Tag Archives: matthew waterhouse

Doctor Who: Four To Doomsday (parts three and four)

I’m pleased to report that our son really, really liked this adventure. In fact, he was so thrilled that when the Doctor uses his cricket ball to give himself the momentum to drift backward through the vacuum of space to the TARDIS, he actually applauded. So we felt a little bad bursting the bubble and telling him just how utterly ridiculous the science in that scene was, but if we’re going to point out when television gets it wrong when it comes to social issues, we need to be consistent across the board and talk about bad science as well.

Speaking of social issues, there’s a remarkable part of this story where Adric swallows the villain’s rhetoric completely and thinks Monarch makes some very valuable points, pretty much like any other fourteen year-old idiot who starts hearing some claptrap on YouTube about how taxes are bad and falls down a hole. It’s certainly annoying, and it helped make everybody hate Adric when we were younger, but now I’m finding it’s really a fresh take on things to have a character too naive to know better. Incidentally, this story does support both Adric and Nyssa being young teenagers; they’re repeatedly called “children” throughout it.

But our son’s favorite part was the chaos that ensued when all the robots who represent different cultures on Earth being reprogrammed to have their recreational dances at the same time. He also loved Monarch getting smacked by his germs, remembering that Philip Locke’s character specified that even a small amount could reduce organic matter to the size of a grain of salt.

I’m glad he enjoyed the heck out of this story. I’ve never disliked it, but I’ve probably never enjoyed it as much as I did this time around. I think the creepy menace that comes out in the third episode is really well-timed and very effective, and I like the extra characterization paid to Tegan and Adric. Nyssa gets a few good moments, too, proving that for a fourteen or fifteen year-old, she’s incredibly well schooled in science and in philosophy. Yes, that was very entertaining. And the next one has always been among my favorites. I hope it holds up!

Advertisements

1 Comment

Filed under doctor who

Doctor Who: Four To Doomsday (parts one and two)

My abiding memory of Terence Dudley’s “Four to Doomsday” is that it’s incredibly slow. This time around, though, that’s revealed to be a good thing. There’s not an immediate threat or menace in this exploration of a giant spaceship four days from Earth, at least in the first half, anyway. It plays out in almost real time, as the Doctor and his companions explore the ship, which is controlled by Monarch of the planet Urbanka. Two other of his kind are on board, along with several representatives of ancient Earth cultures, and everybody’s lips are sealed about the past or the immediate future.

So it’s great television for a seven year-old who wants to chew on this for a bit. He says that he really likes this one, although the revelation that the friendly fellow from ancient Athens is a robot was a big surprise to him. I like how it plays out in a really enormous and believable space. The spaceship looks and feels completely gigantic, with lots of corridors and chambers.

Joining the regulars this time, there’s Philip Locke and Burt Kwouk as two of the old Earth refugees, but the guest cast is led by – of all people – Stratford Johns as Monarch, resplendent in his green, mottled skin. I reminded our son before we started that Johns had appeared in the great Avengers episode “Legacy of Death” doing a Sidney Greenstreet impression, and that our son certainly wouldn’t recognize him unless I pointed him out. Johns had played DI, and later Superintendent Charles Barlow in more than 200 episodes of four or five different, related series, for more than a decade, and even though he’d stayed real busy since the last of those shows ended and was always in demand, he still strikes me as unlikely for the role of a bipedal frog with a God complex. I mean, Johns is great, but imagine Karl Malden as Monarch. Like that.

Meanwhile, because this was actually the first story in production for season nineteen, everybody remembered that Tegan did not sign on to be a companion and wants to get to Heathrow Airport so she won’t lose her job on her first day. I really like the characterization. She doesn’t want to be here, she is terrified of getting fired. That’s how it should be. Except… while it’s been a few days for her, in Earth time, her aunt was just murdered a couple of hours ago. She even mentions this, but she’s only thinking about her job. Who’s she working with, Qantas? I don’t think that they’ve got the worst HR department on the planet. They will understand that the new girl’s aunt was murdered on the way to Heathrow. They’ll hold the job.

