Thursday, 28 June 2012

The Exciting Guide presents...The Seeds of Death!


            It’s time for the second instalment of my “Exciting Guide to Doctor Who” to hit the blog. If you don’t know what I’m talking about, you can go here (http://chapwithwings.blogspot.co.uk/2012/02/watching-every-tv-adventure-of-doctor.html) for more details or here (http://chapwithwings.blogspot.co.uk/2012/03/exciting-guide-to-unearthly-child.html) to see the entry for the very first Doctor Who story.

            Rather than move on to story 2, I thought it would be more interesting to skip about a bit, so let’s have a Troughton.

Story Forty Eight
----------------------------------------------------------------------------------------------------------------------------
Story Code
XX

----------------------------------------------------------------------------------------------------------------------------
Spoiler Alert!  You might want to preserve the surprise of who has invaded the Moon station.
----------------------------------------------------------------------------------------------------------------------------
Title
The Seeds Of Death

“Friends” Title
The One With The Bubble Bath

----------------------------------------------------------------------------------------------------------------------------
Number of Episodes
6

Current availability
All episodes exist.

Source
BBC Video Release.
The video was edited for release, with all episode endings etc removed.  I have therefore used the Television Companion to fill in any missing data, and have had kittens about the episode 5/6 cliffhanger.

----------------------------------------------------------------------------------------------------------------------------
Date
2106 (Winter).
No date is given, and there’s a lot to think about.  For starters, weather control exists, but is no longer on the Moon as it was in The Moonbase.  If we presume that Gravitron and Sun-Catcher technology has improved to the extent that they now keep it in a warehouse in London, then it must be after 2065.  I would suggest that it is also after the death of Salamander in The Enemy Of The World, otherwise someone would want to phone him up and ask for a solution.  There is, of course, the problem that no-one recognises the Doctor as Salamander...but then, I wouldn’t know the Australian Prime Minister or someone like that if I ran into him.  There is no mention of World Zones, but not of countries either, only cities - the United Nations is namechecked, but it doesn’t specifically contradict The Enemy Of The World.  The Sun-Catcher, incidentally, may have been put out to pasture, as T-Mat seems to be doing the world famine job now.
The Doctor states that the model rocket is twenty-first century, but that was built some years ago.  If we presume that T-Mat came into operation some twenty years after the events of The Enemy Of The World, then there is no problem with The Seeds Of Death taking place in the early twenty-second century, i.e. 2106.

Personal Chronology
The Martians in this story come from a later time period than Varga and his Warriors... although it will be a few more centuries before Varga is revived.

Genre
Alien Invasion

Plot synopsis
1.         At T-Mat Moon Control, assistant controller Fewsham has allowed shipments to get five minutes behind schedule.  His superior, Osgood, goes up to get him back on target, but the Moon station is suddenly invaded by aliens, and Osgood is killed whilst sabotaging the equipment.  Cut off from Moon Control, Commander Radnor realises that the only way to contact the Moon is by obsolete rocket.  Meanwhile, the TARDIS lands in a space museum and the Doctor, Jamie and Zoe meet rocketry expert Eldred, who has an unauthorised ion rocket that Radnor attempts to enlist.  Technician Locke at the Moon manages to get a message through to Radnor saying that Osgood is dead - the aliens cut him off and kill him.  They are revealed to be Martian Warriors.
2.         The Doctor, Jamie and Zoe volunteer to fly the rocket.  On the Moon, while Fewsham struggles under guard to repair the T-Mat link, fugitive technician Phipps sets up a communications beacon and a solar weapon, killing one of the Warriors.  When Fewsham re-establishes the link, senior technician Gia Kelly travels up to Moon Control to fix the system.  Meanwhile, the rocket heads for the Moon, but thanks to a circuit fault, contact with Earth is lost.  Phipps’ use of the solar power makes the rocket homing beacon inoperative - the three companions are in danger of crashing or drifting endlessly through space.
3.         The rocket makes contact with Phipps, and lands using his signal.  Miss Kelly fixes the T-Mat link, but is then confronted by the Martians.  The Doctor finds Phipps and plans to put T-Mat completely out of action - however, on the rocket, Zoe and Jamie discover the landing has permanently disabled the motors.  The Doctor manages to rescue Miss Kelly, but is captured himself.  Investigating the seed pods that the Martians intend to send to Earth, he is knocked out when one of them expands and explodes.  A pod is sent to London...and starts to expand.
4.         The gas emitted from the pod kills a technician from oxygen starvation, and chokes everyone else until the air conditioning expels it.  The Warriors continue to send pods to major world cities.  The gas spreads over the world, siring a foam-like fungus that creates more seeds to explode in turn.  The Martian Commander tries to get Fewsham to use T-Mat to send the Doctor into space to kill him, but Jamie and Phipps rescue him unnoticed.  A Warrior T-Mats down to London, and storms out of the base, killing guards as it goes.  While a Warrior enters the solar stores where Jamie, Miss Kelly and the Doctor are hiding, Zoe and Phipps turn the Moon base’s heating control up, but Phipps is killed and a Warrior advances on Zoe.
5.         Fewsham attacks the Warrior, who then collapses from the heat, as does the one in the solar stores.  The Warrior on Earth reaches his goal, the Weather Control Bureau.  Fewsham sends everyone else back to Earth, remaining behind himself as a spy.  The Martian Commander survives to return the heating to normal and sets up a beacon for the Martian fleet.  Fewsham allows London to overhear the Martians’ homing signal, and is killed for his trouble.  The Doctor examines the fungus and finds it is vulnerable to water.  Zoe and Jamie go to the Weather Bureau to make it rain, but find the controls sabotaged and the Warrior still in residence.  The Doctor races to their rescue, but ends up cowering from an expanding seed pod.
6.         Zoe lets the Doctor in while Jamie lures the Warrior away.  They find a solar store and use the power to defeat the Warrior.  While the Doctor repairs Weather Control and makes it rain, Radnor’s team send a satellite up to act as a relay for T-Mat and to give the Martian fleet a false signal.  The Doctor T-Mats back to the Moon to disable the real signal, and the fleet heads straight into the sun.  The final Warriors on the Moon are killed, and while Radnor, Kelly and Eldred argue about rockets v T-Mat, the time travellers take their leave.

