Yes that Cheques, Lies and Videotape feature was fantastic - very nostalgic and shows how good 2Entertain can be when they put their minds to doing a good doco.

From my viewpoint, I never paid for stories at all.  The endless ABC repeats were enough to satisfy me - they played them so often that I could recite the lines backwards!

In some ways the internet age makes it very easy to download and watch old shows now.  Back then even though some were very keen on having shows in their collection I think the 'thrill of the hunt' made pursuing those shows all the more exciting - at least that's the way I look at it.

But yes the Cheques doco was great and I hope 2Entertain do more docos like that in the future - was very insightful and interesting for sure.

THE ARK

Doctor Who was always at its best when it plundered from the library of literary works.  Think Talons of Weng Chiang, The Brain of Morbius and others from the Phillip Hinchcliffe and Robert Holmes era and you’d get the right idea.  But the series had been doing this since its first episode where its very concept was derived from H.G. Wells’ The Time Machine.  It’s interesting to note the The Ark is full of Wells’ imagery and ideas and works because of it.

Basically telling of humanity’s arrogance and wayward future because of it, its simple morality tale works well with the series ethos at the time.  Educating as well as entertaining, its borrowing from the Noah’s Ark mythos and others stories shows the writer’s creativity in mixing these elements for a fast moving story.  The best part about the enterprise is its cleverness in showing the opposite sides of the human/alien struggle.  At the very end of Part 2 we’re given a fantastic cliffhanger which immediately changes the tone of the piece and adds a threat viewers couldn’t have seen coming.  This twist then highlights the themes of the tale with those working together able to build a future for all.

The production design for The Ark is amazing for its time.  You can tell some effort went into making much out of a small budget and one appreciates this.  The scope of the buildings and various alien structures are interesting and match the ambitious scope of the story.  In this respect it’s very reminiscent of The Ark in Space – a story sharing its thematic ideas and design.

If perhaps there is a fault – and unfortunately there usually is in early Who stories – it would be the depiction of the Monoids.  Wearing what appears to be Beatles wigs, they look pretty silly and provide little menace.  Even when they enslave their previous masters it’s difficult to be frightened of them with their strange voices and grandiose hand gestures eliciting mirth than scares.  They way they speak aloud their many plans beggars belief as well which only further underscores the poor thought in creating a new monster.

Despite this the main regulars convey their many reactions with aplomb. William Hartnell provides quiet dignity and conviction whenever he appears with Purves and newcomer Jackie Lane providing good support.  It’s interesting how Dodo’s cold initially sets off the chain of events – one spanning 700 years.  It’s a pity both companions weren’t around for too long to fully gel, although this is more of a reflection of the behind the scenes changes than  the actors performances.

Overall, The Ark is a fast paced story with some good acting and decent production values for its time.  It also sets the early scene for the upcoming departure of Hartnell who would leave in a few stories time.

The Ark DVD is a bit light on extras this time.  There’s a fairly good overview of the HG Welles mythology and its relation to the series. A doco looking at the show’s one-off monsters is interesting but way too short.  Another looking at the Riverside studios is the best of the bunch with Peter Purves giving an  appraisal of Hartnell’s character and looming exit.

Next:  Mara Tales (Kinda/Snakedance box set).

Like the Crusaders outfit, the big video screen and the detection of life on Refusis II though "audio" research. How strange. A model fail is followed by a  model triumph in short  order. The Ark disgorges thee landing craft, which dance across the screen like pantomime butterflies. However, in the next scene we see a lander model descend in the background then pan to a full size prop, effective substitution.

I always wonder what the Gerry Anderson puppeteers made of their public rivals, especially when I see the clip of the Spar craft from Daleks' Master Plan.

Shame about Jackie Lane, and huge missed opportunity with the Wiles/Tosh team leaving here. The two stories divided by a 700 year gap is a clever twist and was the best use of time travel to date, with the possible exception of The Space Museum, and seems to be endemic of their intended direction for the show.

One of the joys of  this serial is its accessibility. The Adelaide Lending Library got the Target in hardcover in 1988, and thanks to Nigel Robinson's policy of "not employing Terrance Dicks 'till it made you sick", we got to enjoy Paul Erickson's novelisation of his own scripts. There was a note crediting Erickson and not Lesley Scott. 

As I recall it had the standard Target paperback edition cover, with animals apparently fleeing William Hartnell's head via his ears.

Ten years later, the same library got the VHS release of the four episodes. Happy days!

MARA TALES – Part 1
KINDA

Quite rightly Kinda has garnered much praise since it first aired in 1982.  I vividly remember watching this when it came out and was enraptured by its surreal images and captivating story.  With some trepidation I saw this again as a cynical adult wondering if I would feel the same ‘magic’. I needn’t have worried as it is still an amazing adventure full of suspenseful layers and textures – proving how well written stories can last forever.

