Tag Archives: chris boucher

Doctor Who: Image of the Fendahl (parts three and four)

You know, I just didn’t enjoy this as much as I thought I was going to. I do enjoy the way that I’ve found lots more to like about some Who adventures, especially “The Mutants” and “The Time Monster,” than I thought that I would, so I guess the flip side is that naturally there would be one or two that drop down a couple of pegs from my remembrance to reality.

“Image of the Fendahl” is a really flawed story, particularly when everything starts to revolve around the Satanic coven that one of the four scientists has been leading in his spare time. It’s something that should have been developed and explored, but because there was such a huge money crunch during this period of the program, it’s even less convincing than the coven in the broadly similar Jon Pertwee-era adventure “The Daemons.” I particularly “like” the way that the only member of Stahl’s coven with a speaking part is also the only character in the village that we meet other than the two characters who help our heroes. Devil’s End felt like a real place because we saw it and all the dozens of people who live there. This place just exists in a TV studio.

So it fails at a lot of important things, but I still appreciate it because the tone is just right. This is prime “scaring children” Who, from an era where the horror is largely going to be swept aside for light sci-fi action like we saw in the previous adventure. In this, it succeeds, because our son tells us that this was really scary and “totally creepy.” This and “Fang Rock” both feel like holdovers from the three seasons of the show that Philip Hinchcliffe produced. The way forward is going to be much breezier.

I think that Tom Baker and Louise Jameson are both really good in this adventure, even if the guest cast all seem under-rehearsed. Dennis Lill and Wanda Ventham would be back in stories in the 1980s and I think they did better and more convincing jobs as their characters in those, and there’s a guy named Edward Arthur who seems to be doing a very good impersonation of Ian Ogilvy rather than making me believe that he’s a scientist who’s in over his head. So there’s a lot that boring old people like me can grumble about, but any story that gives seven year-olds the creeps can’t be called a complete failure, and while our son didn’t have a lot to say about this one, he seemed to enjoy it.

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Doctor Who: Image of the Fendahl (parts one and two)

1977’s “Image of the Fendahl” was the last Who TV story written by Chris Boucher, and the last one script-edited by Robert Holmes, although happily, we still have a few more stories from his typewriter to come. It seems to be set a short time after “The Invisible Enemy,” since the Doctor’s had cause to dismantle K9 for repairs, and Leela has found a new, white outfit somewhere. I wonder whether people from her tribe sew their own garments. Maybe the Doctor bought her a few yards of leather, or imitation leather, somewhere.

This is a good, creepy story, although it’s one I’ve always had trouble embracing because all of the guest actors, including Dennis Lill and Wanda Ventham, manage to seem a lot more like actors in a TV studio than scientists in an old priory. The reason for their research is all mcguffins, the point is to get everybody in one place for something weird and creepy that deliberately evokes Quatermass and the Pit as much as possible. There are mysterious deaths, twelve million year-old human skulls with pentacles in them, and a local grandmother who practices “the old ways.” We catch a glimpse of eerie slug-like things that the Doctor calls embryos, and it’s going to build to something very memorable the next time we sit down to watch TV…

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Doctor Who: The Robots of Death (parts three and four)

The one thing that I don’t like about “The Robots of Death” is that the plot required David Collings’ character, Poul, to completely flip out and become practically catatonic when he learns that these robots have indeed been programmed against their first law and can kill. The character suffers from robophobia, which many people in this future society battle against, because robots don’t have body language and people get uneasy around them. This is a really interesting detail that makes this society feel more alive than a typical Doctor Who society, but sidelining Poul masks the fun that we could have had with him and his robot partner. They are detectives, a tip of the hat to Isaac Asimov’s characters Elijah Bailey and R. Daneel Olivaw.

Even more fun, David Collings had played Olivaw when one of the novels that featured the duo, The Naked Sun, was adapted for a 1969 episode of the BBC’s Out of the Unknown. Sadly, the episode was destroyed, but there’s a partial reconstruction with stills on the BFI’s Unknown DVD set. I think it’s delightful that Collings played the robot character in 1969 and, eight years later, got to play the human half of a very similar team on Doctor Who. Except Lije Bailey never suffered from any foolishness like robophobia!

The robot detective in this story is D84, and he’s wonderful, taking everything literally and deducting with solid logic in his quiet singsong voice. The writer, Chris Boucher, gave him all of the best dialogue. I was reading about the spinoff audio plays that were made in the continuity of this story and Boucher’s novel sequel Corpse Marker. They’re called Kaldor City and also tie in to the TV series Blake’s 7. Collings got to play his character Poul in some of these. I’d like to think that Poul got over his robophobia and he and a rebuilt D84 had a successful career in Kaldor busting heads and solving crimes.

Our son took a little while to come around to this one. He was more bothered by the robots than many other Who enemies, not so much frightened as aggravated on our heroes’ behalf that they were not behaving according to their programming! He was unclear that the villain was actually a human disguised as a robot. He liked the climax, in which the silver robot SV7 turns on him, but the conclusion was so fast-paced that I’m not surprised that some of the details eluded him. Still, it’s a great story, and like I said last time, one of my favorites from the era.