Pitch
The Moonbase meets Star Trek.  With Ice Warriors.

The Money Shot
An Ice Warrior marches through the fungus. (Episode 4)

The Doctor and his kind
• The Doctor is a self-proclaimed genius.
• The Doctor has a superb moment when he arrives on the Moon.  He looks around, takes stock...and solemnly declares to Phipps that they will have to destroy T-Mat, something that no-one from Earth at that time would even consider.  Bravo!

The TARDIS log
• There is a hard-to-operate control that scans the, er, scanner back and forth.
• The Doctor claims the TARDIS is not suited to short-range travel.  This is clearly a fallacy, as it hardly ever does anything else!  Last season, it hopped back and forth all over one planet!  It is, however, unsuited to reliable short-range travel.

The history of Earth
• Space travel was entirely abandoned by mankind when Travelmat was invented.  The rocket Professor Eldred designed to take Man beyond the Moon was abandoned.
• Eldred’s father engineered the first Lunar passenger module, and Eldred himself travelled on the last trip back to Earth.
• Solar power is used extensively, especially on the Moon, which stands to reason I suppose.
• This is the blurb on T-Mat in the museum:  “Travelmat is the ultimate form of travel.  Control centre of the present system is the Moon, serving receptions at all major cities on Earth.  Travelmat provides an instantaneous means of public travel, transports raw materials and vital food supplies to all parts of the world.  Travelmat supersedes all conventional forms of transport.  Using the principle of dematerialisation at the point of departure, and rematerialisation at the point of arrival in special cubicles, departure and arrival are almost instantaneous.  Although the system is still in its early stages, it is completely automated, and foolproof against power failure.”
• The computer system used at T-Mat Earth Control is clearly some sort of worldwide system - it is able to hail Radnor and patch messages through when he is in Eldred’s museum.  Maybe governmental computers can hack into others via a network.
• For some reason, the world is so dependent on T-Mat that a delay of a few hours is unacceptable.  By the second episode - the same day as the Martins invaded! - situation is “desperate” in Calcutta thanks to non-arrival of medical supplies.  All major cities are soon suffering food shortages.  Does no-one have storehouses any more?
• Similarly, it would seem that there are no boats, no aeroplanes, no helicopters or anything else left in existence that could ferry supplies to countries.  Seems a tad unlikely.  And you’d have thought cars etc must exist, because things have to be moved from T-Mat terminals to the people, but Miss Kelly has to go rummaging in a motor museum to find one.
• At this time, Weather Control is managed from Britain, whereas it was on the Moon in The Moonbase.  It also seems to be manned by a single technician, and its primary controls are found on a table!
• Despite this invasion, no-one on Britannicus Base recognised the Martians.  But okay, this was three thousand years later.  You forget things.
• Fewsham tells Slaar he would be executed as a traitor back on Earth.  Is this a worldwide policy or had Britain re-embraced capital punishment?  Or, more likely, is he just bullshitting the Martian?
• The whole of the Moon base is manned by Brits.  Hip hip hurrah!
• Eldred recognises the TARDIS as a twentieth century police box.  What a fine historian the man is.  If it wasn’t for Doctor Who, I doubt I’d know what the damn thing is.

Alien Worlds
• The Martians are here led by a slimmer, less bulky version of the race - presumably a higher caste of some kind.  The highest rank we see is a Grand Marshall.
• The hissing of the Warriors is clearly linked to Earth’s oxygen-rich atmosphere - the Marshall, on board his spaceship, has no such speech impediment.
• The Doctor describes Mars in this time as a “dying planet.”
• Subject Martians to too much heat and they melt very quickly, armour and all!
• Jamie and the Doctor instantly recognise the description of the aliens as “Ice Warriors” - the term we heard Walters and Penley use to describe them in their last encounter.

Script Heaven
• Eldred “You’ve been spying on me.” Radnor “Oh, no, no, no.  We stopped that a long time ago.”
• The Doctor “Your leader will be angry if you kill me, I...I’m a genius.” Warriors “Geniussssss...”
• Fewsham “You can’t ask me to kill a man, just like that!” Slaar “You dispatched the seeds.  In so doing, you destroyed your entire species.  What is the death of one man compared to that?”

