that they were in their first appearance. Here they race along bridges and are shown at the Albert Memorial- meaning, of course that they can climb stairs. However, their voices are nothing like as effective as in their first story, the ring modulator barely affecting the actors’ voices.
The supporting cast are sound, without being spectacular, yet, again it is the regulars who make it work. Hartnell’s performance is astounding- this story providers the most proactive role for him yet, and he fires on all cylinders to fulfil that. This is Carole Ann Ford’s last story and, happily, her best. This could be because she is given so much more to do, and it is a real shame when she goes. More on that later.
Visually, this story is unlike any of the others that preceded it. There are extensive scenes filmed on location, and the direction, editing and cinematography are all first rate. The highlight, of course, is Barbara, Dortmun and Jenny being chased across a desolate London by the Daleks, a fantastic montage with frenetic camera work and razor sharp editing. There are some great design work with the Dalek sets and I love the Dalek lettering painted on streets and famous landmarks.
The first Dalek story contained quite a few longueurs (boring bits of padding, as less pretentious people call them) but in this story, the episode length is more justified. Events are kept interesting by splitting the travellers into groups, all of which work against the Daleks as well as trying to find each other. There are some genuinely surprising plot twists- I was not expecting the Doctor’s rescuer to get exterminated a minute afterwards. At this point, however, I must mention the last episode. The pacing is atrocious, but it contains some fantastic material- Barbara’s history lesson to the Daleks (resulting in the funniest Dalek line of the 20th Century 'Daleks are the Masters of India') and, of course the ending. David and Susan’s attraction is built up gradually as is the Doctor’s knowledge and acceptance of it. Despite some atrocious dialogue in the story, the Doctor’s farewell to Susan is utterly gorgeous and utterly convincing.
Of course there are numerous plot holes and some horrific scientific errors. I’m not usually bothered too much by scientific errors, but they are really bad here. The Earth does not have a magnetic core, it has a magnetic field, caused by the movement of the liquid outer core. Also, it is by no means the only planet with a magnetic field. I must also mention the flying saucer effects. They’re really, really, really bad and actually do look like hubcaps held up by string. Watch it on DVD with the CGI replacements if you don’t want to be totally dragged out of the story.
However, this story comes very highly recommended- good stuff!
NEXT: The Rescue
Monday, 1 September 2008
Planet of Giants
The second season kicks off with the first three part story of the series. It starts off well with the Doctor and his companions exploring what seems to be a bizarre world with outlandish creatures. Then, of course, it turns out that they have been miniaturised in the course of materialisation, and the stage is set for a battle of wits against a familiar world made deadly, as in the 1957 science fiction film The Incredible Shrinking Man.
However, there is also a larger problem for the time travellers and, unfortunately, the insecticide plot is unambitious and dull in the extreme. The nature of the story means that the ‘giant’ side of the plot must take place in a geographically limited setting- two rooms and a garden door in this case. A limited environment such as this means that character interaction must be paramount; however, with Farrow being shot in his first scene, we are left with the characters of Forester and Smithers, who are allies, which makes for far poorer drama. This is exacerbated by the fact that Alan Tilvern puts no effort into his performance as Forester, seeming to rely on his naturally villainous looking face.
This is a real shame, as the ‘miniature’ half of the story works excellently. The giant sets are fantastic, as are the giant insects encountered. The fly is brilliantly done, pivoting its head and bobbing its abdomen up and down. The use of photographic blow-ups for some backgrounds actually works, probably because of the 405 line black and white image. Also, the idea that the voices of the ‘giants’ are too low frequency to be understood is something which has never popped up in similar stories told elsewhere. For the first time, this is a story where the special effects succeed across the board. There is some excellent visual direction and ‘cinematography’- light is used very effectively, and there are good uses of high shots, although no low shots (which would have been impossible with studio cameras, and would have to have been done on film). However, direction of the actors is very slack- Alan Tilvern was not a bad actor (at least judging from the only other thing I’ve seen him in, an episode of Dad’s Army) and the directors should have pushed him a little harder! The regulars are excellent as usual, with Jacqueline Hill putting in a great performance as Barbara (something I seem to be typing in every review) with her great stoicism and unselfishness as she is being poisoned by the pesticide.
The plot is simple, but there are still a few things that bother me. What the hell is ‘space pressure’? And why, exactly, does the seed not just become bigger with the TARDIS? Also, I’m surprised that a children’s show was allowed to show a scene with a gas tap being ignited and used to explode a pressurised container! In addition (although there is no way the production team could have known this) we have a ruthless magnate who produces a hazardous substance with a subordinate called Smithers!
This story is one of the reasons I don’t give stories marks. The adventures of the inch-high regulars are simply too well done to allow the tepid ‘giant’ side of the story to ruin it. All I can say is that it is watchable and enjoyable, but it probably won’t move you in the way that the best Doctor Who stories do.
NEXT: The Dalek Invasion of Earth
However, there is also a larger problem for the time travellers and, unfortunately, the insecticide plot is unambitious and dull in the extreme. The nature of the story means that the ‘giant’ side of the plot must take place in a geographically limited setting- two rooms and a garden door in this case. A limited environment such as this means that character interaction must be paramount; however, with Farrow being shot in his first scene, we are left with the characters of Forester and Smithers, who are allies, which makes for far poorer drama. This is exacerbated by the fact that Alan Tilvern puts no effort into his performance as Forester, seeming to rely on his naturally villainous looking face.
This is a real shame, as the ‘miniature’ half of the story works excellently. The giant sets are fantastic, as are the giant insects encountered. The fly is brilliantly done, pivoting its head and bobbing its abdomen up and down. The use of photographic blow-ups for some backgrounds actually works, probably because of the 405 line black and white image. Also, the idea that the voices of the ‘giants’ are too low frequency to be understood is something which has never popped up in similar stories told elsewhere. For the first time, this is a story where the special effects succeed across the board. There is some excellent visual direction and ‘cinematography’- light is used very effectively, and there are good uses of high shots, although no low shots (which would have been impossible with studio cameras, and would have to have been done on film). However, direction of the actors is very slack- Alan Tilvern was not a bad actor (at least judging from the only other thing I’ve seen him in, an episode of Dad’s Army) and the directors should have pushed him a little harder! The regulars are excellent as usual, with Jacqueline Hill putting in a great performance as Barbara (something I seem to be typing in every review) with her great stoicism and unselfishness as she is being poisoned by the pesticide.
The plot is simple, but there are still a few things that bother me. What the hell is ‘space pressure’? And why, exactly, does the seed not just become bigger with the TARDIS? Also, I’m surprised that a children’s show was allowed to show a scene with a gas tap being ignited and used to explode a pressurised container! In addition (although there is no way the production team could have known this) we have a ruthless magnate who produces a hazardous substance with a subordinate called Smithers!
