There is more in the way of spoilers in this review; I would recommend listening before reading on, if you have the opportunity.
So what we have in the most advanced timeline for the early part of this
episode is, quite literally, a fall. You can plummet a long way through
the atmosphere of a gas giant and it could get quite boring to listen
to; so most of the action is in the other timeline, but with frequent
switches to short snippets of the drop. This makes sense, but
unfortunately John Dorney's way of marking the changeover - the
repeating word structure trick, which worked so well last time - starts
to feel a bit artificial with overuse.
It's all building up, though, to a great reveal that could never be
achieved on TV. There's an "eh? What have I missed here?" moment in the
falling timeline, which is soon explained in the other; and it
completely changes how we imagine the events of the first episode. I
like this sort of thing, and it makes me look forward to listening to
the story all over again with the new image in my mind. A Sixth Sense
moment, if you will. It really makes me glad I decided to review this
fresh, too, as this is one I will definitely react to differently on
subsequent listenings.
Dorney's not finished with authorial tricks though. Steven Moffat's Who
is famed for the amount of timeline-crossing which goes on, but here it
happens literally. The strand which has been explaining what our heroes
have done since the TARDIS arrived in the Jobis system reaches the
beginning of the first episode - and then jumps ahead into the 'future'!
We get to see some of the wrap-up while Iananbarbara are still in
peril. It's a brave move, but he gets the timing right - any sooner and I
would have felt cheated out of the excitement that would have lost its
edge, any later and it wouldn't have been worth it.
As for the resolution of Iananbarbara's crisis, it was one of those
moments that I really should have seen coming. There's a 'smoking gun'
in the first episode that I picked up on at the time, thinking that it
would become important later; but by the time we got there I'd forgotten
about it again. Would I have done so if I wasn't treating this like a
TV serial, if I had listened to both episodes in one sitting? I'll never
know.
Hm, have I even mentioned Vicki yet? This is the only audio play with
this TARDIS team (so far), and our youngest star is very much in the
background. With a crowded TARDIS and a two-parter there isn't really
enough space for everyone; on TV it was, unusually, Ian who had the
least to do in both Inside the Spaceship and The Rescue,
but here he and Barbara had to take centre stage. Ah, well; I've got a
couple of Maureen O'Brien Companion Chronicles coming up early next
year.
I've said a lot about the script and little about the production. Since
that applies equally to both episodes you'll have to wait until the next
time...
Rating:
7/10.
Next Time:
Companion Chronicle 6.02 as a whole.
Monday, 5 November 2012
Friday, 2 November 2012
Episode CC6.02a: Assault on Platform Five
Okay, the official episode title (I have discovered) is actually The Rocket Men,
but if I can avoid names that match both an episode and the whole
serial then I will. So since I only have this on download subscription
and it was hard to find, I'm pretending that I didn't know.
I've had this quite a while - since before I reviewed Quinnis, in fact - and have managed to put off listening to it until now, so that I could get a fresh perspective. It's a tricky decision to make, as there are advantages both ways: once it has had time to settle I can offer a more matured, better thought-out view; whereas reviewing straight after my first experience benefits from the excitement of a new story. Since there are very few stories that are still new to me, I've decided to grab them when I can.
From the opening line I could tell that this was going to focus on Iananbarbara's relationship. It's another take on Ian coming to a realisation about his feelings for Barbara, which, as a follower of expanded universe print material, I have already seen happen. More than once. So basically, it's a bit late in the day - though if you only pay attention to audio and TV it's a case of "about time"! How to reconcile the two? You could say that Ian, as narrator, is attributing more to this moment than was the case at the time. Or perhaps this was a point when the depth of his feeling - or rather, his understanding of it - expanded. I like the second idea better, but whichever you go for it's not irreconcilable with the stories that have built this up over a longer period like The Time Travellers, Roman Cutaway and The Eleventh Tiger. And the trigger for this realisation is certainly believable!
There's no real framing sequence; it's just Ian telling the story to the listener. This means that the second actor (Gus Brown as Ashman) is simply a different voice in the narrative, something I've complained about in the past. Writing this review I realise that it is a feature of the Companion Chronicles I've since grown accustomed to hearing. There's still no logical in-story reason for it - no space for the other speaker - but it no longer bothers me.
Having said there's no framing sequence, the plot is still divided into two timelines. Unusually we begin right in the middle of the action, with Ian, Barbara and Vicki being held captive by Ashman and his rocket men. The second timeline shows how they got to this point (though it still hasn't caught up by the end of the episode, so this device will presumably continue next episode). Writer John Dorney has a lot of fun with the transitions, presenting us with echoes and repetitions in the dialogue that mark the boundaries. They are supported by sometimes-subtle differences in the soundscape, but it's still an interesting and novel way of marking the change. As an example:
And speaking of cliffhangers, this episode ends on a doozy: this isn't just hanging from the cliff, it's throwing yourself right over! Waiting a day to listen to the second part will require some willpower...
Rating:
8/10.
Next Time:
The Fall.
I've had this quite a while - since before I reviewed Quinnis, in fact - and have managed to put off listening to it until now, so that I could get a fresh perspective. It's a tricky decision to make, as there are advantages both ways: once it has had time to settle I can offer a more matured, better thought-out view; whereas reviewing straight after my first experience benefits from the excitement of a new story. Since there are very few stories that are still new to me, I've decided to grab them when I can.
