January 12: "The Screaming Jungle" / "The Snows of Terror"

(The Keys of Marinus episodes 3 & 4)

So last episode they had a fairly lengthy discussion of how the Doctor was going to go two jumps ahead and look for the fourth key; in other words, William Hartnell's on vacation for these episodes (the first time a regular's been given time off this way), which means it's up to Ian, Barbara, and Susan to carry the day.  Unfortunately, Terry Nation seems to think that Susan's only there to scream and act generally hysterical -- realistic, perhaps, but not terribly pleasant viewing.  So that leaves Ian and Barbara.

Really, though, "The Screaming Jungle" feels like pure pulp.  There's what seems to be an abandoned building in the middle of a thick jungle, and it's simply full of traps.  And they're not very exciting traps either.  Ian getting nearly cleaved in two is probably the best; his getting trapped behind bars isn't very exciting, while Barbara being trapped under a net as a spiked ceiling descends might have been better had it not been shot quite so undramatically from the side, showing a shaky board with obviously not-at-all sharp blades juddering down.  (I do have to say, though, that I quite like the idol with the obviously human arms that grab people.)  Then there's some guff about nature's "tempo of destruction" having been accelerated; this seems to mean that plants crawl around and smash windows and things.  Like I said, pure pulp.

The ice soldiers awaken. ("The Snows of Terror") ©BBC

Things get better in "The Snows of Terror", but that might be because the actors have someone to react to, rather than just some vines wrapped around a pole.  Francis de Wolff turns in a memorably creepy performance as Vasor the trapper.  He's thoroughly nasty, even at the beginning when he's ostensibly helping Ian and Barbara, but there's a nice turn of cowardice from him when fortune shifts against him.

Other than that, though, this is simply the next place on the quest list: we had a jungle, so the opposite is clearly a snow-blasted mountain range.  That said, there's clearly effort being put into the design side of things: the jungle set last episode was quite nice, and the ice caves here are really good.  It's just a shame that the script doesn't have the same degree of care.  To be fair, this was a serial written in a great hurry after another script fell through⁵; it's just a bit of a pity that you can tell.







⁵ This was apparently The Hidden Planet by Malcolm Hulke; we'll hear more about him starting at the end of Patrick Troughton's run.

January 11: "The Sea of Death" / "The Velvet Web"

(The Keys of Marinus episodes 1 & 2)

The TARDIS has arrived on Marinus -- and Barbara and Susan have changed their outfits since the end of "Assassin at Peking" (so Missing Adventure authors take note -- Christopher Bulis has already taken advantage of this potential gap).  It's an odd episode, to be sure; there are some nice ideas from Terry Nation, like the acid sea which leads to a glass beach, but it's somewhat thwarted by the direction.  "The Sea of Death" feels rather loose because of this: there are an unusually high number of moments where characters are required not to see things that should be plainly visible to them until the plot needs them to: no one sees the first Voord on the beach, the Doctor suddenly sees submarines that have clearly been in front of him for some time, Ian somehow misses the whacking great building dominating the skyline for the first half of the episode...it's almost theatrical in this approach, but it requires a larger-than-normal amount of good faith to see things through.  Which would be fine if it weren't for the obvious errors and bizarre choices that are also plentiful: Hartnell's having a bit of bother with his lines while he's on the beach; a stagehand is visible through the first swinging door; a Voord is stabbed in the back despite being up against a solid wall -- this is just after George Coulouris as Arbitan appears to wander on set, look at Susan, and then wander off for no obvious reason; there's even a script left open and visible on the Conscience set!

This probably would be less of an issue if the script were up to it, but it's essentially marking time until it's time to send the travellers off on a quest.  So we have a number of Voord who lurking menacingly before they get killed, some exploration on a beach, and a plot dump by Arbitan explaining what's going to be happening.  It's functional writing rather than evocative.  Still, as I said before, there are some nice ideas: the trouble is that there aren't enough of them to paper over the other problems.  Even the TARDIS crew's agreement to look for the missing keys feels perfunctory.