Made during a transitional period for the show with a new script editor and new Doctor finding their feet, for me this would have to be the best story of Season 19.  Amusing given how initially this tale was voted the worst of the Nineteenth season back in 1982, one appreciates the care gone into producing  an engaging and original script.  It can be seen how writer Christopher Bailey attempted to maximise the format of the show and go beyond audiences’ expectations.  Kinda is a ‘thinking persons’ Who story – intelligent, insightful and dynamic.  This complexity doesn’t mean it’s out of bounds for viewers, just one forcing them to truly take notice of events – which is what any good story should do.

Much like the stories from the Hinchliffe/Holmes era, Kinda takes its cue from a well-known book.  In this case it’s the Bible itself with the Adam and Eve motif conveyed strongly.  From Tegan enraptured by the Garden of Eden-like paradise of Deva Loka and giving into the temptation of the Mara, to the demonic snake’s tempting of the Kinda race with its powerful allure, this mystical quality really makes proceedings stand out.  One cannot go past Tegan’s entry into the Mara’s nightmare world – a disturbing vision of madness and tragedy rolled into one.  Whilst the set design is all very early 80’s ‘new romance’ in look, it adds to the highly stylised look without taking anything away from the story.

The acting is of a very high standard with Simon Rouse as Hindle and Richard Todd as Sanders equipping themselves admirably.  Here the hero’s enemies aren’t mostly physical in nature but ones from the dark recesses of the mind.  This adds further to the unpredictable nature of their dilemma with Hindle’s descent into madness further allowing the Mara a chance to succeed in its plans.  The regulars – apart from Nyssa – are given plenty to do and it’s great seeing some conflict between The Doctor, Adric and Tegan which makes for a more realistic depiction of their relationships.  Davison’s acting is marvellous throughout and shows how good his Doctor could be. 

Peter Grimwade’s direction makes the most of the story and he teases out the dramatic elements with fine skill.  Kinda is probably the smartest Who tale made for some-time and one rarely seen afterwards which has made this an undisputed classic for many fans.

The DVD itself features a good making of documentary where Eric Saward and Christopher Bailey discuss the merits of John Nathan-Turner’s producing capabilities.  Saward’s comments are always fun to listen to and he doesn’t hold back – making one wonder would he have done the same had JNT still been around?  The ‘Directing with Attitude’ feature on Peter Grimwade’s Dr. Who output is the best of the rest of the extras and is an insightful essay into a complex person.

Kinda is a great story and one deserving of its praise all these years later.  I’m glad to say my child-hood memories of this are still intact!

Next: Mara Tales Part 2 – Snakedance.

MARA TALES – Part 2
SNAKEDANCE

Season 20 doesn’t really have the best of reputations.  Although it was an anniversary season, most fans seem to recall The Five Doctors as the definitive anniversary moment rather than much of its stories.  Producer John Nathan-Turner’s obsession with the series’ past seems to have gone into overdrive here with every story having an element from the past included.  Whilst long-term fans may have lapped it up, the general viewing public – i.e.: the audience the show needed in order to increase ratings – were left somewhat confused.  Sandwiched between the return of Omega in Arc of Infinity and the beginning of the Black Guardian trilogy with Mawdryn Undead, was Christopher Bailey’s second story for the series, Snakedance.

Given the benefit of hindsight has elevated his previous tale Kinda to the upper echelons of admired Dr. Who stories, would second time be the charm?  In Snakedance’s case the answer is no, for whilst it is one of the better stories of the twentieth season, it pales into comparison to his previous masterpiece.  The main reason can be found in Bailey’s adherence to Dr. Who’s formulaic story-telling.  Where Kinda offered multitude of surprises in each episode, Snakedance mainly sticks with convention and predictability.  A shame as there some quite striking elements within.

From the misguided beliefs of the Manussan populace to the themes of ‘finding truth and standing up against fear’, there is much potential for engrossing conflict.  Unfortunately only a small amount of this is utilised with the production team’s focus on style over substance diluting its impact.  The scenes featuring Martin Clunes’ character of Lon are engaging however, due to his performance and of the satirical vein of his characters’ existence.  Living in a world where myth and legend are the stuff of truth, Lon’s colleagues scoff at the Doctor’s attempts at actually revealing what really happened centuries ago.  In some ways this ignorance of truth and reliance on hearsay could be attributed to today’s world where fact and fiction blur at an ever quickening pace. 

Clunes’ role is perhaps the only stand-out in Snakedance as Bailey mostly regulates the Doctor’s companions to the side-lines.  He seems to be so entranced with the world he has created – which admittedly is fairly well realised – that the important aspects of genuine characterisation has been waylaid.  A pity as Janet Fielding is only given some brief moments to shine as the Mara incarnate – making one wish more of her nightmares from Kinda would re-surface.  Nyssa’s role is largely perfunctory and she has little to do.  Only Davison’s Doctor is given anything of substance to convey and he grasps this opportunity fairly well.  It’s perhaps in Bailey’s two scripts that Davison really gets at the heart of his Doctor, thereby making him a fascinating and conflicted character.