Script Hell
• Jamie “Travel-mat?  Sounds like a flying carpet.”
• Zoe “Where are we going now?” Jamie “Oh, it’s no good asking him.  He’s no more idea than the man in the moon.”

Villainous Plotting
• The Martians invade T-Mat Control on the Moon, intending to use T-Mat to spread seed pods over the Earth.  These pods will spread a fungal growth all over the world, which will eventually reduce Earth’s oxygen levels to 1/20th of present, exactly like the atmosphere of Mars, thus allowing the Warriors to leave their dying planet.

The Doctor’s Achievement
• He has defeated the Martian invasion of Earth, and tricked the Martian fleet into heading straight for the sun.

It’s The End Of The World As We Know It!
• Earth saved: 13 times.  Saved from having its population wiped out by the Martians.

Body Count
Harvey.  Osgood.  Locke.  Two Warriors killed in the solar stores.  Miss Kelly’s two technicians.  Brent.  One guard in London Control and probably at least six others offscreen.  One more who falls comically into the foam, and his two mates who we don’t see die.  Another one behind a tree.  Phipps.  Two Warriors from the heat.  The Weather Control technician.  Fewsham.  Three security guards in the Weather Bureau, plus the Warrior.  Slaar and two other Ice Warriors in the denouement.  The Grand Marshall, plus the entire Martian fleet.  Four men Eldred mentions who died from oxygen starvation, but we can probably bet on one or two in every major Northern Hemisphere city the seeds were sent to - maybe 30-odd all told.  Add to that deaths after the initial arrivals, plus those lives lost thanks to T-Mat, and it’s a pretty big offscreen tally.
24.

Screams / Twists Ankle
• We’ve heard a lot about how clever Zoe is, but I think this is the first time anyone’s claimed that she has “total recall.”
• Jamie screams “Creag an tuire!”

Irrelevant Escape Attempts
• It’s not an irrelevant escape attempt, but very similar padding -  the Doctor runs about for ages in episode 3 chased by Ice Warriors.

EffectsWatch
• T-Mat transmits instantly - without so much as a wibbly Star Trek effect.  Thank God for that - it looks far more believable.
• Martian guns continue to be top, and in fact are possibly more effective this time round, with a perfect marriage of incidental music.
• The Ice-Warrior-melting effects are memorable too.
• The rocket is obviously a model...in fact, obviously the same model we saw in the museum!  Having said that, what they do with that model is largely rather good.

Dudley!
• This may be the ultimate classic story for Dudley Simpson music, from his pounding theme for the Martians to his regular clang!s at dramatic moments.  Go Dudley!

Whoops
• Watching Doctor Who do futuristic technology is always great, but a flashing light with “DELAY” under it is perhaps copping out a little!
• While Radnor and the Doctor are discussing rocket fuel in episode 2, someone drops a spanner or something offscreen.  Possibly this is intentional, but I doubt it.
• The no-gravity acting is quite funny.
• The Doctor’s sideburns are fascinating, appearing and disappearing at whim.  I can think of no possible explanation for this.

Notes
• Three oddly-dressed strangers wander up and say “we can fly your space rocket, and we have lots of experience of doing so, despite the fact that no-one has flown a rocket at all for many years.”  The response?  “Doctor, that’s splendid!”  How trusting.
• The TARDIS astral map, as seen in The Web Planet, has wound up in Eldred’s space museum.  How intriguing.  I wonder how this happened?
• This episode has some of the most admirable Hiding In Plain Sight yet seen on the show.  Witness episode 2, when Phipps hides from a Warrior in the solar stores by...leaning against a wall.
• This size of ventilation shaft is much more sensible than the 1986-vintage tunnels seen in The Tenth Planet.
• Patrick Troughton goes on holiday during episode four, hence the Doctor is unconscious all episode.
• When the Doctor is waking up, he name-checks Victoria.
• Radnor says that they have tried everything to hold back the fungus, and it is indestructible.  Hmm.  Personally, I would have tried a garden hose or two by now.  What were the men squirting on it before the Doctor makes his discovery?
• There is an awful lot of material added into the reprise at the start of episode 6 to explain how the Doctor survives the episode 5 cliffhanger.  Cheats!
• Top comedy scene in episode 6 when they are looking for the door control - first Jamie switches the lights off, then the Doctor finds the correct control has “SHUT” written on it.

Queries
• How did the astral map get there?
• Where on Mars are all these Martians hiding?  We’d have spotted them by now!  Do they live underground?
• If T-Mat provided the answer to world famine, where does that leave Salamander’s Sun-Catcher and, much later, the Great World Computer?
• Was T-Mat still operational when the Daleks invaded Earth in 2157?
• Why does Slaar order Fewsham to completely re-programme T-Mat just so that he can kill the Doctor by transporting him into space?  Why not just shoot him?  Or is it because he fancies acting like a Bond villain and giving Jamie and Phipps just enough time to rescue him?