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Doctor Who: The Robots of Death (parts one and two)

“The Robots of Death” is a badly named but otherwise fantastic story from 1977. It’s one of my favorites from the Tom Baker years. It’s written by Chris Boucher and was the final Who serial to be directed by Michael E. Briant. The great guest cast includes David Collings, Russell Hunter, and Pamela Salem. I absolutely love it. It perfectly places an Agatha Christie plot in an Isaac Asimov world, with tips of the hat to Frank Herbert and Poul Anderson along the way, and then designs the costumes and rooms of this huge, moving mine with a lush jazz age sheen. Our suspects and victims are all idle rich, with fancy clothes and gaudy makeup, and the robots who do the work are built to be more beautiful than functional.

Our son is being incredibly observant but his deduction skills need a little tuning. He didn’t see what we were meant to infer from the over-the-top headdresses and lush common rooms of the mine, but he did catch that there are three color schemes for the robots: black, silver, and emerald. The second episode explains that the black robots are mute D-class and the lone silver robot is the controlling SV-class, but it also gives us a black robot who talks a great deal to Leela when none of the crew is present to hear his voice. Wonder what’s up with that?

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Doctor Who: The Face of Evil (parts three and four)

“The Face of Evil” is one of the most refreshing Who stories to come along in ages. In the seventies, Who did what it needed to pretty well, sometimes better than others, but it rarely told stories that really looked into classic science fiction themes. Usually we got more conventional “stop the alien invasion” tales.

In fact, it’s so unusual, and so different from what came before, that our son was really baffled by it. It’s a story that doesn’t have a malicious villain. Instead, a sentient computer has gone mad and needs to be cured. We saw one of the themes of this story in the one just before this: the scientific fact of the matter has passed into legend and folklore. The tribe of Sevateem are the descendants of the original survey team, and the tribe of Tesh are the great-great-grandchildren of the technicians who remained at the colony ship. The computer is keeping the tribes at war because it’s conducting a eugenics experiment without the ability or the maturity to understand the implications.

Our son absolutely loved the ending, where Leela disregards the Doctor telling her that she cannot come with him and storms past him into the TARDIS. Then, somehow, she manages to hit the correct switch to dematerialize. I remember cheering when I first saw this in 1984. I was so happy that Leela would be traveling with him. But how’d she hit the right switch? I think Marie was right when she told our son “Sometimes the TARDIS decides that it likes certain people and wants them to be the Doctor’s companions.”

“The Face of Evil” was one of three Who serials that Chris Boucher wrote for seasons fourteen and fifteen of the show, including, oddly, the very next one. After that, madly, the production team lost him to Blake’s 7, where he wrote all of that program’s best stories. I don’t love “The Face of Evil,” but I like it a lot, and admire how it feels so confident and certain despite its unusual scope.

But Boucher’s next story, ahhhh… that one I do love. Stay tuned!

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Doctor Who: The Face of Evil (parts one and two)

Sometimes I think that coincidences are a virus from outer space. It’s already the 21st in the UK, but it’s still the 20th here, meaning tonight we watched Louise Jameson’s first episode of Doctor Who on her birthday. Happy birthday, Louise!

Louise plays Leela, a warrior of the Sevateem tribe, and she kills three people in her first episode. I think that makes her unique among Doctor Who companions. “The Face of Evil” also has some new faces in the background. It’s the first serial for the show to be written by Chris Boucher, and the first to be directed by Pennant Roberts. He has a very curious claim to fame. He’s the only Who director of the 1970s to direct any episodes in the 1980s. Unfortunately, he was often given extremely difficult stories to realize. “The Face of Evil” is comparatively simple compared to some nightmares he’ll be given to direct in 1984 and 1985, but he still has the thankless task of having a tribe of shirtless men, some of whom are bald, in what’s meant to be an electricity-free bunch of huts. So what are those lights reflecting off their skin?

So on Wednesday evening, we watched the Avengers episode “Something Nasty in the Nursery,” as you may recall. The story featured Dudley Foster as the villain. On Thursday evening, after our son went to bed, Marie and I watched an episode of The Saint. Working our way very, very slowly through the complete series, and alternating with so many other things, we came to the episode “The Abductors,” which features Foster, Nicholas Courtney, and David Garfield as the villains. And then on Friday evening, we watched “The Face of Evil,” which has Garfield in it. He plays the tribe’s shaman.

In 1987 or 1988, Nicholas Courtney was at a con in Atlanta, one of the ones at the old Sheraton Century Center, so possibly Dixie Trek. These were the days when actors and guests socialized and mingled and hung out in the hotel lobby between engagements and didn’t charge for autographs. One or two days before the con, by chance, WATL-36 showed this particular episode of The Saint. I used that as my excuse to introduce myself and make small talk, and enjoyed about ten minutes of gab with Courtney about acting. It will always be one of my happiest memories of going to those cons.

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