This story is one of the reasons I don’t give stories marks. The adventures of the inch-high regulars are simply too well done to allow the tepid ‘giant’ side of the story to ruin it. All I can say is that it is watchable and enjoyable, but it probably won’t move you in the way that the best Doctor Who stories do.
NEXT: The Dalek Invasion of Earth
Thursday, 28 August 2008
The Reign of Terror
The first season concludes with another historical, this time from the pen of Dennis Spooner. After the events of The Sensorites, the Doctor promises to put Ian and Barbara off the ship at the earliest opportunity. However, instead of London in 1963, the regulars are plunged into the darkest years of the French Revolution, where they are embroiled in the chaos and fear of the time.
Although Spooner doesn’t have the same knack for writing lyrical dialogue as Lucarotti and the script isn’t as thoroughly researched, this is still a great adventure for the regulars. In particular, the Doctor is at his most active yet. We see him donning disguises, knocking people out and, for the first time, getting his companions out of trouble. Hartnell relishes these scenes, from his brisk strolling down the road to Paris, to the look he gives when he is nearly found out. Jacqueline Hill is again on strong form. I love her flirtation with the Doctor in the first scene, and her strength remains undiminished throughout.
A good sense of time is established by the script, perhaps because this is the first story that depicts actual historical events. Although there is a good deal of humour, particularly the Doctor’s escapades and the drunken gaoler, the horror of the era is not forgotten. Robespierre is shot in the jaw and, although we don’t see the event, we hear it and see the aftermath, which is handled expertly by director Henric Hirsch. Also, the scene where the Doctor knocks out the foreman makes us wonder for a few seconds whether the Doctor has actually killed him.
Barry Newberry’s sets are again brilliant, aided by some effective lighting. The gaol set is 100% convincing and at no point do we think that any of the sets are not the real thing. The costume design is also excellent. The burning house is a tad unconvincing though- the model is too small for it to look like anything but an out-of-control birthday cake.
There are a couple of under-par performances, however. The child in the first two episodes is awful and James Cairncross's performance as Lemaitre starts off well, but is poor in the last episode. Donald Morley is excellent as Jules Renan and Tony Wall makes an instant impression in Napoleon’s brief cameo (it is nice to see him portrayed as being of average height, which he was in real life). Unfortunately, I cannot judge Keith Anderson's performance as Robespierre as he mainly appears in Episode 4. Vocally, he seems fine, though.
Overall, this is a fine end to a fine season. One down, 29 to go!
NEXT: Planet of Giants
Although Spooner doesn’t have the same knack for writing lyrical dialogue as Lucarotti and the script isn’t as thoroughly researched, this is still a great adventure for the regulars. In particular, the Doctor is at his most active yet. We see him donning disguises, knocking people out and, for the first time, getting his companions out of trouble. Hartnell relishes these scenes, from his brisk strolling down the road to Paris, to the look he gives when he is nearly found out. Jacqueline Hill is again on strong form. I love her flirtation with the Doctor in the first scene, and her strength remains undiminished throughout.
A good sense of time is established by the script, perhaps because this is the first story that depicts actual historical events. Although there is a good deal of humour, particularly the Doctor’s escapades and the drunken gaoler, the horror of the era is not forgotten. Robespierre is shot in the jaw and, although we don’t see the event, we hear it and see the aftermath, which is handled expertly by director Henric Hirsch. Also, the scene where the Doctor knocks out the foreman makes us wonder for a few seconds whether the Doctor has actually killed him.
Barry Newberry’s sets are again brilliant, aided by some effective lighting. The gaol set is 100% convincing and at no point do we think that any of the sets are not the real thing. The costume design is also excellent. The burning house is a tad unconvincing though- the model is too small for it to look like anything but an out-of-control birthday cake.
There are a couple of under-par performances, however. The child in the first two episodes is awful and James Cairncross's performance as Lemaitre starts off well, but is poor in the last episode. Donald Morley is excellent as Jules Renan and Tony Wall makes an instant impression in Napoleon’s brief cameo (it is nice to see him portrayed as being of average height, which he was in real life). Unfortunately, I cannot judge Keith Anderson's performance as Robespierre as he mainly appears in Episode 4. Vocally, he seems fine, though.
Overall, this is a fine end to a fine season. One down, 29 to go!
NEXT: Planet of Giants
Tuesday, 26 August 2008
The Sensorites
The Sensorites is one story that seems to be very much overlooked, which is strange, as this story introduces many features which would become intrinsic to Doctor Who. For the first time, the story is set in the future. For the first time, there are scenes set on a spaceship. And for the first time, we have aliens portrayed as having a real culture, rather than being just ‘monsters’. Most importantly, the Doctor is not merely observing events or helping himself and his companions, for the first time he takes a truly active role in the events. In fact this is a very important story in the development of the programme.
The story is one of two races who do not trust one another. The fear of the titular aliens is very well realised in the first two episodes, with the dimply lit spaceship set. The shock appearance of the first Sensorite must have been truly frightening at the time. There is also a fantastic bit of direction and acting in this scene, where the camera follows Ian’s face and we see his reaction to the Sensorite. However, the Sensorites are portrayed increasingly sympathetically- their fear of loud noises and darkness is put across well by the actors and makes the audience see them not as monsters, but as people. The realisation of the Sensorites is very effective and the simplicity of the design is inspired, as they can appear as terrifying faceless apparitions at one point and meek bearded old men at another.
The human supporting cast are excellent, with the exception of Lorne Cossette as Maitland- thankfully he remains on the ship after the action transfers to the Sense Sphere. Stephen Dartnell deserves special mention for his performance as John. There are none of the histrionics and eye-rolling you would expect, had this been any other 60s science fiction programme. Ilona Rodgers as Carol is also solid, and her scenes with John are very poignant. The survivors of the previous expedition are interestingly depicted as half-crazed colonialists who still maintain the trappings of military discipline.
The regulars do their usual sterling work. Carole Ann Ford is easily the weakest performer of the quartet, but she is totally convincing here. Barbara is fast becoming one of my favourite companions, even though she has less to do here. And we come to the most interesting development in the character dynamics of Doctor Who. Ian is incapacitated for a time, and it and it is the Doctor, not Ian, who is the most physically active character in the story. We see him explore the aqueduct, find the cause of the poisoning and concoct a cure for the plague.
There are a few nit-picks. The Hartnell era has a reputation for fluffed lines which is unfair, but is fully justified here, as many characters are guilty of it. (Mind you, molybdenum is a bit hard to say!) Also, while I can accept that the Sensorites can survive in space without a pressure suit, it is implied that sound travels through space (of course, the Sensorites could be sending a radio transmission of the sound). We all take it for granted that everyone in the Universe speaks English, but writing messages to aliens in it is a bit much. This was also a problem in The Daleks, by the way!