----------------------------------------------------------------------------------------------------------------------------
On-screen Credits
Taken from The Television Companion.
CAST
Dr. Who - Patrick Troughton, Jamie - Frazer Hines, Zoe - Wendy Padbury, Gia Kelly - Louise Pajo, Radnor - Ronald Leigh-Hunt, Fewsham - Terry Scully (1-5), Computer Voice - John Witty, Eldred - Philip Ray, Brent - Ric Felgate (1-4), Osgood - Harry Towb (1), Phipps - Christopher Coll (1-4), Locke - Martin Cort (1), Slaar - Alan Bennion, Ice Warriors - Steve Peters; Tony Harwood (2-6); Sonny Caldinez (4-6), Security Guard - Derrick Slater (4), Sir James Gregson - Hugh Morton (5), Grand Marshall - Graham Leaman (5-6).
CREW
By Brian Hayles.  Title Music by Ron Grainer and the BBC Radiophonic Workshop.  Incidental Music - Dudley Simpson.  Special Sounds by Brian Hodgson, BBC Radiophonic Workshop.  Visual Effects - Bill King/Trading Post.  Costumes - Bobi Bartlett.  Make-up - Sylvia James.  Studio Lighting - Howard King; Fred Wright (6).  Studio Sound - Bryan Forgham.  Film Cameraman - Peter Hall.  Film Editor - Martyn Day.  Script Editor - Terrance Dicks.  Designer - Paul Allen.  Producer - Peter Bryant.  Directed by Michael Ferguson.

Familiar Faces
Ric Felgate (Brent)                             American Journalist in The War Machines.
Martin Cort (Locke)                            Aydan, Voord and Warrior in The Keys Of Marinus
Tony Harwood (Ice Warrior)               Cyberman in The Tomb Of The Cybermen.
                                                            Yeti in The Abominable Snowmen.
                                                            Rintan in The Ice Warriors.
Sonny Caldinez (Ice Warrior)             Kemel in The Evil Of The Daleks.
                                                            Turoc in The Ice Warriors.
Graham Leaman (Grand Marshall)    Controller in The Macra Terror.
                                                            Price in Fury From The Deep.

Review
In one way, this is a thematic sequel to The Ice Warriors, but it holds up very well as a story in its own right.  Knowledge of the earlier story is not required.  The Martians are built upon, and new levels are discovered - the sleeker figures of Slaar and the Marshall, the seed pods, the voices.  Meanwhile, writer Brian Hayles again indulges his love of creating a society, and gives us a realistic base on Earth.  But it is hard to ignore the similarities to his earlier story.  Again, we have a military base with a hardnosed commander and a clever female 2-i-c.  Again, world famine has been cured.  Again, there is an all-powerful computer.  And again, the Martians/Ice Warriors jeopardise everything.  Still, if it ain’t broke.  There are downsides to this story.  Episode one almost drowns in its own exposition, while the Doctor and co. do absolutely nothing until the next episode.  There is some notable padding, especially in the middle episodes.  Slaar dominates his Warriors to the extent of them not having any kind of personalities.  And there is a lot of very heavy, wooden, “dramatic” acting, especially from Ronald Leigh-Hunt and Louise Pajo (“You stopped me once, Commander, please don’t try to stop me again” and “If we lose her nothing can save us!”...Yeuch.)  Philip Ray’s Eldred sometimes provides relief from all this, but just as often goes along with it.  The real saving grace is Terry Scully as Fewsham, quite the most pathetic character I can ever remember on Doctor Who, while still being utterly believable and sympathetic.  His reaction on learning of the consequences of his actions, and his redemption, make him this story’s emotional heart.  Round of applause, please.  As for the regulars, they do their best, but Jamie again has little to do.  The Doctor gets a good crack, when he’s conscious.  All round, despite its weaknesses, The Seeds Of Death is a good, solid, invasion of Earth story with good baddies.  Bravo.

7/10.

Monday, 28 May 2012

“Owing to this morning’s tragic news...”

Where were you and what were you doing when you heard that Princess Diana had died?

If you're a Dr Who fan and over 20, there's a fair chance your answer is the same as mine.

In the 1990s, something amazing happened. Ok, so Dr Who wasn't on TV any more and we were coping with the methodone of BBC Video releases and Virgin New Adventures. But then BSB happened and it was a game-changer.

For the first time, Dr Who repeats were happening all the time, usually at an unearthly time of a Sunday morning. And they began at the beginning and carried on in order. In an era where some of these stories hadn't been seen for at least a decade, this was so important. I remember perusing the personal ads on the notice boards in the shop attached to the Dr Who exhibition at Longleat (I swear this was a thing - mainly people searching for books) and seeing someone trying to attract a friend with the words "I have BSB."

The only problem was that we didn't have a dish. Unlike now, this was seen as a luxury. Oddly, my grandparents did, so if I wanted to see a story, I had to ask them. So I eked it out. Only asking for special stories, generally those I hadn't seen.

By 1997, we had our own dish. I would regularly be up early on Sunday mornings ready to record. On August 31st, I was up and looking forward to The Armageddon Factor, which I'd never seen before.

Then came the announcement: "Owing to this morning's tragic news, there is a change to the scheduled programme."

I swear this is true: I thought Tom Baker had died.