From the opening line I could tell that this was going to focus on Iananbarbara's relationship. It's another take on Ian coming to a realisation about his feelings for Barbara, which, as a follower of expanded universe print material, I have already seen happen. More than once. So basically, it's a bit late in the day - though if you only pay attention to audio and TV it's a case of "about time"! How to reconcile the two? You could say that Ian, as narrator, is attributing more to this moment than was the case at the time. Or perhaps this was a point when the depth of his feeling - or rather, his understanding of it - expanded. I like the second idea better, but whichever you go for it's not irreconcilable with the stories that have built this up over a longer period like The Time Travellers, Roman Cutaway and The Eleventh Tiger. And the trigger for this realisation is certainly believable!
There's no real framing sequence; it's just Ian telling the story to the listener. This means that the second actor (Gus Brown as Ashman) is simply a different voice in the narrative, something I've complained about in the past. Writing this review I realise that it is a feature of the Companion Chronicles I've since grown accustomed to hearing. There's still no logical in-story reason for it - no space for the other speaker - but it no longer bothers me.
Having said there's no framing sequence, the plot is still divided into two timelines. Unusually we begin right in the middle of the action, with Ian, Barbara and Vicki being held captive by Ashman and his rocket men. The second timeline shows how they got to this point (though it still hasn't caught up by the end of the episode, so this device will presumably continue next episode). Writer John Dorney has a lot of fun with the transitions, presenting us with echoes and repetitions in the dialogue that mark the boundaries. They are supported by sometimes-subtle differences in the soundscape, but it's still an interesting and novel way of marking the change. As an example:
Ian narrating in the 'past': We should have remembered that with the Doctor, it was always best to take things one day at a time.The first episode has the responsibility of setting up the action, showing us the people and locations our heroes are going to be interacting with. This is harder on radio than television, and can slow things down; but starting in the middle and then looking back allows that introduction to have the space it needs without us metaphorically looking at our watches. Instead, we're thinking "how did they get from there to here?", in a kind of inversion of the way that cliffhangers hold our interest between episodes.
Ashman, speaking in the 'present': "I'll take one of you at a time."
And speaking of cliffhangers, this episode ends on a doozy: this isn't just hanging from the cliff, it's throwing yourself right over! Waiting a day to listen to the second part will require some willpower...
Rating:
8/10.
Next Time:
The Fall.
Wednesday, 31 October 2012
Short Trips, A Christmas Treasury 14.18: Animus, Zarbi, Menoptra, by Jim Sangster
This is an enjoyable little diversion. It introduces a game played by
hatchlings on Vortis which is basically "Rock/Paper/Scissors" done as a
massed playground game. When I gave the above description to Isaac he
said "oh, let me guess how it works", and proceeded to describe the
R/P/S component accurately, so Jim Sangster must have picked up on the
unique characteristics of the roles! The only thing Isaac didn't get is
the gestures and sounds, which isn't too surprising as I hadn't
mentioned them. I won't go into too much detail. It's just a bit of fun -
though it does describe an 'extreme' version! - and fits with the mood
of the collection. I find it hard to compare something like this to a
regular story, in much the same way I have trouble rating charity
offerings and the like. The score below reflects the lack of substance
more than the quality of the writing and game design.
By the way, note the spelling of Menoptra. This is actually the correct, official spelling, and I've been getting it wrong all through my reviews of The Web Planet. I could channel the tenth Doctor and say I'm so very, very, sorry; but actually I'm not. Mine looks better, lots of other people use it, and anyway it's Christmas so you should be charitable. So nyer.
Oh, wait, I'm wrong - it's Hallowe'en. So happy All Hallows Eve, everyone!
Except in books, of course, where it is actually Christmas - Christmas 2004, to be exact - which means the following sidebar isn't completely crazy:
Festivals, Part 1: Short Christmas Trips
Big Finish had been releasing Short Trips for a couple of years when they decided to do a Christmas-themed special. It's a bit unusual, including poems, recipes, and of course games alongside an eclectic mix of stories. More than 30 entries in all (so it's not particularly surprising that a couple fall in this run).
The idea was a success, and was repeated every December thereafter - except for 2006, when they published a Dalek Empire themed anthology instead. Which isn't as inappropriate as it sounds: at this point in the TV series the Christmas season has been host to Dalek stories for two years running, and the show will be broadcast on Christmas Day for the first time later this year - during another Dalek story. I'll have more to say about Yuletide Who when we get there...
Published:
Date: December 2004
ISBN: 1-84435-112-2
Rating:
4/10.
Next Time:
Assault on Platform Five.
By the way, note the spelling of Menoptra. This is actually the correct, official spelling, and I've been getting it wrong all through my reviews of The Web Planet. I could channel the tenth Doctor and say I'm so very, very, sorry; but actually I'm not. Mine looks better, lots of other people use it, and anyway it's Christmas so you should be charitable. So nyer.
Oh, wait, I'm wrong - it's Hallowe'en. So happy All Hallows Eve, everyone!
Festivals, Part 1: Short Christmas Trips
Big Finish had been releasing Short Trips for a couple of years when they decided to do a Christmas-themed special. It's a bit unusual, including poems, recipes, and of course games alongside an eclectic mix of stories. More than 30 entries in all (so it's not particularly surprising that a couple fall in this run).