Barbara destroys the brains ruling Morphoton.
("The Velvet Web") ©BBC

Fortunately, the next episode goes some way toward redressing the balance.  There's a lot tighter direction this time around, with the scenes from Barbara's point of view showing the city of Morphoton the way it really is worthy of particular praise. It's also interesting how the episode begins with Ian being the most suspicious of their hosts' generosity, yet ultimately it's Barbara who fails to be affected by the hypnosis.  And can we take a moment to acknowledge how gorgeous Katharine Schofield (Sabetha) is?

Really, if anything lets this episode down it's the nature of the overall story.  Because Terry Nation has crafted a quest epic, it means that we're only just starting to know a place when it's on to the next.  This just means that a) everything tends to be painted in broad strokes, with little subtlety; and b) the resolution of the problem is rather abrupt; it's great seeing Barbara smash up the brains, but it does feel a little sudden and therefore unsatisfying -- especially since they also need to spend time setting up the next episode, in a completely different location.

January 10: "Mighty Kublai Khan" / "Assassin at Peking"

(Marco Polo episodes 6 & 7)

And they were so close!  Yet interestingly, Marco doesn't put the travellers under guard as he did in "The Wall of Lies" -- he must believe that without the TARDIS nearby, they won't be a problem.  There's a nice bit where Ian tells Marco the truth: that they're from a different time, not just a different place.  Marco won't believe him though, pointing out that Ian has lied before, and that provides enough doubt to deny them the TARDIS.

But really, the star of this episode is the titular character: Mighty Kublai Khan indeed!  When Polo's entourage arrives at Shang-Tu (which the map accompanying the CD helpfully notes is also known as Xanadu and thus (sort of) the subject of Coleridge's poem), we're treated to a marvelous performance, as Martin Miller provides an aging, human ruler.  It also gives William Hartnell the chance to indulge in a bit of comedy, as his pain from horseback riding leads him to uttering groans and aches almost in time with Kublai Khan.  "Do you mock our afflictions?" the Khan demands.  But it's not just comedy: their shared anguish allows the Doctor to become friendly with Kublai Khan and insinuate himself into his good graces.  It's a good move from writer John Lucarotti.

But if "Mighty Kublai Khan" was good, "Assassin at Peking" is even better.  Tegana admits his fealty to Noghai and his intent to help him take down Kublai Khan to both Ian and Ping-Cho, and they still can't get Marco Polo to believe it.  Tegana has been good before, but here he really enters the realm of "villain you love to hate", as his silver tongue also starts to convince the Khan that Marco isn't worthy of trust (using a little old-fashioned racism to boot).  It's really wonderful -- kudos to Derren Nesbitt's performance.

But this episode also has some more comedy, showing Kublai Khan as being somewhat henpecked by his wife the Empress -- yet still retaining a sense of authority when, say, dealing with Marco Polo and his perceived disloyalty.  Plus there's that great backgammon game between the Khan and the Doctor, and the fate of Ping-Cho's would-be husband.

The Target book (from
the TARDIS Data Core wiki
article Marco Polo
(novelisation))

Yet although the Doctor and his companions work out Tegana's plan (and it's nice to see that they answer the question I asked last time about when Tegana developed said plan), this episode ultimately belongs to Marco and Tegana, as they duel in the throne room in Peking⁴. It sounds like a good fight, and the telesnaps offer some tantalizing glimpses.  It's also interesting how Tegana throws himself on a sword to avoid capture, rather than having Marco (who's really our hero for this tale) kill him.  (Nor is he shot with an arrow by Ling-Tau, as the Target novelization told me.  But sidenote to say that I adore this book as, although my family had a small handful of Target books, Marco Polo was, along with The War Machines, the first Target book I bought myself.)  In some ways, given what's happened before, the TARDIS crew's final departure is very abrupt: no thanks or well-wishes, just a quick dash out before someone changes their mind.  But it works.  And interestingly, there's no cliffhanger into the next episode; it's almost as if these twenty episodes comprised the first story for the Doctor, Susan, Barbara, and Ian.