Then Mum changed the channel and we watched open-mouthed as the facts revealed themselves. And all over the country, presumably, Dr Who fans in their pyjamas sat similarly astonished.

The thing is, unlike those Brits who spent the next week hysterical, this meant nothing to me, oh Vienna. I thought it was sad and a shock, sure, but in truth I was more annoyed by the repeat of Planet of the Spiders on UK Gold, which I already had on video. Best not dwell on how I felt when Radio 1 cancelled the Top 40.

I still don't think many monarchists would have even noted links between Mary Tamm's final story and the People's Princess. In fairness, anyone who cared was watching the other channel anyway.

It took me another 6 years to see The Armageddon Factor. Thanks to that scheduling decision, it would become the last complete story I saw (before RTD came along).

Anyway, Happy Diamond Jubilee.

Thursday, 17 May 2012

“Exquisite. Absolutely exquisite.”

"And since it has no call to be here, the art lies in the fact that it is here."
"Exquisite. Absolutely exquisite."

Many of you will recognise these words as precisely one half of the lines spoken by John Cleese and Eleanor Bron during their brief comic cameo in 1979's City of Death. Blink and you'll miss them. (Whatever you do, don't blink.) And that's the point of their casting. They have no call to be there, so the art lies in the fact that they are there.

It's called a cameo. Doctor Who didn't really do cameos, historically speaking. Maybe Hale and Pace. More recently, we've seen everyone from McFly to Patrick Moore show up. But a cameo's just a bit of fun, really, and we take it for what it is.

More bizarre is the phenomenon of"stunt casting". I don't know the earliest example, but it doesn't really kick in until the 80s anyway. I'd define it as a piece of casting purely to generate attention. So not Richard Todd, Martin Jarvis or even Beryl Reid. But how about Paul Darrow? Or Alexei Sayle? Or Michael Sheard in Remembrance of the Bronson? Or Frank Windsor in Ghost Light?

Or Ken Dodd?

21st century Who has many examples of stunt casting. It's hard to draw the line between simply casting a name (Simon Pegg, John Barrowman, Pauline Collins, Maureen Lipman) and pure stunt casting - but perhaps Peter Kay starts it. I seem to remember Radio 1 heavily trailing Love & Monsters on the basis of its guest star, which certainly didn't happen for Roger Lloyd Pack.

And then there was Catherine Tate, popping up in the TARDIS at a point in her career when her sheer presence was enough to crown an entire series finale. Following this success, there are many more examples: Kylie Minogue, Michelle Ryan, James Corden, Katherine Jenkins.

But the story immediately following Donna's maiden outing, Smith And Jones, also began a curious other type of casting, which I shall here dub non-stunt casting. It's like this: why on earth shell out cash for an established star like Roy Marsden to play a three-scene character who dies after 15 minutes?

Over time, this has become increasingly apparent. What was June Whitfield doing in The End of Time? How can The Eleventh Hour throw away Annette Crosbie, Olivia Colman AND Nina Wadia on tiny non-roles? Bill Nighy, Michael Sheen, Lynda Baron - all actors whose casting seems out of proportion. It reminds me of JNT trying to get Laurence Olivier to play the mutant in Revelation of the Daleks.

The last Christmas Special went all out. Not satisfied with hiring top sitcom star Claire Skinner, the Moff writes a couple of brief, slightly comic, superfluous roles then casts Bill Bailey and Arabella Weir. And to rub it in, the third, equally featured, equally comic spaceman is played by Some Bloke. They arrive, we cheer, then 5 minutes later they've gone.

Oh, and. The husband, who gets a handful of lines and is a mere plot device and could have been successfully portrayed by Ed Wood's dentist, is played by Alexander Armstrong. Comedian, Pointless host and bona fide Doctor Who legend thanks to his role voicing Mr Smith in The Sarah Jane Adventures. Why?

I get the fun in stunt casting, but why distract us by throwing stars like Armstrong and Wadia into roles which waste them? It's like the thirty seconds George Clooney spends in Terence Malick's The Thin Red Line: all I remember is his unexpected appearance, nothing about his role.

These name actors have no call to be there. Exquisite? More bizarre, I'd say.

Tuesday, 8 May 2012

“K9’s in it this week!”

When did you know?

In 2005, when "Doctor Who" came back, it could have been a disaster. Or an underwhelming disappointment like 1986. Or an unmemorable piece of TV like the Randall and Hopkirk reboot.

When did you know? Not just that it was good, great, but that it was going to be more successful than ever?

I used to work as a facilitator at a youth theatre in Surrey with a fantastic bunch of 8-12 year olds. I remember in 2005, telling them they should all watch this new series called "Doctor Who" starting this Saturday. Many did.

One girl in particular, who we'll call Annie, loved it. Every week, she'd excitedly talk to me about the previous Saturday's best bits. She'd be around 15 now but was 8 or 9 then. I loved that someone of that age was so into my show.

So it was working, it was good and it was popular. Then one day in April 2006, a revelation. At the start of the session, I hear Annie talking to a boy we'll call Lee about last Saturday's werewolf. Then she excitedly says the immortal words:

"And K9's in it this week!"