The idea was a success, and was repeated every December thereafter - except for 2006, when they published a Dalek Empire themed anthology instead. Which isn't as inappropriate as it sounds: at this point in the TV series the Christmas season has been host to Dalek stories for two years running, and the show will be broadcast on Christmas Day for the first time later this year - during another Dalek story. I'll have more to say about Yuletide Who when we get there...
Published:
Date: December 2004
ISBN: 1-84435-112-2
Rating:
4/10.
Next Time:
Assault on Platform Five.
Monday, 29 October 2012
Serial N: The Web Planet
Okay, I'm going to come clean: when I first watched this serial, I liked
it better than most people but still didn't think it quite worked.
Since then I've read Elizabeth Sandifer's analysis, and for once I consciously
took her viewpoint on board, and attempted to watch it as spectacle
(usually I try and forget what I've read before watching something).
This actually pushed it up another notch, so thank you, El! Some of
my comments are still unconsciously drawn from there (I forgot she'd
mentioned the lampshading, for instance), but fortunately there's a lot
that's original to me too - as an example I'm particularly happy with my
review of The Invasion. I still think that this serial is four
great episodes wrapped around two limp ones, but as you will see from
Isaac's comments even that's not a case of "no one could like the middle
of this"!
Earlier in these reviews, someone commented that they had never thought of the serial as horror. I mentioned the Lovecraftian aspects of the Animus last time - though they should perhaps be called Derlethian due to the watering down of the cosmic inhumanity that happened with many of the writers working in Lovecraft's universe - but that's not the totality of it. There are a lot of horror signifiers: in the early episodes we have losing control of the TARDIS, not knowing what's going on, being gradually taken over, witnessing torture and death - all features used in the more consistently horrific Robert Holmes era. Oh, and giant insects also count, though their realisation doesn't really add to the horror! Later we have the devolved Optera and their grim existence in the dark, that moment when the Doctor and Vicki are webbed, and of course the confrontation with the Animus. There's also a fairly consistent tone of dread and desperation that plays against the action adventure elements of the story. None of this is unique to the serial, but it all stacks up. I stand by my opinion.
The Webbed Planet was commissioned by David Whitaker, showing how far into the second production block the direct influence of the original script editor stretches. It was writer Bill Strutton's only contribution to the show, unless you count the novelisation separately; although he wrote numerous episodes for many other shows including The Avengers. Next year Big Finish are releasing a Lost Story based on his unused third Doctor script, The Mega; we'll have to see if it's as controversial as his first.
Isaac's Corner
I preferred the third episode to the first two, unlike dad, because the plot moved on more in Escape to Danger. When I saw the title of this, I exclaimed "the term is out of the frying pan, into the fire, not escape to danger!" The fourth and fifth were also very good, and the last was extremely good.
I found the larvae guns and Optera very cute, and I liked the way that Vicki gave the controlled Zarbi a name. The story was well written and well directed, and the effects were all effective! My overall rating is 8/10. I'm looking forward to The Crusade, one I haven't watched or listened to before!
DVD Extras
There's a good range of extras on the DVD, with a detailed "making of" documentary and an entertaining commentary. We also get a PDF of the first Doctor Who annual. This was something 2|Entertain gave up on after a while: apparently nobody ever commented on them, so they decided to put the money into other features. The collector in me thinks it's a shame - they got about halfway through the annuals, and I would have liked to have the rest to go along with them - but to be honest I barely look at them most of the time, so (assuming I'm typical) it's probably a good decision. This particular annual has two stories set on Vortis, and I was going to review them next; but neither fits chronologically, and after more than 5,500 words here I'm going to briefly review one more thing and then move on.
One of the stories from the annual is also present in another form: an audio reading by William Russell. Long-time readers will know this automatically gives it a boost for me (and I actually started listening to it before I decided I wanted a break from the Zarbi). I look forward to reviewing it as part of the next phase of my marathon.
Missing from the Archives, Part 7: Finishing Touches
BBC Enterprises had prints of all six episodes in the archive when audits were taken in the late 1970s. These had been returned from a foreign broadcaster - probably Algeria - because the "Next Time" caption at the end of The Centre said "The Space Museum" instead of "The Lion". For some obscure reason the next serial, The Crusade, wasn't sold to predominantly Muslim countries. Go figure.
Anyway, apart from this oddity and some minor edits, the story was complete. However, true completists always want to get as close to the original as possible, so it was still good when unedited versions were found in Nigeria in 1985.
This story is unusual in that there is no link into the next serial. I wondered briefly if this was forward-thinking on the production team's part, taking account of the problems of selling The Crusade in advance; but there's such a tight link on the other side (leading into The Space Museum) that I think it must have been simple coincidence.
Rating:
Mine: 7/10.
DWM Mighty 200: 54.69%, 178th.
2012 Gallifrey Base Non-Dynamic Rankings: 4.85, 219th out of 234.
This was voted the second-worst Hartnell by Gallifrey Base voters, and the third worst by DWM readers. I can see it's not without flaws, but really!
Next Time:
Let's take a break from stories and step (very briefly) into the world of games as we consider Animus, Zarbi, Menoptra.