They maybe won’t quite understand that she was murdered by a space alien with a shrink ray, of course…

2 Comments

Filed under doctor who

Doctor Who: Castrovalva (parts three and four)

So here we see Anthony Ainley made up as “the Portreeve,” an old, learned man in the strange city of Castrovalva. The disguise worked. I paused in the end credits for part three, where Ainley is credited as “Neil Toynay,” and asked Marie whether she recognized the actor, and she didn’t. “So who is he?” our son asked. “Mom and I saw him the other night in Out of the Unknown,” I said, attempting one more clue. Unknown was a BBC anthology series that started as adaptations of proper, pipe-smoking sci-fi that evolved into original works of psychological horror and the supernatural by the end. What survived the BBC’s wiping is incredibly uneven and occasionally terrible, but almost always interesting to watch. My favorite is the 1966 adaptation of Frederik Pohl’s “Tunnel Under the World,” which is just eye-poppingly amazing. Ainley was the star of a 1971 story called “Welcome Home” which she and I watched Wednesday night. It is almost oppressively creepy, and he’s excellent in it.

So bravo to Ainley, the makeup team, and director Fiona Cumming for pulling it off. When he reveals himself to be the Master in part four, only one of the three people in this audience saw it coming. I honestly don’t remember whether I saw through the disguise when I first saw this in late 1984. I probably didn’t.

Castrovalva is a city on the top of a steep, rocky hill on a quiet and calm wooded planet that made us all want to hike and climb the rocks there. The city is populated by incredibly likable and kind people, one of them played by the fine character actor Michael Sheard, and the Doctor evidently hasn’t paid enough attention to 20th Century popular culture, because he doesn’t spot that the city is built like an MC Escher print, with all the staircases leading to the same place and sometimes upside down.

I’ve noted this little hole in the Doctor’s knowledge before, back when we learned that the Master is a King Crimson fan. I’ll tell you what was going on during the Third Doctor’s exile. He was taking Jo to the National Gallery, name-dropping all the artists he’s known, and telling ribald stories about Titian. Meanwhile, the Master was hanging out in record stores and head shops, seeing what pipe-smoking sci-fi readers were framing on their living room walls, and sneering about snobs who use words like “ribald.”

Our son was very pleased with this story, which was nice, because he’s been more patient than engaged with the last few things we’ve watched together. “I really liked this one,” he told us, singling out the part where one of the Castrovalvan people saves the day by swinging from a chandelier into the Master’s infernal machine. The Master shouts “My web!” when it happens, which is slightly comical. Then he tries to escape in his TARDIS, finds that he can’t use it to get out of the collapsing, recursive geography of Castrovalva, steps outside and bellows “My web!” again, which is more than just “slightly” comical.

So that’s it for Peter Davison’s first adventure. He makes a great team with Matthew Waterhouse, Sarah Sutton, and Janet Fielding. The story is original, and certainly unlike anything we’ve seen on the show before. The dialogue’s sometimes clumsy, and Tegan must have grown up in a household full of pipe-smoking sci-fi readers, because she has accepted all of this with no confusion or complaint, but this is another very good example of what I was talking about with “The Leisure Hive” when I said that the program is trying to look and sound interesting and different. You really get the sense that everybody involved wants to make this show work.

3 Comments

Filed under doctor who

Doctor Who: Castrovalva (parts one and two)

Back to January 1982 and Peter Davison’s first story in Doctor Who. Davison gets to spend the first half hour stumbling around the corridors of the TARDIS, and the second half hour asleep and being carried around in a coffin. Nobody hates “Castrovalva,” but that’s because episodes three and four are incredibly clever and fun. If the entire thing was like the first two parts, things would have been different.

Season nineteen was recorded way out of order, first so that Davison would have a chance to get a handle on his character before going back and acting all erratic and weird in this one, and second so that the people behind the scenes could nail down exactly what this story was going to be. The story that was planned for Davison’s debut wasn’t working, so the producer commissioned Christopher H. Bidmead, who had been his script editor the previous year, to come up with this. As with Bidmead’s previous story, “Logopolis”, there’s too much technobabble in the script, and poor Sarah Sutton is forced to try and make something called “telebiogenesis” sound important. The quirky concept this time around is recursion, which, again, gets fun in the second half of the story.

