23 – The Enemy of the World

I must begin this review with a frank admission. My original list of classic Doctor Who episodes did not contain either The Web of Fear nor The Enemy of the World, which in the summer of 2013 were still (officially) missing, presumed lost forever. To my very great shame, I concede that not only was The Enemy of the World not high on the list of stories I wanted recovered, I was distinctly underwhelmed when it was announced as one of two lost adventures recovered by Philip Morris in Nigeria. It had simply never registered on my radar.

Nevertheless, I bought the DVD as soon as it came out, wanting to enjoy the same experience that my dad must have enjoyed in 1993 when he bought Tomb of the Cybermen on VHS. I didn’t have high expectations, but was utterly blown away by an acting masterclass from Patrick Troughton, playing not one but two roles in this action packed adventure.

The story itself is entirely straightforward – the TARDIS crew arrive in Australia 2068, only to be attacked by armed security men. Rescued by the glamorous all-action Astrid, they discover that the Doctor strongly resembles Ramon Salamander, prominent leader in the United Zones, and a man determined to seize control of the world. They are reluctantly draw into a scheme to discover how Salamander proposes to take control of the earth, along the way encountering spies, assassinations, blackmail, and a hidden scheme to terrorise the world into submission. Not only must the Doctor stop Salamander, he must discover for himself whom he can, and cannot trust…

Astonishingly, the story plays out beautifully across six episodes, never once dragging, and filled with a stellar supporting cast. Whether it is the ingenious Astrid, the devious Zone Administrator Giles Kent, the gruff Security Chief Donald Bruce, the weaselly Bennick, or even the minor characters like Fariah, Denes, and Fedorin, The Enemy of the World has a richness of thoroughly enjoyable characters, each superbly realised. Even Victoria gets to play a more proactive role compared to her usual task of getting into trouble and screaming – perhaps reflecting that this story is rather unique in Season 5. Rather than being a base-under-siege adventure featuring a ‘Monster of the week’, The Enemy of the World is much more akin to a spy thriller.

But the standout feature of this adventure is the unbelievable performances by Patrick Troughton. Prior to watching this adventure I’d never really understood why certain fans were so enthusiastic about him. Over the two and a half hours of watching this adventure that all changed. Troughton displays the full range of his acting ability in this story, and is delightfully evil in his portrayal of the villainous Salamander. Adding value to every scene he appears in, it is worth having the story just for his performance alone. That the story also happens to be gripping and superbly acted is a wonderful bonus!

One cannot conclude this review however without appreciating that but for Philip Morris reaching the TV station in Jos, we wouldn’t be able to talk about these performances. I had observed in an earlier blog that you cannot judge a missing story by its orphaned episode. This is certainly true of The Enemy of the World. It was not a story anyone would have wanted back ahead of the Cybermen or Dalek adventures. It would have been very difficult to have animated the story and captured the charm of it. And yet it is one of the very best examples of Doctor Who you can enjoy on DVD today. One can only ponder what other adventures might earn a more favourable impression if only they could be recovered!

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The Enemy of the World is well worth investing in – and you can purchase it on Amazon for £7.99

Next Time: The poor Brigadier is reduced to shooting at maggots in Wales …

24 – Day of the Daleks

I was six years old when I discovered Doctor Who. Like most six year olds who discover Doctor Who, my first thought after discovering there were MORE stories was to want to see every possible Dalek adventure. So when I saw that the Day of the Daleks VHS cover was plastered with Daleks, I simply had to see it! I recall being disappointed at the time at how little the titular Daleks featured in the adventure, but still really enjoying the adventure. 25 years on, it’s still a firm favourite with many reasons to enjoy this four part story.

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To begin with, despite the name, this isn’t really a Dalek story. Author Louis Marks originally wrote the story imagining a completely different alien race as the foe, before the BBC publicity machine had the great idea to bring back the Daleks to arouse interest in the brand new Season 9. While the Daleks have a disappointingly short amount of screen time, this is more than compensated by the quality of the story itself.

Still trapped on earth, the Doctor is summoned by the Brigadier to Auderly House, home to top British diplomat Sir Reginald Styles. The world is on the brink of a nuclear war, and Styles has been disturbed by an unusual armed apparition, who attempted to murder him before vanishing into thin air. While Styles jets off to try and arrange a peace summit, the Doctor discovers that the apparition was a guerrilla from earth’s future, sent in the belief that Styles caused a nuclear war that left Earth devastated, and unable to repel a Dalek invasion.