Earlier in these reviews, someone commented that they had never thought of the serial as horror. I mentioned the Lovecraftian aspects of the Animus last time - though they should perhaps be called Derlethian due to the watering down of the cosmic inhumanity that happened with many of the writers working in Lovecraft's universe - but that's not the totality of it. There are a lot of horror signifiers: in the early episodes we have losing control of the TARDIS, not knowing what's going on, being gradually taken over, witnessing torture and death - all features used in the more consistently horrific Robert Holmes era. Oh, and giant insects also count, though their realisation doesn't really add to the horror! Later we have the devolved Optera and their grim existence in the dark, that moment when the Doctor and Vicki are webbed, and of course the confrontation with the Animus. There's also a fairly consistent tone of dread and desperation that plays against the action adventure elements of the story. None of this is unique to the serial, but it all stacks up. I stand by my opinion.
The Webbed Planet was commissioned by David Whitaker, showing how far into the second production block the direct influence of the original script editor stretches. It was writer Bill Strutton's only contribution to the show, unless you count the novelisation separately; although he wrote numerous episodes for many other shows including The Avengers. Next year Big Finish are releasing a Lost Story based on his unused third Doctor script, The Mega; we'll have to see if it's as controversial as his first.
Isaac's Corner
I preferred the third episode to the first two, unlike dad, because the plot moved on more in Escape to Danger. When I saw the title of this, I exclaimed "the term is out of the frying pan, into the fire, not escape to danger!" The fourth and fifth were also very good, and the last was extremely good.
I found the larvae guns and Optera very cute, and I liked the way that Vicki gave the controlled Zarbi a name. The story was well written and well directed, and the effects were all effective! My overall rating is 8/10. I'm looking forward to The Crusade, one I haven't watched or listened to before!
DVD Extras
There's a good range of extras on the DVD, with a detailed "making of" documentary and an entertaining commentary. We also get a PDF of the first Doctor Who annual. This was something 2|Entertain gave up on after a while: apparently nobody ever commented on them, so they decided to put the money into other features. The collector in me thinks it's a shame - they got about halfway through the annuals, and I would have liked to have the rest to go along with them - but to be honest I barely look at them most of the time, so (assuming I'm typical) it's probably a good decision. This particular annual has two stories set on Vortis, and I was going to review them next; but neither fits chronologically, and after more than 5,500 words here I'm going to briefly review one more thing and then move on.
One of the stories from the annual is also present in another form: an audio reading by William Russell. Long-time readers will know this automatically gives it a boost for me (and I actually started listening to it before I decided I wanted a break from the Zarbi). I look forward to reviewing it as part of the next phase of my marathon.
Missing from the Archives, Part 7: Finishing Touches
BBC Enterprises had prints of all six episodes in the archive when audits were taken in the late 1970s. These had been returned from a foreign broadcaster - probably Algeria - because the "Next Time" caption at the end of The Centre said "The Space Museum" instead of "The Lion". For some obscure reason the next serial, The Crusade, wasn't sold to predominantly Muslim countries. Go figure.
Anyway, apart from this oddity and some minor edits, the story was complete. However, true completists always want to get as close to the original as possible, so it was still good when unedited versions were found in Nigeria in 1985.
This story is unusual in that there is no link into the next serial. I wondered briefly if this was forward-thinking on the production team's part, taking account of the problems of selling The Crusade in advance; but there's such a tight link on the other side (leading into The Space Museum) that I think it must have been simple coincidence.
Rating:
Mine: 7/10.
DWM Mighty 200: 54.69%, 178th.
2012 Gallifrey Base Non-Dynamic Rankings: 4.85, 219th out of 234.
This was voted the second-worst Hartnell by Gallifrey Base voters, and the third worst by DWM readers. I can see it's not without flaws, but really!
Next Time:
Let's take a break from stories and step (very briefly) into the world of games as we consider Animus, Zarbi, Menoptra.
Friday, 26 October 2012
Episode 63 (N6): The Centre
The opening of the final episode is as bleak as anything in the series
so far. The Doctor looks defeated as the hairdryer lowers; Vicki
struggles to hide the detonator, and then - when she finds out that this
is a mistake - the two of them seem utterly dejected. Unfortunately,
the mood is hindered slightly by a switch to a less effective outdoor
scene. They seem to have used too much vaseline, and the very stagey
positioning of actors doesn't help. However, there is a certain
dancelike choreography to the diversion that Harbara's group is staging,
and this soon softens the negative impact of the initial view. Moving
into the Carsinome helps too; Hilio's wings sweeping across the body of
his dead comrade is a touching moment.
Meanwhile, underground, we have Heron's party. The discovery of water (rather than acid) is a symbol of hope, and things are starting to look up. The set provides rather too convenient a climbing area, but this is easily ignored; and the Optera's fear of the light is touching.
The pacing and action is built up by the use of some very quick cuts. The number of shots in this part of the episode is huge, particularly in the Carsinome; and it is all skilfully done, with nobody missing their mark by any significant amount.
When the Doctor and Vicki reach the Animus in the Centre we are treated to a splendid new set. Since it was only required for a single episode (and this episode was originally going to be called Centre of Terror, which would, I feel, have been a better name) John Wood could go to town and produce something that didn't need to survive being packed away for a week. The mass of rootlike tentacles, the light, the organic feel, the circularity with everything leading in to the Animus like a great spider at the centre of its web - all of this works to enhance the mood of Lovecraftian horror.