Still, even though these first two parts are incredibly slow, they’re just so likable. It’s actually kind of refreshing to spend a full half hour episode letting the Doctor be weird and absent-minded and spend time on the strangeness of his regeneration crisis. Later on, the indulgence of “the Doctor gets to be WACKY when he regenerates” would grate, but I like it here. And the simple, slow pace was perfect for our son, who really enjoyed this. The pacing is perfect for younger viewers, with one problem at a time and a detailed, engaging solution to each new issue. That said, he did complain that the obstacles were ensuring that absolutely nobody was getting what they wanted. He even felt sorry for the Master after his traps were foiled, because surely if the heroes were miserable, then at least the villain could have a good day!

One point of bother, pointing the way toward future irritations, though: the Doctor has three companions all of a sudden, and they all apparently read a book about the show or something, because they all know what regeneration is. It’s an ugly case of the people making the program choosing to believe that everybody watching the program is well-versed in the lore and reads the preview articles in the TV section. And while it’s incredibly laudable that Tegan has decided to stay and help this strange man through his regeneration crisis instead of waving everybody off back into outer space, the script treats her as though she’d somehow taken the Doctor Who Companion Orientation and has signed on for a season or more. Later stories would remember that Tegan’s goal was to get back to Earth in the spring of 1981 and get to her stewardess job at Heathrow Airport. It’s not mentioned even once here!

2 Comments

Filed under doctor who

Doctor Who: Logopolis (parts three and four)

If you scroll way, way back in this Doctor Who story, you’ll see that I once showed all of the original series to my two older kids. It took a while, because we took breaks and had “repeat seasons” and all sorts of delays. The three of us moved to our old house in the spring of 2003 and I guess that summer, my son and I watched the final few Pertwee serials while my daughter shouted at us from the staircase, interrupting as much as she dared with updates about how she’s not watching it. We “shouldn’t watch that show because it’s too scary.” Every time she did come downstairs and give it a try, an Exillon or an Ice Warrior or a giant Spider would show up and she’d run screaming.

So we took a break of a few weeks and I actually showed her a picture of Professor Kettlewell’s robot and she agreed that it wasn’t scary. So she consented to watch, or at least not interrupt us with bellowed reports about how we could watch that scary show if we wanted, but she wasn’t going to. For the most part, there was peace in the valley. As I reported in these pages, the mummies in “Pyramids of Mars” had both kids screaming and crying and sleeping in my bed, but I think that was a one-off. Tom Baker became our Doctor, just like he became everybody’s Doctor for such a long time.

We took breaks, as I say, including the big one to enjoy Christopher Eccleston’s run, and we had the repeats and other shows, and I see that it was September of 2005 that we finally got to “Logopolis.” And it devastated my children. Again, from my old journal:

The end of this serial was absolutely amazing for us to watch together, because I didn’t give the kids any warning or suggestion that this was the end for our Doctor. I think my son realized just before the end, as he took in a deep breath during a flashback scene when the Doctor remembers his last several travelling companions, and his eyes widened. That made me tear up, and when the regeneration began, we were all shocked and weeping. “He DIED?!” my daughter bellowed as the end credits started. That a new Doctor sat up wasn’t important. For a few minutes, nothing was, because our Doctor was gone.

In time, she’d get older enough to start fangirling over Tennant and Smith, and eventually join the rest of the squee brigade in turning her back on grouchy old Capaldi, which is fair, you’re supposed to grow out of Doctor Who for a while and maybe return one day down the line. Part of me thinks that’s a big reason why Capaldi’s ratings in Britain were lower anyway – all the kids whose parents plopped them in front of the TV in the spring of 2005 were nine years older. When you’ve got high school parties or records to collect or people to smooch or college entrance exams, especially the smooching part, you put away the childish things, and it was just a natural time for the audience to turn over and age out.