The abrupt ending to the tale at the end of Part 4 is a let-down – although this mirrors the lack of real urgency throughout the entire story.  Where Kinda made a virtue of its cliff-hangers, here they seem like an after-thought with little suspense generated.  Although one could be accused of churlishness at comparing this to Kinda, it is a direct sequel after all and should be reviewed as such.  In this aspect Snakedance is a disappointment with Kinda’s originality and flair rarely seen in this case.

The DVD has some decent extras with a making of documentary interesting viewing.  Of note are Bailey’s comments of a proposed third Mara tale which never eventuated.  While this would have been made for an interesting book-end to have in Davison’s final season, seeing Snakedance feels bereft of ideas this perhaps was a good thing.  Other extras include deleted scenes, in studio recordings and an interview with Davison on Saturday Superstore.

Overall Snakedance has its moments, but nowhere near enough of those found in Kinda.  Both stories release on DVD also completes Seasons 19 and 20 on this format.

Next: Revisitations box set 2.

REVISITATIONS BOX SET 2
THE SEEDS OF DEATH – Special Edition

Patrick Troughton’s sixth season of Doctor Who would prove to be a mixed bag.  With stories such as The Space Pirates held low in fan’s opinions and coming after a masterful fifth season, it seemed his reign was beginning to end.  The Seeds of Death was the third last story for his Doctor and would be one of the few complete surviving stories left from his era.  Written by Brian Hayles and Directed by Michael Ferguson, it would typify the type of tales this series relied upon at this point.

A six part epic featuring the return of The Ice Warriors, who gained much reaction from their initial appearance the previous season, The Seeds of Death is an engaging story told in unwieldy length.  Copious amounts of padding are evident – the Doctor’s journey to the moon via rocket which takes 2 episodes to happen and scenes featuring the Ice Warriors getting killed in exactly the same manner – you’d think you’d be in for a long dull ride.  Why this doesn’t happen is entirely due to some great performances and very stylish direction.

Hayles’ story is very interesting as it looks at the curse of mankind’s ability to discard old ways of doing things in favor of faster inventions.  Here we have the T-Mat which saves people travelling time and gives them more convenience.  This comes at a price when the Ice Warriors invade their moon-base in order to send the ‘seeds of death’ to earth in order to take it over.  It’s interesting how this concept still works as even now people always look for faster and better ways for instant gratification.  The character of Miss Kelly is a good example of someone ignoring old ideals and who has to learn that ‘being new’ doesn’t necessarily mean it’s better.  In this respect Hayles’ script is very far ahead of its time with some pretty good ideas that wouldn’t be out of place in the new series.

The Ice Warriors are suitably menacing although they are let down by some poor costumes.  Whilst Slaar looks great and projects the appropriate menace, unfortunately his foot soldiers don’t fare too well.  Their outfits look so cumbersome and bulky with the sight of them slowly lumbering around corridors a poor one indeed.  The actors do their best however, with their whispering raspy voices conjuring sinister images.  The best aspect of the entire enterprise is the amazing production values - which can be seen when the Ice Warriors move in front of the white background-screen in the last two episodes – very striking and dynamic visuals.  Ferguson’s director makes much of what is available and he uses it well. 

The regular acting trio of Troughton, Hines and Padbury work well together with their obvious chemistry effectively coming across.  The script plays to their strengths with all given a fair share of screen-time to articulate their character’s actions.  The guest cast do a very fine job with the mix of old and young performers successfully making their roles three dimensional and believable. 

A major failing of this story is that at 6 episodes it is simply too long.  Whilst it does move fairly well, it would have been even better as a tightly written 4 parter.  But this was how many Troughton stories were during this era (including for much of the Pertwee years), and it would have been good had the writers knew when to stop.  That doesn’t mean The Seeds of Death was bad – just a great story trapped in one too long.

So how ‘special’ is this special edition compared to the previous release?  The extras from the previous release are all to be found with the Sowing the Seeds feature still a good one to watch.  It’s a good look back at the Ice Warriors with some good interviews with some of the actors who played them.  The new Lords of the Red Planet making of doco is pretty good and gives an insight into Troughton’s acting style and persona.  The best new feature however would have to be ‘Monsters Who Came Back for More’ – a good examination in why certain monsters came back and which should return – (the Zygons get my vote!)  Generally there isn’t much to warrant an upgrade with this particular DVD though – both versions are good in their way and the story itself still looks dazzling due to the restoration team’s great VidFire process….hopefully some more old classics will be found one day so we can enjoy more of Troughton’s Doctor.