Ah yes, I had to use the word "Lovecraftian" eventually. I'm not a big fan of H.P. Lovecraft's writing, but the universe he created has given me a lot of pleasure. I was a regular player of the Call of Cthulhu RPG back in the 90s, and have picked up a fair bit of knowledge along the way (though I'll leave it to others to determine how much Sanity I may have lost in the process). The Animus was one of the beings picked to be a Great Old One in the New Adventures novel All-Consuming Fire; and watching this you can see why. Apparently it's a Lloigor, which is slightly odd. Lloigor was a single entity created by August Derleth, and was a suitably tentacled monstrosity. When Colin Wilson retconned it to be the name of a race he reimagined them as psychic energy creatures.
Whatever, the Animus has the proper feel for this sort of existential horror. It's obviously massively more powerful than anyone else in the story, and while it doesn't have the purity of Lovecraft's original creations - which operate on so cosmic a level that they don't even notice us - the adjective fits. The name of the Carsinome, of course, comes from carcinoma, the most common type of cancer - and the image of it growing across the planet is suitable in its sense of unstoppable, faceless menace. Combine this with the animalistic Zarbi servants terrified of their controller (and what a neat way to explain their fear of spiders!), Catherine Fleming's voice, and the awed fear of the Optera and Menoptera built up over the course of the story - and you have a truly classic horror from beyond.
Almost as soon as they enter the Animus's presence, the Doctor and Vicki are crushed. We have already seen them looking hopeless; now they truly are helpless too. Then we switch to Heron in the organic tunnel beneath - which also looks great, and feels appropriately claustrophobic. There's a glimmer of hope, which glows brighter when Harbara activates the destructor...
...only to find that it doesn't work. I'd forgotten that from earlier viewing, and it threw me completely off-guard - what can they possibly do now? The Animus says "approach, Earth people", showing that it knows Heron is there too. Heron appears, and surely he will do something; he's the action hero, after all. But he is unable to break the spell. All seems lost.
And then Harbara saves the day again, priming the device at much closer range and dropping it right into the creature, which shrivels and dies. And that's it - the adventure's over, and the expression on Vicki's face when she discovers this is really complex. There's relief, certainly, but it's tempered with something else, perhaps a realisation of how close they were to death.
This climactic sequence has been such an adrenaline rush! So many twists and turns, moments of hope amid a wash of despair, such weird timing. We are still a fair way from the end of the episode, and I for one wasn't expecting the adventure to end so soon. Not that it's a disappointment - the timing's part of what keeps it interesting. Good old serial N, off-kilter to the end.
The long epilogue is lovely, with plenty of symbolism showing the hopeful future. Water starts flowing, Harbara plays with a venom grub, Vrestin provides encouragement for the Optera, explaining how flight may return too their descendents and that light can be good as well as bad. Meanwhile, Heron and the Doctor get back to normality, teasing each other over the matter of a lost Coal Hill tie.
Oh, and you know I said how bad the outside scenes looked earlier? When the TARDIS disappears at the end it looks great.
Broadcast:
Date: Saturday, 20th March 1965
Viewers: 11.5 million
Chart Position: 14
Appreciation Index: 42
Rating:
8/10.
Next Time:
Serial N as a whole.
Meanwhile, underground, we have Heron's party. The discovery of water (rather than acid) is a symbol of hope, and things are starting to look up. The set provides rather too convenient a climbing area, but this is easily ignored; and the Optera's fear of the light is touching.
The pacing and action is built up by the use of some very quick cuts. The number of shots in this part of the episode is huge, particularly in the Carsinome; and it is all skilfully done, with nobody missing their mark by any significant amount.
When the Doctor and Vicki reach the Animus in the Centre we are treated to a splendid new set. Since it was only required for a single episode (and this episode was originally going to be called Centre of Terror, which would, I feel, have been a better name) John Wood could go to town and produce something that didn't need to survive being packed away for a week. The mass of rootlike tentacles, the light, the organic feel, the circularity with everything leading in to the Animus like a great spider at the centre of its web - all of this works to enhance the mood of Lovecraftian horror.
Ah yes, I had to use the word "Lovecraftian" eventually. I'm not a big fan of H.P. Lovecraft's writing, but the universe he created has given me a lot of pleasure. I was a regular player of the Call of Cthulhu RPG back in the 90s, and have picked up a fair bit of knowledge along the way (though I'll leave it to others to determine how much Sanity I may have lost in the process). The Animus was one of the beings picked to be a Great Old One in the New Adventures novel All-Consuming Fire; and watching this you can see why. Apparently it's a Lloigor, which is slightly odd. Lloigor was a single entity created by August Derleth, and was a suitably tentacled monstrosity. When Colin Wilson retconned it to be the name of a race he reimagined them as psychic energy creatures.
Whatever, the Animus has the proper feel for this sort of existential horror. It's obviously massively more powerful than anyone else in the story, and while it doesn't have the purity of Lovecraft's original creations - which operate on so cosmic a level that they don't even notice us - the adjective fits. The name of the Carsinome, of course, comes from carcinoma, the most common type of cancer - and the image of it growing across the planet is suitable in its sense of unstoppable, faceless menace. Combine this with the animalistic Zarbi servants terrified of their controller (and what a neat way to explain their fear of spiders!), Catherine Fleming's voice, and the awed fear of the Optera and Menoptera built up over the course of the story - and you have a truly classic horror from beyond.