How do you know what K9 is? Why does his presence excite you? How are you already so mired in Who lore that the tin dog is a bigger draw than the Krillitanes?

Reminds me of season 20, when Nick Courtney was so much more exciting than mutants or giant dogs. Suddenly this wasn't just a tv show for Annie.

Suddenly it was "Doctor Who." And that's when I knew.

Friday, 2 March 2012

An Exciting Guide to AN UNEARTHLY CHILD


                In my last blog post, I introduced my “Exciting Guide to Doctor Who”, begun in 1998, consisting of watching and commenting on all of televised Doctor Who, in order. Here, as advertised, is the very first instalment – finally published online after 13 and a half years! Be aware – I ignored all “accepted wisdom” and just went with what’s actually seen and said on screen – so some of this is a little out of left field!

Story One
----------------------------------------------------------------------------------------------------------------------------
Story Code
A

----------------------------------------------------------------------------------------------------------------------------
Spoiler Alert!  Anyone who doesn’t want the mystery of the first episode spoiled for them should probably not read on.
----------------------------------------------------------------------------------------------------------------------------
Title
An Unearthly Child
The above is the title of the first episode, and of the novelisation by Terrance Dicks.  It is also inaccurately known as The Tribe Of Gum, and rather more accurately as 100,000 BC.  This is a silly title, however, and I have chosen the title I grew up with and prefer.

“Friends” Title
The One With The Cavemen
----------------------------------------------------------------------------------------------------------------------------
Episode Titles
An Unearthly Child
The Cave Of Skulls
The Forest Of Fear
The Firemaker

Current availability
All 4 episodes exist.

Source
BBC Video release.
----------------------------------------------------------------------------------------------------------------------------
Date
1963.
Ian tells us that episode one takes place in London in the year 1963.
33,000 BC
No date is given for the remaining three episodes - the yearometer reading of “zero” is obviously incorrect.  I don’t know enough about the ascent of man to know if the year of the alternative title “100,000 BC” could be accurate, but at any rate this is never given on-screen.  Out of interest, various publications have set the date for this story at anywhere from 500,000 BC to 30,000 BC.  DWM issue 174 suggests a date of 50,000 BC, but doesn’t give any justification.  A History Of The Universe claims that 33,000 BC (as previously named in The Making Of Doctor Who) is “more historically accurate”, and who am I to argue with someone who’s clearly done their research?  At any rate, this is all academic because, as I said, no date is given on screen.  And all of this assumes, of course, that episodes two to four take place on Earth:  this is never explicitly stated.
(2012: Back then, I didn’t have Wikipedia to check! I just have, and apparently, use of fire probably became widespread in around...100,000 BC. Well, whaddaya know.)

Genre
Historical / Primitive Culture

Plot synopsis
1.            Two schoolteachers, Barbara Wright and Ian Chesterton, follow one of their pupils, who they know as Susan Foreman, to her house out of curiosity.  They meet her grandfather, a Doctor, in the junkyard that occupies Susan’s address, and hear her voice coming from a police telephone box.  In a struggle, they fall through the box’s door to find themselves in the impossibly large control room to a spaceship that can cross the boundaries of space and time.  The Doctor forces them to leave 1963 with him, and the Ship lands on a desert plain, with someone approaching.
2.            The Ship has apparently landed on prehistoric Earth.  A tribe of cavemen look to their potential leader, Za, to give them fire.  A stranger to the tribe, Kal, captures the Doctor, believing he can make fire to make him, Kal, leader instead.  Susan, Ian and Barbara arrive to rescue the Doctor, who has lost his matches so cannot make fire.  They are all sent to the Cave of Skulls.
3.            Za’s mother, who believes fire will bring ruin to the tribe, frees the time travellers.  Za and his girl Hur give chase to get the secret.  Za is wounded by an animal, and the travellers stop to help him.  Kal kills the old woman and brings the tribe to recapture the party.
4.            Back at the cave, the Doctor discredits Kal by proving he killed the old woman.  The travellers are sent back to the Cave of Skulls, where they make fire for Za.  Kal returns, and is killed fighting with Za, who uses the fire to make himself leader.  The travellers set up skulls with fire inside them as a diversion to allow themselves to escape.  The Ship takes off and soon lands in what appears to be a white forest with high radiation levels.

Pitch
Like One Million Years B.C. but without the Ray Harryhausen monsters.

The Money Shot
Barbara stumbles into the police box and stops in astonishment when an enormous gleaming control room is revealed.  (Episode 1)