However, this is a better story than The Daleks and therefore the best science-fiction story in the first season. As said, is very important in the development of the character of the Doctor- although, again, he is compelled to stay because the TARDIS is incapacitated, this is the Doctor as hero and enabler who has endured as a character until the present day.
NEXT: The Reign of Terror
The story is one of two races who do not trust one another. The fear of the titular aliens is very well realised in the first two episodes, with the dimply lit spaceship set. The shock appearance of the first Sensorite must have been truly frightening at the time. There is also a fantastic bit of direction and acting in this scene, where the camera follows Ian’s face and we see his reaction to the Sensorite. However, the Sensorites are portrayed increasingly sympathetically- their fear of loud noises and darkness is put across well by the actors and makes the audience see them not as monsters, but as people. The realisation of the Sensorites is very effective and the simplicity of the design is inspired, as they can appear as terrifying faceless apparitions at one point and meek bearded old men at another.
The human supporting cast are excellent, with the exception of Lorne Cossette as Maitland- thankfully he remains on the ship after the action transfers to the Sense Sphere. Stephen Dartnell deserves special mention for his performance as John. There are none of the histrionics and eye-rolling you would expect, had this been any other 60s science fiction programme. Ilona Rodgers as Carol is also solid, and her scenes with John are very poignant. The survivors of the previous expedition are interestingly depicted as half-crazed colonialists who still maintain the trappings of military discipline.
The regulars do their usual sterling work. Carole Ann Ford is easily the weakest performer of the quartet, but she is totally convincing here. Barbara is fast becoming one of my favourite companions, even though she has less to do here. And we come to the most interesting development in the character dynamics of Doctor Who. Ian is incapacitated for a time, and it and it is the Doctor, not Ian, who is the most physically active character in the story. We see him explore the aqueduct, find the cause of the poisoning and concoct a cure for the plague.
There are a few nit-picks. The Hartnell era has a reputation for fluffed lines which is unfair, but is fully justified here, as many characters are guilty of it. (Mind you, molybdenum is a bit hard to say!) Also, while I can accept that the Sensorites can survive in space without a pressure suit, it is implied that sound travels through space (of course, the Sensorites could be sending a radio transmission of the sound). We all take it for granted that everyone in the Universe speaks English, but writing messages to aliens in it is a bit much. This was also a problem in The Daleks, by the way!
However, this is a better story than The Daleks and therefore the best science-fiction story in the first season. As said, is very important in the development of the character of the Doctor- although, again, he is compelled to stay because the TARDIS is incapacitated, this is the Doctor as hero and enabler who has endured as a character until the present day.
NEXT: The Reign of Terror
Wednesday, 20 August 2008
The Aztecs
Lucarotti returns with another top flight historical. Here, he takes us to Mexico in the 15th century for a look at one of the most fascinating cultures the world has produced. Barbara is mistaken for the reincarnation of the priest Yetaxa and she tries to use that power to stop the practice that is a stain on the culture of the Aztecs- the practice of human sacrifice. Ian must fight for his life against the warrior Ixta and the Doctor… but we’ll come back to that!
The dichotomy of Aztec culture is shown in the two figures of Autloc, High Priest of Knowledge and Tlotoxtl, High Priest of Sacrifice, but neither is painted in broad strokes. Autloc is wise and open minded, but he was born to a culture where the sunrise must be paid for in blood. Tlotoxtl comes off as a Mesoamerican Richard III at first and he realises that it is the sacrifice which gives him his power, but he is nevertheless sincere. He truly believes in the blood sacrifice in an attitude which combines self-deception and pragmatism. Lucarotti and the production team deserve credit for being as fair as they can be to Aztec culture. They are shown to be skilled artisans and engineers. They show respect for their elderly. The victims of sacrifice are rightly shown to be willing, and treated with great honour.
There is some great material for the regulars. Susan is sidelined somewhat but although Ian continues in the action man role, Lucarotti manages to make this role interesting- he bests Ixta with his thumb, using his brain, not his fists. However, it is the Doctor and Barbara who are at their best here. The Doctor’s ‘romance’ with Cameca is beautifully handled- the look on Hartnell’s face when the doctor realises he’s engaged is priceless, but the story treats Cameca with the respect she deserves. However, this is very much Barbara’s story, and Hill is captivating throughout.
The attitude of Barbara is very interesting- she is not only motivated by her disgust of human sacrifice, but out of a desire to save the Aztecs. Maybe if they stop the sacrifices, Cortés will not destroy them (which of course assumes that Cortés really was a far better person than, say, Pizarro. It also ignores the smallpox aspect, but I digress). The characters, and the script never treat the Aztecs as mere savages, but as people. Lucarotti again manages to blend beautiful dialogue and great characterisation. Very importantly, the rule of not changing history is established, and, while we feel Barbara’s anger, we understand why things must be as they are, and why the sacrifice goes on, even as the TARDIS dematerialises.
Barry Newberry’s design work is excellent- although the backdrops never really convince us that we are on the top of a tall pyramid, the sets themselves are fantastic. The direction is very good, but the fight scenes are a bit lacking- perhaps if Waris Hussein had directed, he could have worked the same magic as he did on 100,000 B.C.
None of this distracted me when I was watching it, however. One of the things that grabbed me about this and Marco Polo is that they work as good historical drama full stop, not just as a Doctor Who story. Everything comes together in yet another gem from the Hartnell era.
NEXT: The Sensorites
The dichotomy of Aztec culture is shown in the two figures of Autloc, High Priest of Knowledge and Tlotoxtl, High Priest of Sacrifice, but neither is painted in broad strokes. Autloc is wise and open minded, but he was born to a culture where the sunrise must be paid for in blood. Tlotoxtl comes off as a Mesoamerican Richard III at first and he realises that it is the sacrifice which gives him his power, but he is nevertheless sincere. He truly believes in the blood sacrifice in an attitude which combines self-deception and pragmatism. Lucarotti and the production team deserve credit for being as fair as they can be to Aztec culture. They are shown to be skilled artisans and engineers. They show respect for their elderly. The victims of sacrifice are rightly shown to be willing, and treated with great honour.
There is some great material for the regulars. Susan is sidelined somewhat but although Ian continues in the action man role, Lucarotti manages to make this role interesting- he bests Ixta with his thumb, using his brain, not his fists. However, it is the Doctor and Barbara who are at their best here. The Doctor’s ‘romance’ with Cameca is beautifully handled- the look on Hartnell’s face when the doctor realises he’s engaged is priceless, but the story treats Cameca with the respect she deserves. However, this is very much Barbara’s story, and Hill is captivating throughout.