The story rises to a thrilling climax as the Doctor and Jo are transported into earth’s future to discover mankind living in slavery. Meeting with the guerrillas they realise that the war began due to a bomb blast as Sir Reginald’s peace summit – but that the bomb was detonated by one of the guerrillas! The Doctor is forced to race the Daleks back to the 1970s to save the peace conference, and prevent a global catastrophe.

The plot is stunning in its simplicity and its brilliance, exploring creatively the classic time travel paradox of past actions impacting the future. Not only do the regular cast put in a superb turn, they are complemented by outstanding performances by the guest cast also. If one ignores the Dalek focus, the story works exceedingly well – it’s a bad “Dalek” story, but superb  science fiction.

There is however one  but. The story was rather let down by some production decisions – not least the poor quality of the Dalek voices. You do have to get past that – or embrace a crazy alternative option. The BBC Restoration Team took the unusual step when preparing the DVD to create a Special Edition of the story, replacing the Dalek voices and improving many of the special effects. The results were so good that this story could pass muster in contemporary Doctor Who – and that is high praise indeed! I know fans are very much divided on changing anything about the original stories; Day of the Daleks is unusual for the near universal praise for the Special Edition. It is very much worth the price of the DVD.

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You can watch both the original and Special Edition of Day of the Daleks in this DVD release, available on Amazon

Next time: You resemble very closely a man determined to be dictator of the world …

25 – Enlightenment

In Season 20 the Doctor Who production team decided that the Doctor would face off against a returning foe in each adventure, originally intending that the season would conclude with an adventure entitled “The Return” – which was delayed until Season 21 as Resurrection of the Daleks, leaving viewers instead with the lamentable King’s Demons as an unworthy substitute! While the season opened with the return of Omega in Arc of Infinity, and the Mara in Snakedance, the season’s three middle stories were covered by a loose trilogy featuring the Black Guardian, last seen cursing the Fourth Doctor in The Armageddon Factor.

This loose trilogy comes to a close in Englightenment, a spooky and exceedingly clever adventure seemingly set aboard an Edwardian sailing vessel, revealed at the end of episode one to in fact be a sophisticated spaceship, racing through space itself. At the head of the ship are ‘Eternals’ – beings who despite their ageless existence have lived for so long that they rely upon humans for ideas, form, and substance. The prize for their sailing race is therefore the titular ‘Englightment’ – the ability to know all things.

In the midst of all of this, Turlough is haunted by the deal he made with the Black Guardian in Mawdryn Undead – to kill the Doctor. The Doctor meanwhile is suspicious that a fellow racer is resorting to sabotage to ensure that they are successful, a suspicion proven well founded when it is discovered that the malevolent Captain Wrack is in league with the Black Guardian! The story, and indeed the trilogy comes to a thrilling crescendo, as the Doctor and Turlough find themselves at Wrack’s mercy, with Wrack seemingly about to win the race and claim her prize.

Much of what makes this adventure enjoyable stems from the meeting of space-era technology and the classical setting of an Edwardian sailing vessel. It is also a deeply haunting adventure, and the role the Doctor plays to both Tegan and Turlough could have been lifted from a contemporary season of Doctor Who, as Tegan wrestles with the Eternals incapacity to fathom human emotions such as love, and Turlough agonises over freedom, choice, and consequences. All the while, the race between the Eternal’s ships ensures that the plot proceeds at a strong and intriguing pace!

I did not expect to enjoy this adventure as much as I did when I rewatched the VHS adventures at university. But Englightement was a superb and fitting end to the Black Guardian Trilogy, displaying Peter Davison’s Doctor at level only paralleled by his incredible swansong in The Caves of Androzani. Clever without confusing, human without being cheesy, and able to sensitively investigate some of life’s biggest questions, it is a superb piece of television, never mind a superb episode of Doctor Who!

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Englightment can be bought as part of the Black Guardian Trilogy DVD Boxset on Amazon

Next Time: You’re caught in a classic space time paradox! You did it yourselves!

26 – Logopolis

It’s the end. But the moment has been prepared for …

Logopolis is a story I both love and hate all at once. A fitting end to Tom Baker’s seven seasons as the Doctor, I remain unable to watch this story without believing that maybe, just maybe, if I wish hard enough the Doctor won’t die at the end of episode four. But he always does, it’s always heartbreaking, and I am always moved by Baker’s calm implacability as he acknowledges his time has come to a close … and a new season is about to begin.