Next: Carnival of Monsters: Special Edition

REVISITATIONS BOX SET 2
CARNIVAL OF MONSTERS – Special Edition

It’s been said Robert Holmes was the best writer Dr. Who ever had.  Carnival of Monsters proves this theory right with a simple and well written script.  After renewing the Doctor’s adventures in time and space without the timelord’s interference in The Three Doctors, ‘Carnival’ would re-energise the show’s format.  Filled with wit, style and good characters, this is probably one of the best stories of Season 10 and a highlight of the Pertwee era.

Like any good script, it takes its cue from everyday life.  In 1972 the world was increasingly becoming obsessed with television which, after the advent of colour, would multiply.  In this, Holmes saw an opportunity to comment on this fascination and create a satire on how performers perceive the viewers watching them.  The lawmakers of Inter Minor are represented as a Greek chorus of resistance to this technology and bemoaning the return to the ‘old ways’.  This too, has a bearing from real life as the grey trio of stuff-shirts mirror the campaign by Mary Whitehouse to impose her moral standards on TV at the time.  The two carny-like folk Vorg and Shirna are eager to ply their wares no matter what skewed morality their machine entails and attempt to make money at any cost.

These elements are wrapped in a stylish package with double cross and danger the order of the day.  From the Doctor’s dealings with the Drashings, to the people on the ship, to the machinations of some of the Inter Minor populace, everything runs smoothly.  The quick pace draws you into not only the Doctor and Jo’s plight but the other characters as well.  This was a gift Holmes had – to be able to rapidly draw well rounded characters audiences could care about.  As played by a fine ensemble, this is easy to do.  Whilst perhaps some of the make-up and costuming isn’t that flash, the production values overall aren’t too bad and a fun and entertaining atmosphere is easily conjured by Holmes’ imagination.

Barry Letts’ direction compliments the writing with Pertwee and Manning’s on-screen chemistry marvellous to watch.  There is literally never a dull moment and the story defies anyone to be bored by proceedings.  It’s a light and frothy tale done well and is a welcome relief in between the heavy dramatics which followed with Frontier In Space/Planet of the Daleks and The Green Death.  Carnival of Monsters is a pleasure from start to finish.

Only a smattering of new extras can be found on this re-vamped DVD.  Those from the previous version are all here plus a make of doco called ‘Destroy All Monsters’.  A pretty good overview of the story, it maintains interest.  The best new feature though would have to be ‘On Target – Ian Marter’ – all about the actor/writer who played Harry Sullivan.  A very interesting insight into a complex man, the most poignant moments for me came when Elisabeth Sladen was interviewed.  Given this feature is dated 2007, it makes for sad viewing now and Ms. Sladen seemed to genuinely miss a true friend in Marter and wished he was still around.  She seems to get a bit teary towards the end as did I and sadly both are now gone from fandom but never forgotten.

Two other extras looking at the ‘A-Z of Dr. Who gadgets and a feature on the Mary Celeste are pointless – not worth the disc space.  On the subject of these Revisitation sets, it would be great if they re-released The Ark in Space which was released around the same time as the others but isn’t getting a revamped version, which is a bit strange.  I think that story lends itself to a re-appraisal – but one can never predict 2Entertain’s thought patterns!

Next: Resurrection of the Daleks: Special Edition.

REVISITATIONS BOX SET 2
RESURRECTION OF THE DALEKS – Special Edition

After a somewhat sluggish start to Season 21 with Warriors of the Deep, proceedings really kicked into gear with Resurrection of the Daleks.  Originally planned to close the 20th Season, its cancellation caused a few dramas.  Not least of which were some personality conflicts between Producer John Nathan-Turner, Script Editor Eric Saward and original Director Peter Grimwade.  When the dust settled the latter got side-lined in favor of new Director Matthew Robinson.  Given how Grimwade’s stylish direction propelled Earthshock and Kinda to great heights, would his skills be missed here?  The evidence would suggest ‘yes’, as whilst Robinson instills plenty of visual flair and energy, the keen story sense and characterization which were hallmarks of Grimwade’s stories are missing.

Written by Script Editor Eric Saward, this attempts to do what Earthshock did for the Cybermen.  That is to revitalize a classic monster and make them force viewers to ‘run behind the sofa’.  With double dealings the order of the day as the evil creatures rely on Davros for salvation – with him having his own ruthless plans, you’d think there’d be much to divert viewer’s attention.  Coupled with the machinations of ruthless bounty-hunter Lytton and a Dalek plot to destroy the Doctor’s home world of Gallifrey, the potential is there for some top flight adventure.  Unfortunately this only occurs occasionally as this over-written tale crams way too much in its running time.