The attitude of Barbara is very interesting- she is not only motivated by her disgust of human sacrifice, but out of a desire to save the Aztecs. Maybe if they stop the sacrifices, Cortés will not destroy them (which of course assumes that Cortés really was a far better person than, say, Pizarro. It also ignores the smallpox aspect, but I digress). The characters, and the script never treat the Aztecs as mere savages, but as people. Lucarotti again manages to blend beautiful dialogue and great characterisation. Very importantly, the rule of not changing history is established, and, while we feel Barbara’s anger, we understand why things must be as they are, and why the sacrifice goes on, even as the TARDIS dematerialises.
Barry Newberry’s design work is excellent- although the backdrops never really convince us that we are on the top of a tall pyramid, the sets themselves are fantastic. The direction is very good, but the fight scenes are a bit lacking- perhaps if Waris Hussein had directed, he could have worked the same magic as he did on 100,000 B.C.
None of this distracted me when I was watching it, however. One of the things that grabbed me about this and Marco Polo is that they work as good historical drama full stop, not just as a Doctor Who story. Everything comes together in yet another gem from the Hartnell era.
NEXT: The Sensorites
Sunday, 17 August 2008
The Keys of Marinus
Throughout most of the Hartnell era, each episode was given its own unique title, rather than the umbrella name grouping serials together. This was particularly appropriate to this story, as each of the middle four episodes has its own setting, and a new supporting cast. Upon landing on the planet Marinus, the regulars are compelled to go on a quest to find the titular keys by George Coulouris’s Arbitan (The quest idea would, of course, be returned to by the programme years later). This leads them to various locations around the planet (it is refreshing to have an alien planet that is not monocultural). However, some parts work better than others. "The Velvet Web" depicts a place where the perception of reality is controlled by the sinister Morpho Brains. The regulars believe they are living in the lap of luxury when they are in fact hallucinating. The Doctor picks up a tin mug and admires it, believing it to be a piece of scientific equipment. Susan’s beautiful new dress is a collection of rags. The direction in this episode is excellent- Gorrie’s use of shots effectively shows the contrast between reality and illusion without special effects.
"The Screaming Jungle" has some quite interesting concepts behind it, especially the scary idea of the jungle itself. However, the episode is almost an exercise in how not to plot a drama, and the episode teeters on the balance between success and failure.
"The Snows of Terror" is entirely forgettable. As in The Daleks, there’s a very small chasm to be traversed (indeed it could well be the same set redressed). Even in a plot this simple, there are holes- why didn’t Ian take the keys and the transporter bracelets when he went to get the girls from the cave. A jarring aspect of the plot is that there is the real feeling that Barbara is in danger of being raped by the trapper- a danger that no companion would be subjected to nowadays.
"Sentence of Death" consists mainly of Ian’s trial on a false charge of murder. Courtroom drama is probably the most constricting genre of all, as there can be little variation as to dramatic structure and the layout of the set. It is performance, cinematography and direction that decide success, and this episode managed it, a success that continues to the final episode.
The Voords are usually billed as the ‘monsters’ of the story, but they only appear in the first and last episodes. These too are weak. George Coulouris (who was in Citizen Kane for God’s sake!) is very flat in this and Arbitan’s death is one of the worst directed scenes I have ever seen. It is as if John Gorrie simply said ‘Go in and stab him in a half hearted manner’! The Voords themselves are well designed (even though their ‘aerials’ make them look like evil Teletubbies’!) but the special effects for their submarines bring to mind the fleas of Michael Bentine’s It’s a Square World.
It is also notable that this is the first story where the TARDIS crew act as friends, not co-travellers. The bonds between them were seen to increase over the course of Marco Polo, but are finally established here- The Doctor waiting outside Ian’s cell after the verdict has been passed is truly touching. Jacqueline Hill deserves special mention for her work in ‘The Velvet Web’- Barbara is the real hero here, and we are with her all the way. The only supporting player who really stands out is Fiona Walker. The rest are good but not exceptional (although I now have a crush on Katherine Schofield!)
The story also illustrated Terry Nation’s strengths and weaknesses as a writer. He is good at ideas and basic storylines, but constantly resorts to cliché in the finer plot details. There is also some very weak dialogue and indeed, no quotable lines of dialogue until the very end. With scripts like this, it’s no wonder Gorrie’s work as director is so variable.
So it is with a cliché that I shall conclude: The whole is considerably less than the sum of its parts.
NEXT: The Aztecs
"The Screaming Jungle" has some quite interesting concepts behind it, especially the scary idea of the jungle itself. However, the episode is almost an exercise in how not to plot a drama, and the episode teeters on the balance between success and failure.
"The Snows of Terror" is entirely forgettable. As in The Daleks, there’s a very small chasm to be traversed (indeed it could well be the same set redressed). Even in a plot this simple, there are holes- why didn’t Ian take the keys and the transporter bracelets when he went to get the girls from the cave. A jarring aspect of the plot is that there is the real feeling that Barbara is in danger of being raped by the trapper- a danger that no companion would be subjected to nowadays.
"Sentence of Death" consists mainly of Ian’s trial on a false charge of murder. Courtroom drama is probably the most constricting genre of all, as there can be little variation as to dramatic structure and the layout of the set. It is performance, cinematography and direction that decide success, and this episode managed it, a success that continues to the final episode.
The Voords are usually billed as the ‘monsters’ of the story, but they only appear in the first and last episodes. These too are weak. George Coulouris (who was in Citizen Kane for God’s sake!) is very flat in this and Arbitan’s death is one of the worst directed scenes I have ever seen. It is as if John Gorrie simply said ‘Go in and stab him in a half hearted manner’! The Voords themselves are well designed (even though their ‘aerials’ make them look like evil Teletubbies’!) but the special effects for their submarines bring to mind the fleas of Michael Bentine’s It’s a Square World.
It is also notable that this is the first story where the TARDIS crew act as friends, not co-travellers. The bonds between them were seen to increase over the course of Marco Polo, but are finally established here- The Doctor waiting outside Ian’s cell after the verdict has been passed is truly touching. Jacqueline Hill deserves special mention for her work in ‘The Velvet Web’- Barbara is the real hero here, and we are with her all the way. The only supporting player who really stands out is Fiona Walker. The rest are good but not exceptional (although I now have a crush on Katherine Schofield!)
The story also illustrated Terry Nation’s strengths and weaknesses as a writer. He is good at ideas and basic storylines, but constantly resorts to cliché in the finer plot details. There is also some very weak dialogue and indeed, no quotable lines of dialogue until the very end. With scripts like this, it’s no wonder Gorrie’s work as director is so variable.