But Tennant and Smith were in the future. In fact, back in time, we hammered down and watched the next eight seasons and McGann’s movie in a prolonged marathon so that other than “The Christmas Invasion,” we weren’t interrupted by the past or the future in following the narrative. No, that night in September 2005, my daughter bawled her eyes out because our Doctor had died, and she spent the better part of an hour utterly inconsolable. She took it out on Peter Davison. She never warmed to him, the interloper, the usurper. She liked Colin, though. Colin yelled a lot. Nobody ever told Colin Baker to take out the trash.

There was no repeat of those tears tonight. Our son said “Huh, that’s cool,” and wanted to know what that second-to-the-last monster from the flashback was. He wasn’t even a little bit sad. He’s been wondering how many other Doctors there are and when we’re going to get to them. Time marches on.

By the way, though we will be watching, I’m not going to write about Jodie Whittaker’s run at this time, simply because I just don’t want to be tied down to this silly blog and will enjoy having a break on Sundays! But the night after Jodie’s debut, we’ll look in on some old friends, and then start watching Peter Davison’s run later in October. Stay tuned!

Leave a comment

Filed under doctor who

Doctor Who: Logopolis (parts one and two)

“Logopolis” is a story that probably shouldn’t work as well as it does. I mean, the first two parts are just the Doctor and Adric spouting technobabble and gobbledygook at each other. The introduction of Janet Fielding as the new character Tegan Jovanka gives it a little more life, but it’s the direction that makes it. It’s the first story written for the series by the season’s script editor, Christopher H. Bidmead, and it’s directed by Peter Grimwade. He brings an almost unbearable feeling of doom to the production.

Here’s something I wrote in September 2005: There’s a scene in part one when the Doctor looks across the highway and sees a spectral white figure by a fence staring at him and he almost collapses in shock. It works as well as it does because nobody in either the story or in the audience knows who the figure is, except the Doctor. Watching the story as a repeat from that angle reveals so much about the Doctor’s character and his actions over the next hour or so.

This is especially true in the second episode, where the Doctor confronts the figure, but too far away for Adric, or the audience, to know what they’re saying. But Tom Baker’s body language on that bridge… “I don’t want to go” never broke my heart the way that Baker’s silent, distant, slumped shoulders do.

That white figure really drives what’s going on in this story. (Well, the figure and the music, which is probably from start to finish the most memorable soundtrack ever performed for any Doctor Who adventure.) Nyssa, who we met in the previous story, shows up on an alien planet where the Doctor has gone, and tells Adric that “a friend of the Doctor’s” brought her. Then we see the strange all-white man slip slowly across the screen. Our son thinks that he’s another Time Lord. Good guess. I probably like the answer more than some people do.

Leave a comment

Filed under doctor who

Doctor Who: The Keeper of Traken (parts three and four)

Memory’s a tricky thing. Every once in a while, our son will just toss a random Doctor Who fact my way, suggesting that he thinks about some old episodes from time to time. But he doesn’t recall the Master’s last appearance, in “The Deadly Assassin”, at all. We only watched it in April. But it’s also true that he didn’t actually enjoy that story even a little bit.

So part three of “The Keeper of Traken” ends with the not-completely-surprising revelation that the Master is behind the plot, and that his TARDIS – he has two! – has been standing in place as the Melkur statue for something like a decade. Inside, he’s evidently been healing somewhat, because he doesn’t have the hideous skeleton eyes that Peter Pratt wore as the Master in “Assassin.” Geoffrey Beevers plays the Master this time out. Fanon suggests that Pratt and Beevers are each playing the thirteenth and final incarnation of the Master… which is where Anthony Ainley comes in.

Whatever you think of “Traken,” you can’t deny it has a very unique finale. The Doctor and Adric have saved the day, with the assistance of their friends Tremas, played by Ainley, and his daughter Nyssa, and make their customary hasty exit. But the story doesn’t end like we think it should. In a devilishly mean-spirited epilogue, we see that the Master had a second TARDIS parked inside the Melkur-TARDIS, and, using the power he’d somehow absorbed from the Traken Source, he takes over and steals Tremas’s body, clicks his heels and leaves to go cause some chaos dressed in black and with the customary Master mustache and beard. Nyssa’s left to wonder where her father went.