Tom Baker provided many iconic moments in his time as the Doctor, and it was only fitting that he should be given a truly dramatic sendoff. Having escaped his old nemesis the Master in the previous adventure we find a melancholy and brooding Doctor, possessed of a strong sense of foreboding and deciding that he needs to fix the chameleon circuit on the TARDIS. As he proceeds to source the measurements required to recalibrate the circuit by measuring an earth Police Box, he discovers that the Master has escaped from Traken, and is following every move he makes. More unsettling still, is the presence of a ghostly Watcher, who seems to be just as determined to follow the Doctor.

The story may be entitled Logopolis, but it is not until a good way through episode two that we actually arrive on the titular world. If anything however, this build up makes the climax even tastier, as the Doctor explains to Adric the principle of Block Transfer Computation – creating matter from pure mathematics, and how this ought to restore the chameleon circuit. The Master may make his actions evident throughout the opening two episodes, but it is not until episode three that we see Ainley, channeling the spirit of Roger Delgado, and gloating at his apparent triumph over the Doctor. For ultimately Logopolis is a story of one Timelord chasing another – the Doctor fleeing to Logopolis, hoping to evade the Master, and the Master hiding his TARDIS within the Doctor’s TARDIS so that he can find Logopolis, which he understands to possess a great secret.

The story builds to a dramatic climax, as it is revealed the Logopolitan mathematicians were using their skill for Block Transfer Computation to excise entropy from the universe, and stave off the end of all matter. The Master’s interference brings their project to a halt, and introduces overwhelming entropy that begins to destroy the entire universe. The impending catastrophe forces the Doctor to form an unwilling alliance with his oldest enemy, as they aim to restart the Logopolis programme from a new home on Earth.

Such a dramatic story would be overblown in just about any other context, but as the finale for Tom Baker it is perfection. So grand is the scheme that one easily loses track that this was also the first story to feature Janet Fielding as Tegan, who stumbles into the TARDIS by complete accident. Sarah Sutton also (clumsily) returns in episode 2 after the production team decided to keep Nyssa as a permanent companion, giving a foretaste of the crowded TARDIS that was to undermine Season 19.

The reason they are easily overlooked is entirely valid however – everything is building up to the climax of episode four. Whatever listlessness Baker displayed in the previous two seasons is lost, and he rises marvelously to the occasion of his swansong. To me, his portrayal of a Timelord contemplating regeneration is only bettered by Peter Davison in The Caves of Androzani, as he manages all at once to combine a melancholy foreboding with a stoic acceptance. This anticipation is accentuated through the role of the mysterious “Watcher” – a character all in white who mainly watches from afar, and who is mistaken for “The Master” (Adric) or “A friend of the Doctor” (Nyssa), and is revealed at the very end to be nothing less than the Doctor’s future, unregenerated self.

There is something wonderfully moving about the final five minutes of Logopolis. Baker foils the Master’s plans to hold the universe to ransom, but in so doing falls to his death. As he lies helpless, surrounded by his companions, he sees each of his prior companions from Sarah-Jane to Romana, before smiling, and telling his friends that the moment is prepared for. The music rises to a crescendo, the Watcher merges with the Fourth Doctor, and the bright young face of the Fifth Doctor emerges. I may think that The Caves of Androzani is a better Doctor Who adventure, but Logopolis is nevertheless the best regeneration story.

It was the end. But the moment was prepared for. And it was brilliant.

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To watch Tom Baker’s final adventure as the Doctor, buy it today on the BBC Store!

27 – Castrovalva

Peter Davison’s debut as the Fifth Doctor owes much to Season 18 Script Editor Christopher H. Bidmead’s love of mathematics. When invited to replace the original Season 19 debut story with a new script, Bidmead would revisit certain ideas he had used in Tom Baker’s swan song Logopolis – in particular the concept of recursion, which in that story had manifested itself as a TARDIS within a TARDIS. For Castrovalva, Bidmead would put this concept on steroids.