So it is with a cliché that I shall conclude: The whole is considerably less than the sum of its parts.
NEXT: The Aztecs
Friday, 15 August 2008
Marco Polo
So, sadly, it’s off with the DVD player and on with the iPod for Marco Polo (legally converted for my own personal use from the CD version I paid money for, back off BPI!!!) I had never listened to this story before, originally intending to spread it over a few days. Three hours later, the battery on my iPod was nearly empty, but I was left there looking into the middle distance with Marco. This story has had near universal acclaim, but there must be people who like Doctor Who, but aren’t willing to listen to an audio only historical. Believe the hype. You may not love it for the same reasons that others will, but fall in love with it you will. From the Roof of the World to the Khan’s palace, this story will keep you gripped from beginning to end, an epic that covers the span of several weeks. With the visuals missing, the primary credit for this has to be John Lucarotti, one of the finest writers the programme ever had. Although he takes us on what is basically a travelogue of 13th Century Cathay, the story is anchored by Lucarotti’s use of character. It would be useful to compare it with the other 7 episode story of the season, The Daleks. Both use the incapacitation and subsequent inaccessibility of the TARDIS, to justify the regulars not just taking off again. Both have times when they are ready to depart, but are stopped at the last minute. However, we accept these in Marco Polo, because they are consequences of character interaction- when Susan stops to say goodbye to Ping-Cho, the viewer doesn’t mentally wish her to forget it and leave, as we have seen a beautifully written and performed friendship develop between the two girls, and we feel Susan’s need to say farewell to her new friend, in spite of the urgency.
The supporting characters all appear to be excellently realised. Marco himself is fascinating, a man who is essentially decent and likeable and yet, in spite of the plotting around him, he himself is the greatest obstacle to the Doctor and his companions. The use of Marco Polo’s diary as a narrative device is inspired- he, in effect, is the audience for those events which are too routine to be dramatised and, like the audience, he puts his own colour on proceedings. Derren Nesbitt makes a superbly laconic and frightening Tegana. Zienia Merton’s Ping-Cho is delightful, an innocent girl uprooted who finds a kindred spirit in Susan. Kublai Khan himself is a wonderful character; we totally accept him as a likable old man and the as the most powerful man on Earth.
Tristram Cary’s approach to the music is brilliant. A lesser composer would have made an ‘Oriental’ pastiche, but Cary creates an ambient score that gives more of a sense of setting than situation. A gong is used effectively for scene changes.
There are so many wonderful locations- the Cave of Five Hundred Eyes, the Summer Palace, Lop and the Gobi Desert (if there’s one place on land that could have been transported from another planet, it’s the Gobi). But we will never see them. Not one second of footage escaped the junking. To attempt to compensate for that, I watched the telesnap reconstruction on the Edge of Destruction DVD. The set and costume design appears to have been fantastic, making this story’s loss seem even worse.
There are no reasonable criticisms that can be made- there are flaws, but you would have to be actually looking for them, as only a couple stick out. There are very few historical and geographical inaccuracies (Lucarotti’s scripts were very well researched). I found Marco’s comment about the TARDIS making Kublai Khan greater than Hannibal and Alexander odd, considering that he ruled an empire several times larger than the Macedonian and Carthaginian empires combined. The only conqueror who would have fitted the bill would have been Kublai’s grandfather Genghis. There is also the inevitable question of white actors playing non-white characters. This is sensitively done on the whole and even the accents which are sometimes used are not offensively caricatured. Interestingly, some actors affect an accent and others don’t, but as the Mongol Empire was vast and free of racial prejudice by all accounts, a variety of accents might actually be appropriate. Ironically, the only non-white actor playing a major role is Zienia Merton and, as Ping-Cho came from Samarkand, one of the most cosmopolitan regions in the Empire, she could safely have been played by a white actress!
Marco Polo is exciting, haunting, frightening, funny, educational, beautiful. It is everything one could ask for in a Doctor Who story- with not a spaceship, monster or alien planet in sight!
NEXT: The Keys of Marinus
The supporting characters all appear to be excellently realised. Marco himself is fascinating, a man who is essentially decent and likeable and yet, in spite of the plotting around him, he himself is the greatest obstacle to the Doctor and his companions. The use of Marco Polo’s diary as a narrative device is inspired- he, in effect, is the audience for those events which are too routine to be dramatised and, like the audience, he puts his own colour on proceedings. Derren Nesbitt makes a superbly laconic and frightening Tegana. Zienia Merton’s Ping-Cho is delightful, an innocent girl uprooted who finds a kindred spirit in Susan. Kublai Khan himself is a wonderful character; we totally accept him as a likable old man and the as the most powerful man on Earth.
Tristram Cary’s approach to the music is brilliant. A lesser composer would have made an ‘Oriental’ pastiche, but Cary creates an ambient score that gives more of a sense of setting than situation. A gong is used effectively for scene changes.
There are so many wonderful locations- the Cave of Five Hundred Eyes, the Summer Palace, Lop and the Gobi Desert (if there’s one place on land that could have been transported from another planet, it’s the Gobi). But we will never see them. Not one second of footage escaped the junking. To attempt to compensate for that, I watched the telesnap reconstruction on the Edge of Destruction DVD. The set and costume design appears to have been fantastic, making this story’s loss seem even worse.
There are no reasonable criticisms that can be made- there are flaws, but you would have to be actually looking for them, as only a couple stick out. There are very few historical and geographical inaccuracies (Lucarotti’s scripts were very well researched). I found Marco’s comment about the TARDIS making Kublai Khan greater than Hannibal and Alexander odd, considering that he ruled an empire several times larger than the Macedonian and Carthaginian empires combined. The only conqueror who would have fitted the bill would have been Kublai’s grandfather Genghis. There is also the inevitable question of white actors playing non-white characters. This is sensitively done on the whole and even the accents which are sometimes used are not offensively caricatured. Interestingly, some actors affect an accent and others don’t, but as the Mongol Empire was vast and free of racial prejudice by all accounts, a variety of accents might actually be appropriate. Ironically, the only non-white actor playing a major role is Zienia Merton and, as Ping-Cho came from Samarkand, one of the most cosmopolitan regions in the Empire, she could safely have been played by a white actress!
Marco Polo is exciting, haunting, frightening, funny, educational, beautiful. It is everything one could ask for in a Doctor Who story- with not a spaceship, monster or alien planet in sight!
NEXT: The Keys of Marinus
Tuesday, 12 August 2008
The Edge of Destruction
The ‘bottle episode’ it’s called. Use only the regular sets and regular actors and save a lot of money. They can be turn out to be exquisite character pieces that can define the basic appeal of a programme for both the audience and its creators. They can also be speed-written tosh used to pad out the schedule. Or, as in this case, it can be utterly bonkers.