Almost as soon as they enter the Animus's presence, the Doctor and Vicki are crushed. We have already seen them looking hopeless; now they truly are helpless too. Then we switch to Heron in the organic tunnel beneath - which also looks great, and feels appropriately claustrophobic. There's a glimmer of hope, which glows brighter when Harbara activates the destructor...
...only to find that it doesn't work. I'd forgotten that from earlier viewing, and it threw me completely off-guard - what can they possibly do now? The Animus says "approach, Earth people", showing that it knows Heron is there too. Heron appears, and surely he will do something; he's the action hero, after all. But he is unable to break the spell. All seems lost.
And then Harbara saves the day again, priming the device at much closer range and dropping it right into the creature, which shrivels and dies. And that's it - the adventure's over, and the expression on Vicki's face when she discovers this is really complex. There's relief, certainly, but it's tempered with something else, perhaps a realisation of how close they were to death.
This climactic sequence has been such an adrenaline rush! So many twists and turns, moments of hope amid a wash of despair, such weird timing. We are still a fair way from the end of the episode, and I for one wasn't expecting the adventure to end so soon. Not that it's a disappointment - the timing's part of what keeps it interesting. Good old serial N, off-kilter to the end.
The long epilogue is lovely, with plenty of symbolism showing the hopeful future. Water starts flowing, Harbara plays with a venom grub, Vrestin provides encouragement for the Optera, explaining how flight may return too their descendents and that light can be good as well as bad. Meanwhile, Heron and the Doctor get back to normality, teasing each other over the matter of a lost Coal Hill tie.
Oh, and you know I said how bad the outside scenes looked earlier? When the TARDIS disappears at the end it looks great.
Broadcast:
Date: Saturday, 20th March 1965
Viewers: 11.5 million
Chart Position: 14
Appreciation Index: 42
Rating:
8/10.
Next Time:
Serial N as a whole.
Wednesday, 24 October 2012
Episode 62 (N5): Invasion
Well, this is more like it! The pacing is much better in this episode,
and there is a theme running through it. When the Menoptera in the
temple are deciding whether or not they can trust Barbara, she tells
them "you have no choice." Soon after, Ian says to Vrestin "we have no
choice" but to rely on Hetra. Both the Doctor and Prapillus struggle
with believing in the other. I finally find I'm interested in the plot,
and it once again feels properly atmospheric. The variety of sets is
impressive, and each has a unique tone. In fact, the best way to tackle
this review is probably to take each in turn, untangling the interleaved
strands of the story.
Let's start with the plateau at the Crater of Needles. Curiously, the recap from last time works much better as an opener, and this is certainly an example of why it's better to split up the episodes rather than 'mainlining' them. I think this is because it is an action- and emotion-packed scene that gets us right back into the story, firing us up for the events ahead, rather than just the tail end of a battle scene; but I admit I'm just extrapolating, looking for possible causes. Anyway, this leads into the (admittedly clumsy and forced) discovery of the Temple of Light.
The temple set itself isn't John Wood's finest and the scenes here could have been very dull because there is a lot of exposition and debate, but everything comes together to make them work. Most of the credit must go to Roslyn de Winter's choreography, since the Menoptera are always moving, providing a little dynamism even to the most static moments; and to Richard Martin's direction. He seems to be having fun, making excellent use of the set and positioning actors and cameras in interesting ways. He mentions it in the commentary, something he only does rarely; but I noticed it on my first watch anyway. The acting is good, particularly when William Hartnell's Doctor confronts Martin Jarvis' Prince Hilio, and the background sound when we first enter the temple also enhances the mood.
Moving on, we have Vicki and the Doctor in the Carsinome and on the planet's surface. I've commented on the sets before, so all I'll add is that the shot of the outside of the Carsinome which shows its organic origins really adds something. After the terror and panic of the plateau and the battle against despair in the temple, these scenes are used to defuse the tension. It's a balancing act: you can't keep the adrenaline flowing for 25 minutes, and if you try it will flag anyway; but if you add too much humour, or the wrong sort, it can wreck the feel of the piece. Fortunately that balance is struck perfectly here. Vicki peeking out to see if the Zarbi are watching, the Doctor trying out his control of the Zarbi, the little hand gesture signalling it to follow, the name Zombo - they are all enough to give us a break without going too far.
And we need that break, because the final strand - in the tunnels with the Optera - is pretty grim. It was horrible the way the Zarbi amputated the slave Menoptera's wings, but even worse is the scene where Nemini sticks her head into the flow of acid to save the others. The camera lingers, first on Ian's reaction as it happens, then as he stands over her, then on the body after he moves away. The leader's reaction - effectively shrugging and saying that this is just the sort of thing that happens, but with an underlying sadness to his delivery - highlights the horror.
The Optera themselves are an interesting creation. Thematically they are a great addition, a neotenic offshoot of the Menoptera. Unfortunately, because of the late decision there was very little left in the budget for costumes; the ones we get are well designed but nevertheless look rather like cuddly toys. Doing something to roughen them up a bit would have helped, or filming them with the vaseline lens. They certainly look better when they are obscured by fumes! William Russell didn't like the guttural voice, but I think it's appropriate; and their speech patterns, using metaphor so heavily, are lovely. They also have one of the more interesting backstories, which works better for being only partly revealed. Their final scene, with the mirror shot showing us the party from above, really emphasises how low down they are, in more ways than one.