It's a really lovely tale, Marco Polo, and I've enjoyed it immensely.  I would absolutely love the chance to see this story on video (fun fact: Marco Polo was sent to more countries than any other missing serials), but even with just the soundtrack and telesnaps it's still easy enough to enjoy.  But next time it's back to video with "The Sea of Death" -- hey, our first "of Death" title!  This should be good.

(Final count for uses of 'TARDIS' as a bare noun (aka no accompanying 'the'): 4)







⁴ The enclosed map also informs me (although it's not the first to do so) that the use of Peking is anachronistic: the capital at that time was known as Khanbaliq.

January 9: "The Wall of Lies" / "Rider from Shang-Tu"

(Marco Polo episodes 4 & 5)

"The Wall of Lies" was directed by John Crockett instead of Waris Hussein.  Why does this matter?  Because as a result Waris Hussein had no reason to have the telesnaps for this episode: thus this is the earliest episode for which no visual record exists (unless that rumored recovery announcement of the entire story for its 50th anniversary next month is true; the words "yeah" and "right" spring to mind...).  But as noted before, we still have an off-air audio recording to enjoy.

The Radio Times cover for "The Roof of the
World" (from Partners in Time: 50 years of Doctor
Who Radio Times covers ©Immediate Media
Company Limited)

This seems to be a turning point for this particular story: before the travellers were free to accompany Marco Polo, and only his possession of the TARDIS prevented them from leaving.  But now Tegana has managed to turn Polo against them.  It's dramatic, yet still with the same relaxed confidence that permeates this serial.  The central problem has evolved from simply "how to get the TARDIS back" to "how to convince Marco that Tegana is plotting against him and Kublai Khan".

(Incidentally, do you suppose Tegana always intended to betray Kublai Khan, or that it was when he saw the TARDIS that the possibility of claiming it for Noghai came to mind, and that's when he set his plan into motion?)

In any event, "The Wall of Lies" sees the TARDIS crew at their lowest.  It's particularly interesting how, when they decide to kidnap Marco and force him to give the TARDIS key back, how black the Doctor's intentions seem: "I think by the time I've finished with that gentleman, he'll only be too glad to let us go."  It's a surprisingly dark comment, especially as it's about a man that the story has so far encouraged us to view in sympathetic light.

Fortunately for Marco, "Rider from Shang-Tu" (hooray! the telesnaps are back!) opens with a far different situation that results in a change of plans, as the caravan is attacked by bandits.  Continuing the educational theme, here we learn that bamboo explodes when thrown on a fire.  It's difficult to tell from the telesnaps how well the bamboo forest was realized, but the battle itself sounds exciting.  It also leads to an improvement in Polo's estimation of the travellers: he's not as trusting as he was initially, but he's relented somewhat from the treatment given last episode.

Other than the initial fight, this episode is more about treading water than advancing the plot much: there's no new treachery from Tegana and the titular rider only appears for maybe five minutes.  This episode then is actually set up to look like an escape for the Doctor and company, a chance to finally get to the TARDIS.  (Or just "TARDIS", as it's referred to again this episode -- I wonder if this happens in any other story?)  But like the last time they did this ("The Ambush", episode 4 of The Daleks), there's a sense of unfinished business -- Marco Polo hasn't arrived in Peking yet, and Tegana has yet to be unmasked.  Which is why it's not a total surprise when, just as it looks like they're all about to escape (with a scene inside the TARDIS, even!), Susan is grabbed by Tegana, just in time for the end of the episode.