The first scene is almost like a Beckett play with characters being slightly out of synch with the audience and we get the impression that there are whole chunks of the conversation we haven’t heard. Indeed, after the very interesting visual dynamism of some of the earlier episodes, this is the ‘televised theatre’ that we often hear references to when talking about 60s British Television. That is not to say that there isn’t arresting imagery- the melting clock is a great shock moment. However, this is primarily the actors’ show. Russell and Hill convey the confusion of the characters very well (possibly because they were pretty baffled themselves!) but, sadly, this reflects badly on Carole Ann Ford. Martin and Cox seem to enjoy putting her in tableaux, which become a tad unconvincing as a dramatic device after the nth iteration. Hartnell, however, continues to impress- his delight at viewing the birth of a solar system is infectious and he holds out interest from the start.
Now let’s turn to the script. The best way I can describe its structure is in the direction George Martin gave to the orchestra for “A Day in the Life”- here is the start note, here is the end note, anything in between is up to you. There are no plot holes because there is no plot, only a story. Why do the doors keep opening? Is the TARDIS possessed? Is Susan possessed? Is David Whitaker? Then there’s that dénouement based on a faulty spring- I suppose it is the privilege of a script editor not to edit his own script, but still….
The directors and the cast fight valiantly to realise the script, and it’s not surprising there are misfires. ‘Can it be that this is the end?’ declaims the Doctor, looking at the camera. Watching it now, I half expected the rest of the cast to look in the same direction, wondering whom he was talking to. Does this sound garbled? Try watching it.
This is not to say that this is a bad story. The whole is less than the sum of its parts because the parts have been fitted together poorly (with some, possibly, back to front or in the wrong order) but there is too much good stuff here to totally dismiss the story. So let me just say again: it’s bonkers.
But bonkers is better than boring any day.
NEXT: Marco Polo
The first scene is almost like a Beckett play with characters being slightly out of synch with the audience and we get the impression that there are whole chunks of the conversation we haven’t heard. Indeed, after the very interesting visual dynamism of some of the earlier episodes, this is the ‘televised theatre’ that we often hear references to when talking about 60s British Television. That is not to say that there isn’t arresting imagery- the melting clock is a great shock moment. However, this is primarily the actors’ show. Russell and Hill convey the confusion of the characters very well (possibly because they were pretty baffled themselves!) but, sadly, this reflects badly on Carole Ann Ford. Martin and Cox seem to enjoy putting her in tableaux, which become a tad unconvincing as a dramatic device after the nth iteration. Hartnell, however, continues to impress- his delight at viewing the birth of a solar system is infectious and he holds out interest from the start.
Now let’s turn to the script. The best way I can describe its structure is in the direction George Martin gave to the orchestra for “A Day in the Life”- here is the start note, here is the end note, anything in between is up to you. There are no plot holes because there is no plot, only a story. Why do the doors keep opening? Is the TARDIS possessed? Is Susan possessed? Is David Whitaker? Then there’s that dénouement based on a faulty spring- I suppose it is the privilege of a script editor not to edit his own script, but still….
The directors and the cast fight valiantly to realise the script, and it’s not surprising there are misfires. ‘Can it be that this is the end?’ declaims the Doctor, looking at the camera. Watching it now, I half expected the rest of the cast to look in the same direction, wondering whom he was talking to. Does this sound garbled? Try watching it.
This is not to say that this is a bad story. The whole is less than the sum of its parts because the parts have been fitted together poorly (with some, possibly, back to front or in the wrong order) but there is too much good stuff here to totally dismiss the story. So let me just say again: it’s bonkers.
But bonkers is better than boring any day.
NEXT: Marco Polo
Friday, 8 August 2008
The Daleks
Here it is, the serial that made Doctor Who a phenomenon, and kept Terry Nation in foie gras for life. Daleks are so much a part of the mental furniture of the British public that it seems hard to appreciate the impact of seeing one for the first time. However, just because this is their first appearance doesn’t mean that the operators are clumsy or the voices less harsh- they move over the smooth surface of their city with nary a wobble in sight, and their voices have changed little since then. They remain a classic of design and execution. However, there are differences from the Daleks we know and love. These Daleks are self-interested and, although they have a ‘dislike of the unlike’ they are not yet omnicidal maniacs. In fact their prime motivation is fear, rather than hate, which makes them more human- one scene fades out on them chattering rather than triumphally chanting. However they have no compunction about breaking promises made to the Thals and, indeed, to irradiate Skaro so they can be the only intelligent life form.
This story is called The Daleks on the DVD cover, and that’s what I’m putting as the title of this post, but it must be remembered that that is not the original title, and the story is just as much about the Thals as about the Daleks. The neutronic war between them has resulted in mutation in both races, resulting in the beautiful (in a very Home Counties way) Thals and the deformed Daleks (this is as good a place to point out that, in only its second story, Doctor Who has taken inspiration from H.G. Wells’s The Time Machine, with the Thals as the Eloi and the Daleks as the Morlocks). The Thals have become pacifist farmers and it is, of course, the job of the regulars to reawaken their fighting spirit. Nation is skilful (did I really just type that?) in not making the Thals into mere ciphers. When Temmosus, Alydon, and Ganatus appear, I was prepared for the old pacifist leader who would die and the headstrong one who would lead the Thals to war. However, there is actual characterisation here (although no character can actually be called complex). Although Temmosus dies in a way I could have predicted, there isn’t a headstrong and violent successor to take his place because pacifism has been a form of cultural conditioning, not something forced on the people. It takes Ian’s goading of more primal urges to get Alydon to punch him, and even then, Alydon feels shame. There is also no attempt to portray pacifism as being equivalent to cowardice- Antodus, Ganatus’s brother does come across as being a bit wet, but his ultimate fate shows that he was merely subject to the fear that we all possess. The performances by the Thal actors are actually rather good, although it is a bit odd seeing Virginia Wetherell in this, as the only other thing I have seen her in is A Clockwork Orange.
Lest we forget, this is also the series that really solidified the character of the Doctor as we know him. At the start, he is totally unwilling to take the feelings of his companions into consideration as he sabotages the TARDIS in order to explore. He has no interest in helping the Thals in their struggles. By the end of the story, his outrage at the Daleks’ plan of genocide makes him into the Thal’s ally- for the first time, this mysterious old man is not acting out of self interest, but out of a sense of moral duty. Hartnell’s skill as an actor makes this transformation totally believable. William Russell makes the stock figure of the square-jawed hero more interesting than it has any right to be, and Jaqueline Hill is utterly captivating. The growing attraction between Barbara and Alydon seems totally genuine amongst all this to-ing and fro-ing.