The episode ends with a great twist. The Doctor and Vicki, stars of the plot that has been reducing our tension, return to the Carsinome. They pretend to be more scared than they are in order to get close to the Animus - but that fear turns real, and they are shot with a web-gun, enveloping them in the stuff that is taking over the planet. Symbolically at least, it's the extinguishing of our last hope; the grim reality of the near-hopeless struggle wins out over fun and adventure. Where can it go from here?
Broadcast:
Date: Saturday, 13th March 1965
Viewers: 12.0 million
Chart Position: 12
Appreciation Index: 48
Rating:
8.5/10.
Next Time:
The Centre.
Let's start with the plateau at the Crater of Needles. Curiously, the recap from last time works much better as an opener, and this is certainly an example of why it's better to split up the episodes rather than 'mainlining' them. I think this is because it is an action- and emotion-packed scene that gets us right back into the story, firing us up for the events ahead, rather than just the tail end of a battle scene; but I admit I'm just extrapolating, looking for possible causes. Anyway, this leads into the (admittedly clumsy and forced) discovery of the Temple of Light.
The temple set itself isn't John Wood's finest and the scenes here could have been very dull because there is a lot of exposition and debate, but everything comes together to make them work. Most of the credit must go to Roslyn de Winter's choreography, since the Menoptera are always moving, providing a little dynamism even to the most static moments; and to Richard Martin's direction. He seems to be having fun, making excellent use of the set and positioning actors and cameras in interesting ways. He mentions it in the commentary, something he only does rarely; but I noticed it on my first watch anyway. The acting is good, particularly when William Hartnell's Doctor confronts Martin Jarvis' Prince Hilio, and the background sound when we first enter the temple also enhances the mood.
Moving on, we have Vicki and the Doctor in the Carsinome and on the planet's surface. I've commented on the sets before, so all I'll add is that the shot of the outside of the Carsinome which shows its organic origins really adds something. After the terror and panic of the plateau and the battle against despair in the temple, these scenes are used to defuse the tension. It's a balancing act: you can't keep the adrenaline flowing for 25 minutes, and if you try it will flag anyway; but if you add too much humour, or the wrong sort, it can wreck the feel of the piece. Fortunately that balance is struck perfectly here. Vicki peeking out to see if the Zarbi are watching, the Doctor trying out his control of the Zarbi, the little hand gesture signalling it to follow, the name Zombo - they are all enough to give us a break without going too far.
And we need that break, because the final strand - in the tunnels with the Optera - is pretty grim. It was horrible the way the Zarbi amputated the slave Menoptera's wings, but even worse is the scene where Nemini sticks her head into the flow of acid to save the others. The camera lingers, first on Ian's reaction as it happens, then as he stands over her, then on the body after he moves away. The leader's reaction - effectively shrugging and saying that this is just the sort of thing that happens, but with an underlying sadness to his delivery - highlights the horror.
The Optera themselves are an interesting creation. Thematically they are a great addition, a neotenic offshoot of the Menoptera. Unfortunately, because of the late decision there was very little left in the budget for costumes; the ones we get are well designed but nevertheless look rather like cuddly toys. Doing something to roughen them up a bit would have helped, or filming them with the vaseline lens. They certainly look better when they are obscured by fumes! William Russell didn't like the guttural voice, but I think it's appropriate; and their speech patterns, using metaphor so heavily, are lovely. They also have one of the more interesting backstories, which works better for being only partly revealed. Their final scene, with the mirror shot showing us the party from above, really emphasises how low down they are, in more ways than one.
The episode ends with a great twist. The Doctor and Vicki, stars of the plot that has been reducing our tension, return to the Carsinome. They pretend to be more scared than they are in order to get close to the Animus - but that fear turns real, and they are shot with a web-gun, enveloping them in the stuff that is taking over the planet. Symbolically at least, it's the extinguishing of our last hope; the grim reality of the near-hopeless struggle wins out over fun and adventure. Where can it go from here?
Broadcast:
Date: Saturday, 13th March 1965
Viewers: 12.0 million
Chart Position: 12
Appreciation Index: 48
Rating:
8.5/10.
Next Time:
The Centre.
Monday, 22 October 2012
Episode 61 (N4): Crater of Needles
Hooray, Jacqueline Hill's back! And strangely she begins by making one
of the very few stumbles of her entire run on the show. It's slight
enough that I might not have mentioned it for anyone else, but she has
been so remarkably consistent that it made an impact. The price of
excellence, I suppose.
This is another episode that advances the plot at the expense of atmosphere, though not so severely as last time. The camera direction is improved, too, though still below its peak. Everything begins well with the collapsing tunnel at the start working better than it did in the cliffhanger, and I liked the idea of listening to Ian's coughing while the camera pans across, giving us an impression of the place where he has landed. Generally there is good placement of actors in shot, and some good movement (for example drawing back as Barbara walks towards the camera, and the sweeping shot when she falls). There is also some effective cutting, such as the slow zoom on the Doctor which switches to a faster zoom on Barbara. But overall the effect is too static, and sometimes reveals too much (the Optera's feet, for instance).