The initial idea of restoring the Daleks as menacing machines comes unstuck by Davros’ appearance.  With him on the scene they are given second place in the villainy stakes.  Their attempt at reviving their creator makes little sense – if the Daleks are so egotistical and have a high opinion of their talents, why do they need Davros?  Whilst the explanation of him finding a cure for them is used, surely the Daleks could have done it themselves since they’re supposedly the ‘supreme beings’ of the universe?  Although I’m a fan of Davros from his appearance in Genesis of the Daleks – there he should have stayed.  The other stories he appeared in diluted much of his initial impact and further appearances were a mistake.  Here he’s reduced to yelling orders and spouting pointless monologues on his brilliance.  Terry Molloy hams it all for all its worth and isn’t a patch on Michael Wisher’s definitive portrayal.

Another aspect I found troubling was the Doctor’s attempt to kill Davros.  This goes against the moral code Davison’s Doctor established and seeing him contemplate murder is very out of character.  Again the ultimate Davros/Dalek story was Genesis and the moral viewpoint it showed added more layers to the Doctor’s persona.  None of that is in evidence here as the bodies pile up as each episode grinds on.  Even Saward admits he went overboard by infusing his script with a body count higher than Macbeth!  Whilst it’s ironic that a story about ‘the survival of the fittest’ would be shrouded in death, this device is to its nth degree and the poorly acted death scenes are painful to watch.

The most memorable character in this production is Maurice Colbourne’s Lytton.  Smart, articulate and deadly with his cunning, his was a fascinating character and it was welcome indeed when he returned for Attack of the Cybermen.  The rest of the cast don’t leave much of an impression although Tegan’s exit from the series is suitably dramatic and logical.  Although it’s a little disappointing Janet Fielding – and indeed Mark Strickson – didn’t have much to do here, overall Tegan was certainly one of the more memorable companions of the JNT era.

What cannot be faulted is the pacing as events move along very quickly.  In this regard perhaps it would have been wise to cut out some plot strands in favor of a leaner narrative.  Robinson does his best with some pretty good action sequences, although they seem superfluous rather than being relevant to the general story. 

The Dalek tales after Genesis seemed to suffer by comparison as is the case here.  Resurrection has its moments but they feel forced and don’t linger much in the memory.  Personally I think Revelation of the Daleks is the best JNT era Dalek tale as its’ wit and unusual take on the established mythology worked well.  I don’t rate this story as a high-point of Season 21, although it is certainly a step up from Warriors of the Deep and The Twin Dilemma.  It does however embraces the maxim of being ‘all style and little substance’.

As for the DVD – 2Enterain just LOVE double-dipping into fan’s pockets!  In this case it’s a triple-dip as those who purchased the original DVD and got it as part of the Davros Collection (i.e.: people like me!), would have to fork out AGAIN for this one!  Hopefully this is the ultimate edition as one’s bank balance needs soothing!  So was it worth it?  The first disc features the 2 part edit version used in the UK and is interesting viewing with the sole new extra called ‘Casting Far and Wide’ which features some pretty good interviews with five of the actors who appeared in it.  I was a bit disappointed Rula Lenska wasn’t interviewed seeing as she was one of its main characters although it’s interesting nonetheless.

Disc Two features the fantastic documentary ‘Come in Number Five’ which looks back at Peter Davison’s entire era.  Running for almost an hour, this would have to be one of the very best documentaries 2Entertain have produced in quite awhile.  Frank, honest and forthright, the interviewees range from Peter Davison, Eric Saward new series writer Steven Moffat and Barry Letts.  All paint a portrait of Davison era Producer John Nathan-Turner and it’s a less than flattering one at that.  Saward – as one would expect – rips into him without mercy, although several others do as well.  Even then however they do single out JNT’s good points (even Saward does so) giving an examination of a fascinating character.  This narrated by David Tennant with all involved enjoying being open about the hits and misses of the era.  Davison is also great to listen to as is Saward and this is a remarkable new feature – and one I hope 2Entertain uses again for the Vengeance on Varos special edition due to be released – a ‘Come In Number Six’ doco about the Sixth Doctor would be brilliant!

The other main feature is the latest in the ‘Tomorrow’s Times’ series. I’ve found this series to be somewhat pointless and extremely boring and this one is no exception.  Frazer Hines narrates proceedings although again – like the others – it would have been more appropriate getting someone from the actual era talk about it.  The rest of the extras are exactly the same as those from previous versions. 

In general if it wasn’t for the Come In Number Five doco, this special edition would have been a waste of money.  As it is, I would definitely recommend this version and hope this is the FINAL version of this story we see!

Next: Planet of the Spiders

SPEARHEAD FROM SPACE: Special Edition

After The War Games concluded and Patrick Troughton departed the series, it appeared Dr. Who was finished.  Thankfully it didn’t happen as it heralded a new beginning for a series which was starting to feel the strain of age.  With a new Doctor in Jon Pertwee and moving into colour, these elements would revitalise the show for decades to come.