Peter Davison’s first broadcast adventure was not actually his first recorded adventure – by this stage they had recorded Four to Doomsday, The Visitation, and Kinda. In practice this works extremely well, providing a TARDIS crew already well settled with one another, allowing them to pull off an ambitious regeneration story. Picking up directly from Logopolis (including a rare pre-title sequence film section reprising the regeneration) the TARDIS crew escape from the Pharos Project on earth to find the Doctor highly unstable – the first time in the show’s history it is overtly suggested that a regeneration can go wrong. The Doctor spends most of the adventure trying to find a peaceful space in which to recover while his regeneration completes – initially a room in the TARDIS known as the Zero Room, then latterly a dwelling of simplicity, the titular town of Castrovalva. Behind this story, very much in the theme of recursion, are layers of traps within traps, all set by the Master.

Kindapping and then releasing Adric at the very start of the adventure, the Master impels Adric to send the TARDIS directly into a supernova. In the truest style of the Hooded Claw, the Master then lays a trap within a trap – the town of Castrovalva itself. Leaving information about the fictional town in the TARDIS databanks, the Master uses Adric’s mathematical genius to use a skill revealed in the previous adventure of Logopolis – the capacity to build matter through pure mathematics. Adric constructs the entire town as a trap for the remaining TARDIS crew, and the Master lies in wait (disguised, obviously!) for the right moment to strike.

The more thoughtful reader might conclude with some justification that the entire plot is needlessly complicated – but to write off the story on these grounds would be to miss the enjoyment of the story. In rather the same way that The Edge of Destruction was crucial for building the relationship of the initial TARDIS crew of Season 1, Castrovalva really allows the viewer to get a better flavour for how Nyssa and Tegan would relate to the new Doctor; unfortunately for Adric, he spends most of the episode imprisoned by the Master, perhaps foretelling the rather grim destiny the producers had in mind for him. While the inspiration for the story is undoubtedly mathematical (making this story one of my dad’s favourites) it is not so overtly mathematical that it is impossible for the less mathematically minded (viz. me!) to follow!

Davison himself plays his role superbly – there is a wonderful moment in episode 1 in which he appears to regress to the mannerisms of the First and Second Doctors – very well acted, and an utterly charming nod to the show’s heritage. As debut stories go, Castrovalva is one of the very best, and a very pleasing conclusion to the ‘New Beginnings’ trilogy. Perhaps because it borrows so heavily from themes in Logopolis, it is harder to imagine this story working so well as a standalone adventure. The fact that it nevertheless does, is very much to its credit!

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Want to watch Castrovalva? You can buy it today on BBC Store for £4.99

28 – The Keeper of Traken

The Keeper of Traken is an example of the BBC taking a very good story, and making it even better by incorporating a new element. Unlike The Armageddon Factor, a weak story requiring the narrative of the Key to Time to rescue it, The Keeper of Traken would have worked as a perfectly good story even before series producer John Nathan Turner spotted the opportunity to use the position of the villain to serve a greater narrative need.

We join the story with Tom Baker’s time in the TARDIS drawing to a close. Romana and K9 had left in the previous story, Warriors’ Gate, and the Doctor and Adric had finally managed to escape from e-Space back into n-Space. The TARDIS is then drawn off course by a mysterious entity, an elderly man sat upon a throne, who reveals himself to be the titular Keeper of the Traken Union – a society (as the Doctor puts it) based upon ‘people being terribly nice to each other.’ The position of Keeper enables one individual to become an ordering principle, maintaining peace and order throughout the system, but when an incumbent Keeper dies the time of transition is always difficult. The present Keeper requests the help of the Doctor to meet an unknown evil, which he feels is centred around a calcified statue known as the Melkur.

The Doctor arrives on Traken to find distrust rife among the Five Consuls of Traken, the ruling council who serve the Keeper. Unbeknownst to the Council, one of their number, Kassia, has come under the influence of the Melkur, determined that her husband Tremas should not become the new Keeper. Melkur turns out to be no mere static statue, and has already murdered one man. The Doctor and Adric become the scapegoats for Melkur’s actions, as the Melkur uses Kassia to discredit Tremas and to become Keeper nominate herself. When the old Keeper dies, ‘Melkur’ uses his link with Kassia to become the Keeper himself.

So far, the story follows exactly the original intent of author Johnny Byrne. The story would have centred around Melkur as a malevolent being, and as planned he would have been defeated at the end of episode 4. John Nathan Turner however, spotted an excellent opportunity to use Byrne’s story to resurrect a very old foe indeed. Rather than make the Melkur the calcified body of an alien being, we discover at the end of episode 2 that there is another TARDIS on Traken, and by the end of episode 3 the audience realise, long before the Doctor does, that the Melkur statue is the TARDIS of his old enemy, the Master – superbly realised (in mannerisms, if sadly not in makeup!) by Geoffrey Beevers, who reprises the decayed Master portrayed by Peter Pratt in The Deadly Assassin. At the end of his regeneration cycle and facing impending death, the Master proposes to use the powers of the Keeper to steal the Doctor’s body and regenerate himself.