Which brings me onto Terry Nation. I will try to avoid reference to future stories, but sometimes it is unavoidable. To-ing and fro-ing is something Nation does often, and there is a fair bit of it here. There is also the old ‘now-we-have-the- McGuffin-we-can-get-back-oh-bugger-I-dropped-it’ which he would use again in Genesis of the Daleks (and possibly others- I’ll let you know). Maybe it’s because he wasn’t ‘Terry Nation: Creator of the Daleks’ yet that these scenes actually work in story terms. Nation’s dialogue makes me appreciate that there is a fine line between the archetypal and the clichéd- some of the pronouncements by the Thals come very close, but, again, it works as part of the drama, artless and clunky though it is. However, padding is still evident- I fail to see why showing the characters jumping over a (rather small) chasm needed to take up the best part of an episode. A bit of pruning could have made the story more effective.
As far as the execution of the script goes, Martin and Barry do very well with what they have. The cliff-hanger to “The Dead Planet” is justly famous and is aided by Hill being as marvellous as ever. Tristram Cary’s musique concrete score is very effective and the ‘cinematography’ make the very best of the small, yet very creative sets.
Overall? Not in the same league as the brilliant opening story, but a good story
NEXT: The Edge of Destruction
This story is called The Daleks on the DVD cover, and that’s what I’m putting as the title of this post, but it must be remembered that that is not the original title, and the story is just as much about the Thals as about the Daleks. The neutronic war between them has resulted in mutation in both races, resulting in the beautiful (in a very Home Counties way) Thals and the deformed Daleks (this is as good a place to point out that, in only its second story, Doctor Who has taken inspiration from H.G. Wells’s The Time Machine, with the Thals as the Eloi and the Daleks as the Morlocks). The Thals have become pacifist farmers and it is, of course, the job of the regulars to reawaken their fighting spirit. Nation is skilful (did I really just type that?) in not making the Thals into mere ciphers. When Temmosus, Alydon, and Ganatus appear, I was prepared for the old pacifist leader who would die and the headstrong one who would lead the Thals to war. However, there is actual characterisation here (although no character can actually be called complex). Although Temmosus dies in a way I could have predicted, there isn’t a headstrong and violent successor to take his place because pacifism has been a form of cultural conditioning, not something forced on the people. It takes Ian’s goading of more primal urges to get Alydon to punch him, and even then, Alydon feels shame. There is also no attempt to portray pacifism as being equivalent to cowardice- Antodus, Ganatus’s brother does come across as being a bit wet, but his ultimate fate shows that he was merely subject to the fear that we all possess. The performances by the Thal actors are actually rather good, although it is a bit odd seeing Virginia Wetherell in this, as the only other thing I have seen her in is A Clockwork Orange.
Lest we forget, this is also the series that really solidified the character of the Doctor as we know him. At the start, he is totally unwilling to take the feelings of his companions into consideration as he sabotages the TARDIS in order to explore. He has no interest in helping the Thals in their struggles. By the end of the story, his outrage at the Daleks’ plan of genocide makes him into the Thal’s ally- for the first time, this mysterious old man is not acting out of self interest, but out of a sense of moral duty. Hartnell’s skill as an actor makes this transformation totally believable. William Russell makes the stock figure of the square-jawed hero more interesting than it has any right to be, and Jaqueline Hill is utterly captivating. The growing attraction between Barbara and Alydon seems totally genuine amongst all this to-ing and fro-ing.
Which brings me onto Terry Nation. I will try to avoid reference to future stories, but sometimes it is unavoidable. To-ing and fro-ing is something Nation does often, and there is a fair bit of it here. There is also the old ‘now-we-have-the- McGuffin-we-can-get-back-oh-bugger-I-dropped-it’ which he would use again in Genesis of the Daleks (and possibly others- I’ll let you know). Maybe it’s because he wasn’t ‘Terry Nation: Creator of the Daleks’ yet that these scenes actually work in story terms. Nation’s dialogue makes me appreciate that there is a fine line between the archetypal and the clichéd- some of the pronouncements by the Thals come very close, but, again, it works as part of the drama, artless and clunky though it is. However, padding is still evident- I fail to see why showing the characters jumping over a (rather small) chasm needed to take up the best part of an episode. A bit of pruning could have made the story more effective.
As far as the execution of the script goes, Martin and Barry do very well with what they have. The cliff-hanger to “The Dead Planet” is justly famous and is aided by Hill being as marvellous as ever. Tristram Cary’s musique concrete score is very effective and the ‘cinematography’ make the very best of the small, yet very creative sets.
Overall? Not in the same league as the brilliant opening story, but a good story
NEXT: The Edge of Destruction
Tuesday, 5 August 2008
100,000 B.C.
And so, we land in the middle Palaeolithic for the first of many adventures in time and space- and we are confronted with one of the most alien societies that the programme has ever depicted. This is the most uncompromising depiction of early Homo sapiens that had been seen up to this point. These are not bumbling cartoon cavemen or Victor Mature in animal skins. These are people with broken and blackened teeth, filthy and unkempt, who dominate their world, but still do not master it. They can keep the tiger at bay, but it will attack when the fire goes out. This is a society before morality because it is before the safety that is needed for ethics to develop.
The writing on "An Unearthly Child" was sound, but it is here that Coburn really excels. The story is simple- the tribe must rediscover the secret of fire or die- but Coburn uses it to probe interesting anthropological questions. The tribe have language, a vital key to skills being passed on, but have not yet learned to work as a community, that Kal is not stronger than the whole tribe. The vocabulary of the tribe is small, but Coburn and Hussein avoid the trap of having them speak in Tarzanese, and Coburn turns the paucity of their lexicon into some beautiful dialogue. Ian’s concern over the injured Za is seen as being like the only type of tenderness known to the tribe- that of a mother to a child. Coburn also deserves praise for not allowing the regulars to teach the tribe the meaning of love or mercy. Even though Ian saves Za’s life, Za shows no gratitude as it is a feeling that is simply not part of the tribe.
The performances of the supporting cast is excellent, considering that, to us, the tribe seem barely more than animals. We actually want Za to make fire and Derek Newark ably gets our support, if not our sympathy. The regulars are good too, with Ian establishing himself as the square-jawed hero. Hartnell continues to astonish as the Doctor, who is a very different figure to that which he would become. He is curious, but not interventionist and would like to get back to the TARDIS as soon as possible- it is very strongly implied that he would rather kill Za than help him. In the hands of a lesser actor, the Doctor would come out as cowardly, but what we get is determined pragmatism, and the start of a bond with Ian and Barbara.