Spearhead from Space quite rightly has become regarded as one of the very best Who stories.  Written by Robert Holmes, every episode moves seamlessly into the next with the mood and creepy atmosphere felt throughout.  Much of this ambience can also be attributed to Director Derek Martinus, with his visual style teasing out the drama and horror extremely well.  Small scenes such as Channing observing the Brigadier through a multi-layered window add much without having any dialogue at all.  Mention also must go to Dudley Simpson, whose score is amazingly effective and quite eerie at times.  Having it totally shot on film helps bring a gritty feel which would continue for the remainder of the Pertwee era.  There’s a true ‘adult’ subtext to the script as, whilst it adheres to some of the traditions of the show, it adds new ones enabling older viewers to enjoy the action.

In many ways Spearhead almost feels like a series ‘re-boot’, as it introduces the new earth bound format and reiterates the established mythology for newer viewers.  There’s a real freshness at work – as if the move into colour has re-focussed the production team’s efforts.  Not a second is wasted with every scene critical in establishing the next.  The Nestenes make for a fantastic new race of villains with their Auton warriors incredibly scary even today.  I remember being really frightened when I first saw them and on subsequent viewings and still get the nerves jangled by their appearance.  Many classic scenes involving them stand out – from the ‘waking up’ in the front shop displays to the very creepy factory they’re made in – they are very memorable and it’s a shame they weren’t used more frequently in later tales.

It helps that it is also one of the best paced Who stories made.  You don’t immediately see the villains – the first episode sparingly sets up the threat whilst mainly concentrating on establishing the Doctor’s character.  This then allows the viewer to become fully engrossed in what transpires with events kicking up a gear from the second episode onwards.

Looming large over proceedings is of course Jon Pertwee.  Hitting the ground running, you immediately believe he is the Doctor and go along his journey with ease.  Pertwee is a much better actor than even he gave credit and it is wonderful seeing his immediate chemistry with Caroline John and Nicholas Courtney.  Liz Shaw makes for a good companion although even in her first story it can be seen her character was a little too intellectual as a ‘traditional companion’ should be.  That doesn’t mean she wasn’t any good though as Caroline John provided solid support in her four stories.  The rest of the cast are superb in their roles with the actor playing Channing conveying the right amount of menace and charm required.

Of all of the DVDs released over the years, Spearhead from Space was one that would have benefited the most from an upgrade. Thankfully 2Entertain have presented a high quality package worthy of such a fine tale.  A making of doco featuring Derrick Sherwin, Terrance Dicks among others is very illuminating and interesting.  It’s unfortunate most of Sherwin’s stories were wiped as he seems an interesting person to listen to and it would have been great to have seen him more on the DVD range.  Another feature looking at the cross-over from black and white to colour is good with a new audio commentary featuring Sherwin and Dicks adding much to the behind the scenes drama in producing this story.

Spearhead from Space is one of my favourite stories and the mix of drama, horror, science fiction and comedy works effectively.  Season 7 and the Pertwee era got off to a fantastic start, which would be built upon in future seasons.

Next: Terror of the Autons

TERROR OF THE AUTONS

After the success of Season 7, Dr. Who would begin the 70’s on a more assured footing than it ended the 60’s.  Much of this was due to the new production team and actor Jon Pertwee who breathed new life into the ailing series.  Spearhead from Space provided a great introductory vehicle and established the template for the remainder of the Pertwee era.  It shouldn’t come as any surprise that Season 8 would begin with some more changes with the introduction of a new companion and villain re-energizing proceedings once more.

This is, of course, the story which introduced The Master – a creation of producer Barry Letts and script-editor Terrance Dicks.  On paper he sounds like a great adversary for the Doctor and in the hands of actor Roger Delgado, this element of suave menace would increase.  Delgado’s performance is very magnetic and matches Pertwee’s confident portrayal.  Both provide a good contrast to the other with both being quite arrogant in their ways and yet use this differently in order to defeat each other’s plans.  Their rivalry is very much in the Sherlock Holmes/Moriarty vein – something alluded to in the extras.  It’s also great that they don’t meet straight away – it’s not until episode four when they have both had a  build up do they meet, with both actors sparking well off each other.

Given The Master is such a great villain it is perhaps disappointing that whilst this story effectively establishes the character within Who mythology, the inclusion of the Autons is its main fault.  Where Spearhead from Space had them as menacing, sinister beings, Terror of the Autons merely has them as pawns for the Master’s various plans.  This dilutes much of their initial impact and makes them seem lesser monsters than should be.  It would have been great had the story allowed them to share equal billing with The Master than it being used purely as a vehicle for introducing him rather than being a true Auton story.  Another pity is that their design has been changed which again lessens their appearance.  The use of the Nestene plastic chairs, daffodils and other various items are great however and these end up being far more frightening than the Autons themselves.  This element ties in nicely with having everyday objects being a source of terror, which Robert Holmes’s script seems to gleefully enjoy conveying.