The Doctor and his kind
• The Doctor and Susan claim to be exiles, cut off from their own planet.  The Doctor believes they will return one day.
• Susan calls the Doctor “grandfather.”
• The Doctor states that he is not a doctor of medicine.
• Though alien, the Doctor and Susan have many human attributes - the Doctor even smokes a pipe.
• How old are the two aliens?  The teachers believe Susan is 15, but she seems to be much older - she has been at Coal Hill School for five months, and before this has had time to leave her own planet, obtain vast amounts of knowledge and visit several planets and time zones - notably the French Revolution.  By her own standards, though, she is clearly still a “child.”
• The Doctor and Susan’s people are clearly vastly technologically advanced, and he compares the twentieth century schoolteachers to “Red Indian” savages.  He claims the children of his own planet would be insulted by being compared to Ian and Barbara, and Susan’s great intelligence would seem to bear this out.
• The two aliens have different attitudes towards twentieth century England.  Susan loves it, and would rather stay there than continue her travels with the Doctor.  He, on the other hand, claims to tolerate the century, but not to enjoy it.
• What kind of person is the Doctor?  For the lead character in a TV series allegedly created for children, he seems more than a little amoral.  He is willing to electrocute the TARDIS console to stop Ian from touching it, and tricks his granddaughter into remaining in the Ship (arguably because he’d miss her if she were gone.)  He also seems willing to kill Za in cold blood to ensure his own safety - unless his own story that the rock knife was for the caveman to draw their way back to the Ship is true.  His moral stance clearly differs substantially from that of the human teachers:  when they return to help Za he responds with “What are they doing?  They must be out of their minds.”
• What is the Doctor’s name?  “Foreman” is just an alias.  He is referred to as “Dr. Who” in the on-screen credits (and the title of the show, of course.)  This is either his name, or refers to the mystery surrounding him.  He is generally called simply “The Doctor.”

The TARDIS log
• The Doctor’s Ship is known as the TARDIS - Susan says she made up the name from the initials for Time And Relative Dimension In Space.
• The TARDIS can go anywhere in time and space.
• The tiny exterior conceals a large room with roundels all over the walls, a central console, a screen and several pieces of ornate furniture.  It is suggested that there are further rooms beyond this one.
• The Ship is supposed to change its exterior form to blend in with its surroundings - it has apparently been an ionic column and a sedan chair.  The Doctor and Susan are surprised when it remains a police box on prehistoric Earth, so this is clearly a new fault.
• The Ship betrays its nature even from the outside - it hums, and there is “a faint vibration” causing Ian to exclaim “It’s alive!”
• Whatever else the Ship is, it’s clearly not soundproof - we can hear Susan from inside before the Doctor has finished turning the key in the lock.
• On take-off from the junkyard, the Ship shakes all over the place, knocking out Ian and Barbara.  This does not happen when it takes off from prehistoric Earth.  Maybe it was a little out of practice after spending five months in a junkyard.
• On both occasions, the TARDIS takes off with a wheezing, groaning noise heard inside and outside the Ship.  The central column in the console rises and falls.  The detailed depiction of take-off in episode one then shows a succession of swirls and other visual effects (largely repeating the series’ title sequence) together with a high-pitched whine.
• The screen in the control room is a scanner, which shows the “immediate view outside the Ship.”
• The doors are first seen to close by use of a little switch on the console, then later by turning something.  We see the Doctor operating the console for take-off twice, both times differently.  The only possible conclusion to draw is that the controls of the TARDIS are fluid, and operated differently each time for different reasons.
• After landing on prehistoric Earth, the light on top of the police box flashes, and this happens again when it takes off.  Why take-off should have this effect upon the TARDIS’ exterior disguise is unclear.
• The Doctor admits that his Ship isn’t entirely working properly (“I do wish this wouldn’t let me down!”) and that some of its codes are still secret.  Two controls shown to be unreliable are the “yearometer” (which sticks at zero) and the radiation counter (the dial of which is slow to move to the “danger” level).  The Doctor is clearly aware of its limitations, as even after checking the air and radiation levels in episode two he takes his Geiger counter with him (which is broken shortly afterwards).
• The key codes to the TARDIS machines are contained in the Doctor’s notebook, together with notes on everywhere they’ve been.  He would never voluntarily leave his notebook - it’s too important to him.
• The TARDIS apparently needs the exact location and moment of departure in order to fix a destination - the Doctor is unable to return Ian and Barbara home until this can be achieved.  He intends to pick up rock and plant samples to this end in episode two.
• It seems incredible, but this alien technology from another time is compatible with that of 1960s Britain - the Doctor claims to have found a “replacement for that faulty filament - it’s an amateur job but I think it’ll serve.”

Past Journeys
• Susan and the Doctor have visited the French Revolution - reading a book on the subject, she exclaims “That’s not right!”

The history of Earth
• (If indeed this is Earth.)  The tribe that the Doctor and the other travellers meet in prehistoric Earth are a skin-wearing, cave-dwelling, savage race of primitives.  They worship the sun-god Orb.  The travellers, and particularly Ian, teach them co-operation and give them fire.  But this is just one tribe, and it is pointless to over-estimate their impact on this society - we know there have been firemakers before, and we know there are other tribes.