January 8: "The Singing Sands" / "Five Hundred Eyes"

(Marco Polo episodes 2 & 3)

An Unearthly Child is in a bit of an odd position: in some ways it's a journey back in time, but it's to a place that virtually nothing is known about, and the people we encounter there seem more alien than like us.  This means that Marco Polo is the series' first real journey into history.  And so far it's a very entertaining tale: although "The Roof of the World" played with expectations a bit, "The Singing Sands" is filled with suspense, first with the sandstorm whirling through the camp (memorably brought alive, even on audio), and then with the sabotage of the caravan's water supply.  Meanwhile, the characterization of Susan is interesting, as she seems resolutely in teenage-girl-of-the-60s mode, with slang like "fab" and "dig it", yet the script has her reminiscing about metal seas on Venus and describing her language as how people talk "on Earth", as if she's used to being somewhere else. The chess game that Ian and Marco play is also good fun, with what seems to be foreshadowing from Tegana: "Marco, can you save your king?"  Oh! and an occurrence of the word "TARDIS" as a bare noun, when Barbara talks about how "TARDIS is the only home we have".  And it ends on a good cliffhanger, with Tegana taunting Marco Polo from the oasis.

"Five Hundred Eyes" is a curious episode: there's always been a remit for the show to be educational along the way, and this feels like the first real flexing of those muscles.  We learn about condensation, the Hashashins from the point-of-view of the Mongols (with a brief etymological detour about the word "assassin"), and even a little bit about quartz.  That part about the Hashashins is told by Ping-Cho, who spends a sizable portion of the episode in the telling, yet it remains engaging the whole way -- one can only imagine how it would be with the pictures intact.  It's interesting: there's a relaxed pace about the way John Lucarotti allows his tale to unfold, yet it never feels slow or dull.  Even when there's danger afoot, as with Barbara in the cave, it still seems quite content.  It's a sign of the confidence the production team has in the script, without a need to spice things up unduly.  The word is "self-assured".

January 7: "The Brink of Disaster" / "The Roof of the World"

(The Edge of Destruction episode 2 & Marco Polo episode 1)

"We have ten minutes to survive." ("The Brink of

Disaster") ©BBC

And so all the paranoia and danger was because of...a stuck button.  Not exactly the most thrilling revelation ever, is it? You can see what David Whitaker was going for, trying to subvert expectations and all, but still: a stuck button?

All right, so Whitaker might not have the most satisfying plot going, but to his credit, his characterization is very good.  He refashions their relationships under our nose, almost without our noticing.  By forcing the Doctor to have it out with the two schoolteachers, Whitaker makes them reevaluate each other's positions: the schoolteachers are going to have to rely on the Doctor, and he is going to have to trust them.  If they had stopped and worked together instead of giving in to fear and paranoia, they might have solved things more quickly.  And it's a nice touch how Barbara won't easily accept the Doctor's apology: he has to go and sweet-talk her to prove that he's sincere before she gives in.

But that's not the only relationship Whitaker has refashioned: he's also cannily changed the Doctor's relationship with the TARDIS.  Before the TARDIS was a machine, a fantastical machine that could take them anywhere, but still a machine.  But now there's a suggestion that the TARDIS may be alive in some way; the Doctor dismisses the notion, but the clues left by the TARDIS (which presumably include the way it's affecting the crew, given how out of character they were last episode) seem to suggest otherwise.  Obviously this notion will culminate 47 years later with "The Doctor's Wife", but the first hint starts here.

Next up is "The Roof of the World", the first episode of Marco Polo and, alas, the first of Doctor Who's missing episodes.  Fortunately off-air soundtracks exist for every episode, so I'll be listening to those while squinting at the telesnaps³ (as published in Doctor Who Magazine: The Missing Episodes - The First Doctor) for the next seven episodes.

Obviously we can't actually see how it looked, but given Waris Hussein's work on An Unearthly Child we can probably safely assume it was thoughtfully directed.  Certainly the telesnaps offer tantalizing glimpses of what it looked like: the waystation at Lop looks fairly lush in design, and the narration device of the map also looks wonderful -- you can't tell from what we've got here, but it seems like the sort of thing that would have an animated line showing the journey of Polo's caravan.