Another problem is the story’s structure.  Often it resembles those old Road Runner cartoons with Wile E. Coyote (in this case The Master) continually setting traps in order to kill the Doctor.  There doesn’t seem to be any particular reason for the story to exist other than to introduce him and Jo Grant to the narrative –there’s no other tangible element to hang events on.  It’s entertaining enough – with the circus scenes being pretty good – but the tale could have had more substance to it.  Despite this, the characters are what make it diverting as each have their own foibles which maintain engagement.  The ‘family feel’ so often quoted as being part of this era can be seen in abundance, with each actor bouncing off each other with ease.  The conclusion is fairly satisfying and sets up the rest of the season well.

Overall Terror of the Autons is nowhere near as good as Spearhead from Space in terms of showing how menacing the Autons are.  As an introductory story for The Master it fulfils its function with stylish aplomb and it’s a pity the Autons weren’t seen again until the new series in 2005.  In some ways I wonder whether the Tom Baker story The Android Invasion was an Auton story in an earlier form as it shares some similarities and was script edited by Robert  Holmes.  It would have also been interesting to see how they would have looked in the abandoned Season 23 story which supposedly featured them with The Master and The Rani but, as in most things, one can only imagine what might have been.

The DVD itself has some fine features on it including a thorough making of doco plus a great featurette on the creation of The Master with Barry Letts and Terence Dicks delving into why the character was created and his impact on the series.  The colorization of the story still stands up very well with the picture quality pleasing to view.

Next: Planet of the Spiders.

PLANET OF THE SPIDERS

For every beginning there has to be an end.  So it was for Doctor Who as the Pertwee era drew to a close.  Five years after re-energizing an ailing show, it was time for Producer Barry Letts, Script Editor Terence Dicks and star Jon Pertwee to move onto greener pastures.  They chose the correct point in which to leave as Season 11 wasn’t the best in terms of stories.  Whilst the Time Warrior opened it quite well, with the introduction of Sarah Jane Smith a big plus, tales such as Invasion of the Dinosaurs took away much of the season’s gains.  Thankfully Planet of the Spiders gives them a chance to shine and depart the series in fine style.

I must confess that when I originally saw this story I wasn’t too impressed with it – it seemed too long and didn’t make sense to my young mind.  Now looking at it again via the wonders of DVD, it stands up pretty well with only a few blemishes seen along the way.  It’s amazing how fast it moves – from the scenes in the monastery to those on Metabilis 3, they flow effortlessly into the next.  Robert Sloman’s (and co-writer Barry Letts’) writing breathes life into the tale of ego and the thirst for knowledge with Letts’ fascination for Buddhism shining through. 

In many ways the story’s core shows the danger in searching for knowledge and allowing it to increase one’s sense of self-worth.  This can be seen in the Doctor’s actions in obtaining the blue crystal which set in motion the events which ultimately lead to his ‘demise’.  Whilst it was done with good intentions, this affects those around him with the likes of Lupton using the crystal to their advantage.  In Lupton we see how the greed for power ultimately consumes him, whilst in the character of Tommy, who begins the tale handicapped by lack of knowledge, becomes a greater person by the crystal’s power and uses this to seek out more information.  These elements very much dovetail with Letts’ determination to have a moral message in most of the stories of his era and ensuring they are actually ‘about’ something rather  than being a run of the mill chase-about.

In this regard the weak points to be found are when the script goes into conventional Dr. Who territory.  The plight of the villagers on Metabilis 3 and the endless chase sequence in episode two unnecessarily drag out what is a very good tale.  Had it been cut down to a 5 parter it would have been regarded as a classic story – although compared to the rest of Season 11 it stands up quite well.  The realisation of the spiders isn’t that fantastic either, although the imagination in having them represent the ego of humans is a good one.  The Great One is of course a metaphor for the Doctor’s own ego as he attempts to confront the darker side of his personality and eventually accepting that aspect of him by destroying the Great One’s citadel.

Its greatest aspect is in the fleshing out of the characters – you get to know their traits and goals with every actor delivering fine performances.  Jon Pertwee expertly shows off his elegant authority right till the end.  Lis Sladen works well and it’s fascinating seeing how tougher her character is here and in Season 11 in general compared to how she developed in the Baker era.  The independent journalist willing to do anything for a story really shines through and it seems the writers of the Sarah Jane Adventures took inspiration from Sladen’s earlier appearances than the latter ones.  The rest of the regular and guest cast do a great and provide a fine send off for a much loved Doctor.

Overall while it doesn’t compare to Logopolis or Caves of Androzani as being a great final story for a Doctor, I’d put this third on the list as it’s more focussed than The War Games and light years ahead of Time and the Rani (with the 6th Doctor’s regeneration) and the 1996 telemovie. An enjoyable tale that made the most of Pertwee’s final moments.