While the Master is thwarted, as Byrne always intended the villain to be, the story does not end on a happy note. The Doctor and Adric depart, leaving Tremas with his daughter Nyssa to clean up the damage caused to Traken. Nyssa’s character would prove so popular that Turner would bring her back in the following story, Logopolis, providing actress Sarah Sutton with an honour shared by Frazier Hines of staying as a companion for longer than the original story they were scheduled to appear in. For Tremas however … his own name was the most crucial change in the whole script, a fateful foretelling of his destiny. For the eagle-eyed of you will have spotted that ‘Tremas’ is of course an anagram of ‘Master’ … leading to one of the show’s most iconic moments, as the Master exults: “A new body! At last!” And takes over the body of Tremas. With more than a passing resemblance to Roger Delgado, the new Master sets off in pursuit of the Doctor …

The Keeper of Traken is a wonderful story. The sets and costumes are all beautiful, the story clever without being complex, and Beevers’ Master is deliciously malevolent. The characters are superbly realised, and particular credit is due to Anthony Ainley, who had the chance to demonstrate his capacity to play a very good man, before embracing with relish the evilness of the Master. Even Adric, who usually gets a bad press, demonstrates that alongside Nyssa he could have grown and developed in the role – the story being a firm confirmation (alongside Kinda) that the Season 19 TARDIS was very much overcrowded.

While the story very much leads into Logopolis, and is best enjoyed as the first in a trilogy, it is also a superb standalone adventure that manages to pay homage to the series’ history without alienating viewers who (like me!) had not grown up with Delgado’s Master. To me, that is one of the highest compliments you could pay any classic episode of Doctor Who!

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If you wanted to enjoy The Keeper of Traken for the first time, you can watch it for £6.99 on the BBC Store

Special Reviews: New Beginnings

We have reached a special section in my classic episode countdown, as over the next three weeks we will be reviewing three stories that I struggled to place in a clear order, mainly as I have come to regard them as one story in three parts. The three stories come at the end of Season 18, when Tom Baker’s time as the Doctor was coming to a close, and at the very beginning of Season 19 as Peter Davison took on the unenviable role of filling Baker’s shoes. Baker had played the Doctor for seven years, significantly longer than any of the previous actors to play the role (Hartnell and Troughton were in the role for three years; Pertwee for five) and the prospect of a new actor stepping into the role generated a large amount of uncertainty.

New producer John Nathan-Turner therefore decided to adopt a trick first used when Baker replaced Pertwee. In Season 12, the production team used the familiar faces of UNIT for Baker’s debut story, before bringing back the familiar foes of the Sontarans, the Daleks, and the Cybermen.  For the conclusion of Season 18 and the beginning of Season 19, JNT brought back the character of the Master, last seen as Delgado’s Master in Frontier in Space, and as a charred husk in The Deadly Assassin. With Roger Delgado sadly departed after his untimely death in 1973, the decision was taken to cast a Delgado lookalike, Anthony Ainley, and to show the regeneration of the decayed Master into a new, younger Master. A further idea to bring Elisabeth Sladen back to play Sarah Jane Smith for four episodes proved ultimately unsuccessful – Sladen quite sensibly realising she would have played a bit part at best.

Following on from the E-Space Trilogy, the series follows a loose trilogy beginning with The Keeper of Traken, in which the Master returns, followed by Baker’s swansong Logopolis, in which the Doctor falls to death attempting to foil the Master’s latest madcap plan for universal domination. While not initially intended that Ainley would return for Peter Davison’s debut story Castrovalva, it was eventually decided to have the debut of Season 19 follow directly from the conclusion of Season 18, meaning that one is able to watch from Keeper of Traken to Castrovalva as one continuous narrative, even though each story is independent and stands strong in their own right – perhaps reflecting why BBC initially released these stories in a single boxset entitled ‘New Beginnings.’

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I struggled to place these three stories in order. I love them all equally, have come to regard them as one story, and if I could award them joint 26th place, I would have done so. I have nevertheless chosen to bite the bullet and attempt to rank the stories – and over the next three weeks you will get to find out which of the three I have enjoyed the best.