Although not as striking as in "An Unearthly Child", Hussein’s direction is still excellent. The fight between Kal and Za constantly cuts to reaction shots from the regulars, which increases the effect of the brutality without depicting too much explicit violence. The black and white ‘cinematography’ is, again excellent, making the viewer forget that the cave is only polystyrene and making the ‘skulls of fire’ shot suitably spooky.
This brings me to a very important observation- there is no way this would have been made as a Doctor Who story today. Za is viciously mauled by a wild animal, and we see the bloody gashes in his chest. In the fight between Kal and Za, the loser is brained with a boulder. There are no sympathetic characters, because sympathy hasn't emerged as a human characteristic. It’s really grim television, and it’s sad to see how ‘kids TV’ could be more adult than so-called adult TV today.
A truly brilliant story that deserves greater acclaim.
NEXT: The Daleks
The writing on "An Unearthly Child" was sound, but it is here that Coburn really excels. The story is simple- the tribe must rediscover the secret of fire or die- but Coburn uses it to probe interesting anthropological questions. The tribe have language, a vital key to skills being passed on, but have not yet learned to work as a community, that Kal is not stronger than the whole tribe. The vocabulary of the tribe is small, but Coburn and Hussein avoid the trap of having them speak in Tarzanese, and Coburn turns the paucity of their lexicon into some beautiful dialogue. Ian’s concern over the injured Za is seen as being like the only type of tenderness known to the tribe- that of a mother to a child. Coburn also deserves praise for not allowing the regulars to teach the tribe the meaning of love or mercy. Even though Ian saves Za’s life, Za shows no gratitude as it is a feeling that is simply not part of the tribe.
The performances of the supporting cast is excellent, considering that, to us, the tribe seem barely more than animals. We actually want Za to make fire and Derek Newark ably gets our support, if not our sympathy. The regulars are good too, with Ian establishing himself as the square-jawed hero. Hartnell continues to astonish as the Doctor, who is a very different figure to that which he would become. He is curious, but not interventionist and would like to get back to the TARDIS as soon as possible- it is very strongly implied that he would rather kill Za than help him. In the hands of a lesser actor, the Doctor would come out as cowardly, but what we get is determined pragmatism, and the start of a bond with Ian and Barbara.
Although not as striking as in "An Unearthly Child", Hussein’s direction is still excellent. The fight between Kal and Za constantly cuts to reaction shots from the regulars, which increases the effect of the brutality without depicting too much explicit violence. The black and white ‘cinematography’ is, again excellent, making the viewer forget that the cave is only polystyrene and making the ‘skulls of fire’ shot suitably spooky.
This brings me to a very important observation- there is no way this would have been made as a Doctor Who story today. Za is viciously mauled by a wild animal, and we see the bloody gashes in his chest. In the fight between Kal and Za, the loser is brained with a boulder. There are no sympathetic characters, because sympathy hasn't emerged as a human characteristic. It’s really grim television, and it’s sad to see how ‘kids TV’ could be more adult than so-called adult TV today.
A truly brilliant story that deserves greater acclaim.
NEXT: The Daleks
"An Unearthly Child"
The first episode has been almost universally acclaimed, and I have to agree with this. From the beautiful establishing shot of the TARDIS at the beginning, it gripped me and didn’t let me go, which brings me to my first observation- how visually dynamic it is. The recollections of what Susan said in class are accomplished by flashbacks which consist of POV shots, something that I don’t recall ever happening later (but maybe I’ll be proved wrong). The shot of Barbara bursting into the TARDIS is done simply but extremely effectively- she almost runs into us in her (and our) surprise. And, of course, the taking off of the TARDIS is a marvellous combination of the ‘howlaround’ effect and shocked faces- we literally don’t know what is happening to them.
Waris Hussein directs with superb skill. His shot choices are perfect and the way he got the performances to gel together from the beginning is amazing. The performances are first-rate- the script doesn’t establish the characters of Ian and Barbara that much, but Russell and Hill easily fill in the gaps- we not only know very quickly what types of people they are, but get to care about them before the end of the episode. And then there’s William Hartnell. Physically, he doesn’t do much in this episode- he doesn’t even appear until half-way through the episode- and yet this strange and sometimes rather scary old man captivates us from the second he appears on screen. His performance is subtle, yet somehow gives the impression of a larger-than-life, hugely intelligent and somehow alien character.
The script for this episode is very taut and almost naturalistic- the only bits that could possibly seem false are the aforementioned recollections of what Susan said in class, but the way they are shot more than compensates for it. However, when there is a need for it, the writing is beautiful, notably in the famous ‘travellers in the fourth dimension’ speech.
I would talk about the set design, but in this episode, there’s only one set that matters, and it’s easy to see why the TARDIS interior changed very little between 1963 and 1989.
Finally, I don’t know how appropriate the word ‘cinematography’ is to something shot with multiple cameras in a TV studio with the director calling the shots in a booth, but the stark black and white photography is stunning. The entirety of the episode seems to take place after dark and the use of shadow is very evocative, which makes the cut from Barbara in the junkyard to Barbara in the brightly lit TARDIS all the more effective.
In summary, this would be an astonishing piece of television even if it wasn’t the first episode of Doctor Who.
NEXT: 100,000 B.C.
Waris Hussein directs with superb skill. His shot choices are perfect and the way he got the performances to gel together from the beginning is amazing. The performances are first-rate- the script doesn’t establish the characters of Ian and Barbara that much, but Russell and Hill easily fill in the gaps- we not only know very quickly what types of people they are, but get to care about them before the end of the episode. And then there’s William Hartnell. Physically, he doesn’t do much in this episode- he doesn’t even appear until half-way through the episode- and yet this strange and sometimes rather scary old man captivates us from the second he appears on screen. His performance is subtle, yet somehow gives the impression of a larger-than-life, hugely intelligent and somehow alien character.
The script for this episode is very taut and almost naturalistic- the only bits that could possibly seem false are the aforementioned recollections of what Susan said in class, but the way they are shot more than compensates for it. However, when there is a need for it, the writing is beautiful, notably in the famous ‘travellers in the fourth dimension’ speech.
I would talk about the set design, but in this episode, there’s only one set that matters, and it’s easy to see why the TARDIS interior changed very little between 1963 and 1989.
Finally, I don’t know how appropriate the word ‘cinematography’ is to something shot with multiple cameras in a TV studio with the director calling the shots in a booth, but the stark black and white photography is stunning. The entirety of the episode seems to take place after dark and the use of shadow is very evocative, which makes the cut from Barbara in the junkyard to Barbara in the brightly lit TARDIS all the more effective.
In summary, this would be an astonishing piece of television even if it wasn’t the first episode of Doctor Who.
NEXT: 100,000 B.C.
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