Ainley seems like he was an incredibly interesting fellow. By 1981, he was about ready to retire from acting and just play cricket at leisure, because he’d inherited what many people report was a very, very large amount of money. Who‘s producer, John Nathan-Turner, remembered Ainley from a BBC series he’d worked on in 1974 called The Pallisers and thought he’d be a perfect Master, and then, far too frequently, didn’t commission any decent scripts for him. Ainley had also co-starred in a downright odd ATV spy series called Spyder’s Web which I probably enjoy more than you do, although John at the Cult TV Blog has also celebrated its prickly strangeness, and he was in The Land That Time Forgot and The Blood on Satan’s Claw, a fine character actor finally landing a role everybody would remember.

I’m reasonably certain our son won’t forget Ainley’s version of the Master. Reasonably. We’ll see him again very, very soon. But I was really surprised by how thoroughly he had forgotten the Pratt incarnation. During the closing credits of part three, I asked him whether he was surprised to see the Master again. After all, he did just freeze, give a shocked face, and tumble to the floor when Beevers turns to the camera chuckling. But at the end of the story, he told us he really liked this one, but didn’t understand “just one thing… when that showed us that it was the Master, how’d you know it was the Master?”

And I guess he had a point. Even for viewers with longer memories, it had been four years since the Master’s previous appearance…

6 Comments

Filed under doctor who

Doctor Who: The Keeper of Traken (parts one and two)

Earlier this month, when I wrote about “The Leisure Hive”, I talked about how in this season, there’s a greater sense of real space in the environments. Every story we’ve watched has great examples, particularly the Starliner in “Full Circle,” but the planet of Traken is the best of them all. It’s not just having more sets and extras than the obvious example, Peladon, it’s having characters with lives that seem to have existed before the plot of the month came crashing down atop them. This is what a later producer, Russell T. Davies, sensibly understood about making the world of the show feel real, and what his successor, Steven Moffat, frequently forgot.

So while I don’t love “The Keeper of Traken,” I absolutely admire it. The writer, director, designer, and composer are all working in fabulous synchronicity. It’s a good story, not a great one, but it’s a truly fine production. It’s the first Doctor Who script by Johnny Byrne, and, sadly, by some measure the best of his three. Byrne came to Who by way of All Creatures Great and Small, where he had worked with Who‘s producer John Nathan-Turner and been the script editor for that show’s first three series. Before that, he had written about a quarter of Space: 1999.

In the cast, we’ve got twenty year-old Sarah Sutton playing Nyssa, a character who, like Adric, appears meant to be a young teenager. John Woodnutt makes his final Who appearance, and Anthony Ainley, about whom, more later, makes his first. Denis Carey and Sheila Ruskin are also very memorable in their parts here.

Our son might have liked this story a little less than he claimed, because he was pretty restless and seemed frustrated by the mystery. The serial is centered around an evil being called a Melkur that, like others before it, turned to stone as soon as it landed on Traken about a decade previously. The planet has a bio-electric power source that freezes and calcifies intruders with evil intent, which is a whimsical, fairy tale-like idea given a sci-fi sheen that doesn’t quite make sense but just feels right. That’s another way that the production triumphs, by taking this odd idea and making it work, against the grumbling of anybody who wants to be critical about it. But the evil being is, of course, just biding its time and literally growing moss waiting for the incredibly powerful Keeper of this planetary system to die.

I think the director does reveal a little too much too soon, but whatever Melkur is, he’s the second villain this season, after Meglos, to know that the Doctor is a Time Lord and is prepared to deal with him. Perhaps this is an early indicator of the Doctor’s reputation preceding him, or perhaps we’re starting to get people behind the scenes who are much, much more interested in the program’s past and its continuity than ever before.

Leave a comment

Filed under doctor who