It's an interesting episode in terms of the script as well: it looks like it will be fraught with danger, but at just about every step this expectation is thwarted: the large footprint is really a man's footprint which has melted a bit; the travelers are in danger of freezing to death on the mountain, but they encounter people; it looks like they're going to be killed by said people, but Marco Polo intervenes...as an episode it looks like "The Roof of the World" will be full of action, but it's actually quite sedate.  We're meant to distrust the warlord Tegana, but his motivation appears to be that he believes that the Doctor and his friends are evil spirits.  But not only that, but Marco Polo has also denied them access to the TARDIS (leading to a very curious yet entertaining outburst of laughter from the Doctor) -- so it looks like even their potential allies are working against them.








³ People didn't have the ability to show people film copies of their television work back then, so if they wanted to keep a record of it they'd hire a man named John Cura, who would take photographs of the show as it was broadcast.  These photographs, called "telesnaps", are for many episodes of Doctor Who the only visual representation remaining.

January 6: "The Rescue" / "The Edge of Destruction"

(The Daleks episode 7 & The Edge of Destruction episode 1)

The end of the Daleks. ("The Rescue") ©BBC

And so with "The Rescue" (like The Mutants, a potentially confusing title), we come to the end of the adventure on Skaro.  It's a decent ending, but it must be said, the actual defeat of the Daleks is rather perfunctory.  One of them is pushed into what turns out to be the power supply for the Daleks, and so they all perish.  It's not exactly the most thrilling conclusion ever, but at least what we do get is competent, with some nice touches (there's a Thal climbing down a rope, in the studio!).  But before the Daleks meet their end, there are some interesting moments, such as the Doctor bargaining with the Daleks for his life and Susan's, in exchange for which he'll tell the Daleks how to build their own TARDIS.  With 50 years of hindsight it's incredibly odd, but even in context it still seems out of character, given his concerns with letting Ian and Barbara go free at the end of "An Unearthly Child" -- we have to conclude that this is a bluff to get free rather than a serious bargain.

Still, even with the ending, you can see why the Daleks caught on.  They're not only a masterpiece of design, but as I said earlier, here they're allowed to be characters, to have conversations with each other and experiment with anti-radiation drugs.  When they're going to flood the planet with more radiation, it's because they're concerned with their own self-interest rather than out of any sort of malice.  They simply consider themselves to be superior beings, and everything else as pests: consider the word they use, "extermination" (not "exterminate" quite yet).  It's now so associated with the Daleks that we've stopped thinking about what it actually means when they say it.  It brings to mind not just the Nazis (who aren't really as overt an influence on the Daleks here as they will later become, but there's still a hint), but the treatment of things less than them.  You exterminate bugs, not people.  It's a nice subtle touch, illustrating the mindset of the Daleks: killing the Thals to them is no different than stepping on a spider.

So they look great, they're written with care, and they sound amazing.  No wonder the public wanted them back.

The next episode, the start of The Edge of Destruction (aka Inside the Spaceship), is surprisingly paranoid.  We're now into episode (and thus week) 12 of Doctor Who, so we've had a chance to get to know the regular characters and how they behave, so to see them acting so oddly gives the episode an unusual sense of tension.  The suggestion that some sort of intelligence has entered the Ship and could be inhabiting Our Heroes is compelling, and the cast seem to play this angle up with relish -- watch William Russell at the beginning, in an unnatural daze as he tries to remember what's happened, or Carole Ann Ford's deep mistrust of Ian and Barbara throughout the episode.  Meanwhile, Barbara gets to lash out at the Doctor after he accuses the two schoolteachers (without any real evidence) of sabotaging the Ship.  "Accuse us? You ought to go down on your hands and knees and thank us!" she cries.  It's marvelous, especially since the Doctor refuses to be swayed by her outburst.  And while the music may be from stock, it's well chosen, adding effectively to the sense of foreboding.  The whole episode is thus very compelling, especially since we're not quite sure: is there something controlling the travellers, jumping from person to person to throw suspicion on all of them?  Or is something else going on?