Script Heaven
This first story is full of great dialogue, even in the caveman sequences.
• The Doctor “Not quite clear, is it?  I can see in your face that you’re not certain, you don’t understand. (delighted) I knew you wouldn’t, never mind.”
• Ian “You’re treating us like children.” The Doctor “Am I?  The children of my civilisation would be insulted.”
• The Doctor “Have you ever wondered what it’s like to be wanderers in the fourth dimension?  Have you?  To be exiles?  Susan and I are cut off from our own planet without friends or protection.  But one day we shall get back.  Yes, one day, one day...”
• Susan “I was born in another time, another world.”
• Ian “Time doesn’t go round and round in circles.  You can’t get on and off whenever you like in the past or the future.” The Doctor “Really?  Where does time go, then?” Ian “It doesn’t go anywhere.  It just happens and then it’s finished.”
• The Doctor “If you could touch the alien sand and hear the cries of strange birds and watch them wheel in another sky, would that satisfy you?”
• Za “Tomorrow I kill many bears.  You all have warm skins.” Horg “I say tomorrow you will rub your hands together and hold them to the dry sticks and ask Orb to send you fire - and the bears will stay warm in their own skins.”
• The Doctor “Fear makes companions of all of us, Miss Wright.”

Catchphrase
• The Doctor “Eh?  Doctor who?  What’s he talking about?”
• Ian “That’s not his name.  Who is he?  Doctor who?”

Things I learned from Doctor Who
• How to make fire.

Body Count
A modest count for this opening foray - the old woman, the guard outside the Cave of Skulls and Kal makes:
3.

Screams / Twists Ankle
• Appropriately enough for a science-fiction time travel series, Ian and Barbara are, respectively, teachers of Science and History.
• Prior to the events of this story, Ian and Barbara were clearly friends but not that close - his comments in the third episode suggest he has never been to her house.
• Ian is unexpectedly revealed as an authority on 1960s music - he knows the career history of John Smith and the Common Men.
• There are odd gaps in Susan’s knowledge.  Even her alien origins don’t explain why, after five months, she doesn’t know which fiscal system the United Kingdom uses.

Checkov’s Plot Device
Checkov’s fire.  In a way.  But it’s more an overarching theme.

Irrelevant Escape Attempts
Old Mother lets the travellers go free.  They make it all the way to the TARDIS, only to be intercepted and taken straight back to the Cave of Skulls.  This clears the way for them to do it all over again next episode. (Episode 3)

Dudley!
• Norman Kay gives us an unexpected whistling shriek as Ian and Barbara attempt to leave the Ship in episode one.

Notes
• The opening of episode one is marvellously atmospheric:  the swirling titles, the throbbing, haunting theme tune, merging into fog with a policeman investigating a junkyard.  The door creaks open of its own accord, and an incongruously placed police box is revealed, emanating a low hum...
• The broken dummy in the scrapyard behind Susan can be seen to foreshadow the cracked skulls in the Cave.
• Ian seems remarkably cavalier about the loss of his torch:  he doesn’t even look for it.
• There is a marvellous shot of the desert plain through the TARDIS doors as Ian realises he’s been wrong all along.
• Interestingly, the time travellers and the cavemen only have slight problems understanding each other.  English had certainly not developed as a language, however primitive, in prehistoric times, so this is a mystery.
• The conflict between Ian and the Doctor during their flight through the forest is among the story’s best scenes.
• Also during this flight, Ian seems to take the lead in the party.  In episode four, however, he defers to the Doctor.
• The budget apparently stretches to dead animals, but not to live ones.
• The tribe reach the TARDIS incredibly quickly at the end of episode three.  This suggests that the several mad dashes through the forest that the travellers undertake are unnecessary - there’s a much quicker way, if only you know how.
• After three episodes of mainly snapping at people and getting in the way, the Doctor only really shows his mettle when he proves to the tribe that Kal is a murderer.
• Za recovers remarkably quickly from his wound.

Queries
• Why is Susan ignorant of the British fiscal situation?
• Where has I.M.Foreman the scrap merchant been for the past five months while the Doctor and Susan have been living in his junkyard?
• If the Doctor’s notebook is as important as we’re told it is, why doesn’t he enquire about it?  And, for that matter, what happens to it and the other items found at the scene of Kal’s attack?
• Why does the old woman know a second way out of the Cave of Skulls when no-one else seems to?
• Who are the Doctor and Susan really?  Where do they come from?
----------------------------------------------------------------------------------------------------------------------------
On-screen Credits
CAST
Dr. Who - William Hartnell, Ian Chesterton - William Russell, Barbara Wright - Jacqueline Hill, Susan Foreman - Carole Ann Ford, Za - Derek Newark (2-4), Hur - Alethea Charlton (2-4), Old Mother - Eileen Way (2-3), Kal - Jeremy Young (2-4), Horg - Howard Lang (2-4).
CREW
Written by Anthony Coburn.  Title Music by Ron Grainer with the BBC Radiophonic Workshop.  Incidental Music by Norman Kay.  Special Effects by the Visual Effects Department of the BBC (1-3).  Fight Arranger - Derek Ware (4).  Story Editor - David Whitaker.  Designer - Peter Brachacki (1); Barry Newbury (2-4).  Associate Producer - Mervyn Pinfield.  Producer - Verity Lambert.  Directed by Waris Hussein.

Review
You really can’t slag off Doctor Who’s first story.  The first episode remains superb 35 years later, with great dialogue and characterisation.  The four lead actors make an excellent first impression (particularly Hartnell), and the sets throughout are surprisingly good considering the constraints.  The cavemen may be clichés, but somehow manage not to be embarrassing.  After the opening episode, basically, we’d be willing to watch just about anything for the next 35 years...

Rating
10 / 10