The DVD is of a high standard with a fantastic making of feature.  It’s  a great shame Roger Delgado passed away as what sounds like a fantastic final story for his role as The Master and Pertwee’s Doctor would have been a very appropriate final chapter.  Making this feature work are the comments by Letts, Dicks and writer/actor Mark Gatsis who looks at the story from a fans point of view and is very interesting to listen to.  The other extras are great with a good Now and Then feature plus an interview with the actor who played Tommy, which is quite fascinating.

Next: Frontios.

axelf : Overall while it doesn’t compare to Logopolis or Caves of Androzani as being a great final story for a Doctor, I’d put this third on the list as it’s more focussed than The War Games and light years ahead of Time and the Rani (with the 6th Doctor’s regeneration) and the 1996 telemovie.

I hadn't considered Time and the Rani as a regeneration story until you listed it. Looking back on it, if McCoy had kept the Harpo wig for the rest of the first episode, it couldn't have been worse.

I think you're missing out by not submitting these for publication first.

Feel free to publish them elsewhere - no dramas from me. As long as you spell my name right that's the main thing!

Yes Time and the Rani is a regeneration story to me - the plot basically hingest on the McCoy Doctor getting used to his new persona.

axelf : Feel free to publish them elsewhere - no dramas from me. As long as you spell my name right that's the main thing!

I doubt the Editor's going to print them after they've been on the 'net, can you submit them for publication first?

axelf : Yes Time and the Rani is a regeneration story to me - the plot basically hingest on the McCoy Doctor getting used to his new persona.

Despite McCoy wearing the Harpo wig, I mentally group it with post-regeneration stories -- Power of the Daleks, Spearhead from Space, Robot, Castrovalva, The Twin Dillema, The Christmas Invasion and The Eleventh Hour, and to a lesser extent Rose and Doctor Who: Children in Need. Or The Movie (The Enemy Within) and Attack of the Graske.

FRONTIOS

The third story of Doctor Who’s 21st season would continue the improvements seen in The Awakening.  With Warriors of the Deep bringing it to an awful start, Frontios mostly helps re-instate the show’s integrity with a fairly solid outing and good acting.  Written by former script editor Christopher H Bidmead, it continues his determination to bring an intelligent slant to the series where science fact and fiction perfectly blend.

Like any good tale it derives its dramatic elements from real life. Written during the height of Margaret Thatcher’s reign as British Prime Minister, one can see the totality of Frontio’s regime to their fullest.  Ruling within a bubble of mis-information and might, their use of brute force and strict rules have given those in power a false sense of perpetual right.  That some characters such as Plantagenet initially believe they can act as the planet’s divine ruler due to a birth-right almost makes them more frightening than the crisis confronting them.  In some ways George Orwell’s tome ‘1984’ can be seen as the ‘Big Brother’ motif is used by the planet’s rulers to claim the title of its protectors via artificial means.

The populace are equally to blame for not standing up to their rule and for believing the stories being told.  Only when do their ‘masters’ vanish or are dealing with other matters do they finally stand up and try to bring order to the planet.  It’s fascinating how Bidmead initially tries to convey the threat is coming from the skies when it in fact comes from underneath the surface.  Where the things that can be seen can provide some odd measure of comfort to those willing to eradicate the sky-ward menace, the unknown from underground seems more threatening and frightening. 

Another great element is having the Tardis seemingly destroyed.  This gives the regular characters much more impetus to rely on their wits without the luxury of having it provide safety.  This is clearly shown in the scenes the Doctor, Turlough and Tegan play as each have their own moments to really shine and establish more layers to their characters.  You honestly believe the threat to them is real, with their actions and words having a greater sense of importance. 

A major problem with Frontios – as have been in most stories – is the realisation of the monsters, the Tractators.  Yet again they simply look like people in suits shuffling about a stage – which they are.  They exude hardly any menace and are a forgettable alien race.  Whilst the intent in establishing their villainous credentials is there – as can be seen in the truly horrific excavation machine – their appearance raises more mirth than terror.  It’s a shame this element lets down what is a generally engaging story.  It’s interesting to note how the violence here would gradually increase as the season went on and would reach higher levels in Season 22.

The actors are all good throughout with the leads and guest cast giving fine performances.  Peter Davison seems to be enjoying himself and one can see how a good writer could give him some great lines to speak.  The special effects are fairly decent for the era and compliment the strong story quite well.

Not much to report on the DVD side of things in terms of extras – there’s a great ‘making-of’ feature where Davison, Script Editor Eric Saward and writer Christopher H Bidmead talk about the problems they encountered and about Producer John Nathan-Turner’s eccentric whims!  Some deleted and extended scenes pad out the extras and that’s about it – very slim package this time.

Overall Frontios is a good if not memorable Dr. Who story. It moves along quite well and is certainly a step-up from the mis-fire of Warriors of the Deep.

Next:  Earth Story box set (The Gunfighters/The Awakening)