Another problem is that there is a lot of fighting in this episode. 1960s fights are often a bit dodgy for me. The finale has a surprising number of cuts, since they were able to film it at Ealing and not have the limitations of editing videotape, so these are about as good as can be expected; but they still don't quite hold up. Oh, the crushing of the venom grub against the wall is really good, and the stabbing of Zarbi adds a bit of teatime brutality for the tots; but it just looks too stagy to really convince.
The balletic flight of the Menoptera is also not exactly convincing, but in this case it doesn't matter. It's more symbolic than visceral, and it gives the right impression. The costume was redesigned slightly between Ealing and the studio, but to be honest I didn't notice this at all (though I could see it when pointed out). Daphne Dare on costumes and Sonia Markham on makeup did a good job on realising the ecology of Vortis, supporting John Wood's work (this episode shows how good the Zarbi look in closeup, as well as giving us our best view of Menoptera wings in the vaseline-free tunnels). And speaking of Wood, he gives us another fine set with the Crater of Needles; though the tunnels are no more than functional.
The script progresses. The Doctor and the Animus get more opportunities to spar, and Vicki also has some good moments despite spending most of her time under control. One thing that wasn't clear to me was whether the Animus psychically activated the Doctor's device broadcasting the Menoptera's invasion plans, or whether he did it by accident. The former works better from a story point of view, but the latter seems more likely from the way it is portrayed. Like the moment when the gun fired at the TARDIS last time, this really irritated me.
This is, of course, also the episode that introduces the Optera. These were devised by Martin and script editor Dennis Spooner to provide another thread to the plot. In a sense this is padding, but it is at least padding that gives us something interesting to watch! I'll have more to say about the addition next time.
Since this is the shortest review so far in this story, I'll take the opportunity to say a little about the sound in this serial. To prevent the budget exploding completely, Richard Martin used available recordings of music by Les Structure Sonores, a French duo who had earlier been considered for production of the theme music. It is ethereal, and really adds to the atmosphere throughout. Curiously, it wasn't used for the next episode (The Invasion); but the sound effects there also fit in well with the feel.
Overall, then, Crater of Needles is a bit better than Escape to Danger, but still a below-par episode. Hopefully the recovery will accelerate soon!
Broadcast:
Date: Saturday, 6th March 1965
Viewers: 13.0 million
Chart Position: 9
Appreciation Index: 49
Rating:
4/10.
Next Time:
Invasion.
This is another episode that advances the plot at the expense of atmosphere, though not so severely as last time. The camera direction is improved, too, though still below its peak. Everything begins well with the collapsing tunnel at the start working better than it did in the cliffhanger, and I liked the idea of listening to Ian's coughing while the camera pans across, giving us an impression of the place where he has landed. Generally there is good placement of actors in shot, and some good movement (for example drawing back as Barbara walks towards the camera, and the sweeping shot when she falls). There is also some effective cutting, such as the slow zoom on the Doctor which switches to a faster zoom on Barbara. But overall the effect is too static, and sometimes reveals too much (the Optera's feet, for instance).
Another problem is that there is a lot of fighting in this episode. 1960s fights are often a bit dodgy for me. The finale has a surprising number of cuts, since they were able to film it at Ealing and not have the limitations of editing videotape, so these are about as good as can be expected; but they still don't quite hold up. Oh, the crushing of the venom grub against the wall is really good, and the stabbing of Zarbi adds a bit of teatime brutality for the tots; but it just looks too stagy to really convince.
The balletic flight of the Menoptera is also not exactly convincing, but in this case it doesn't matter. It's more symbolic than visceral, and it gives the right impression. The costume was redesigned slightly between Ealing and the studio, but to be honest I didn't notice this at all (though I could see it when pointed out). Daphne Dare on costumes and Sonia Markham on makeup did a good job on realising the ecology of Vortis, supporting John Wood's work (this episode shows how good the Zarbi look in closeup, as well as giving us our best view of Menoptera wings in the vaseline-free tunnels). And speaking of Wood, he gives us another fine set with the Crater of Needles; though the tunnels are no more than functional.
The script progresses. The Doctor and the Animus get more opportunities to spar, and Vicki also has some good moments despite spending most of her time under control. One thing that wasn't clear to me was whether the Animus psychically activated the Doctor's device broadcasting the Menoptera's invasion plans, or whether he did it by accident. The former works better from a story point of view, but the latter seems more likely from the way it is portrayed. Like the moment when the gun fired at the TARDIS last time, this really irritated me.
This is, of course, also the episode that introduces the Optera. These were devised by Martin and script editor Dennis Spooner to provide another thread to the plot. In a sense this is padding, but it is at least padding that gives us something interesting to watch! I'll have more to say about the addition next time.
Since this is the shortest review so far in this story, I'll take the opportunity to say a little about the sound in this serial. To prevent the budget exploding completely, Richard Martin used available recordings of music by Les Structure Sonores, a French duo who had earlier been considered for production of the theme music. It is ethereal, and really adds to the atmosphere throughout. Curiously, it wasn't used for the next episode (The Invasion); but the sound effects there also fit in well with the feel.
Overall, then, Crater of Needles is a bit better than Escape to Danger, but still a below-par episode. Hopefully the recovery will accelerate soon!
Broadcast:
Date: Saturday, 6th March 1965
Viewers: 13.0 million
Chart Position: 9
Appreciation Index: 49
Rating:
4/10.
Next Time:
Invasion.
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