July 27: The Android Invasion Parts One & Two

It's actually rather clever, calling this The Android Invasion.  By announcing the main concern prominently in the title, the viewer is distracted from realizing that the invasion hasn't actually happened yet.  So when the Doctor and Sarah arrive on Earth and find masked figures shooting at them and UNIT soldiers walking jerkily over cliffs, we already know that the problem has something to do with androids, and we (sort of) assume that all the other anomalies (the brand-new money, the deserted village) are related.

This does come at a price though; because we already know that there are android problems in the town of Devesham, there is a bit of a sense of "get on with it" as we wait for the Doctor and Sarah to catch up.  Director Barry Letts doesn't help with this either, as he has a number of relaxed moments (such as watching all the villagers get off that truck and slowly take their places in the pub and wait for the clock to chime) that add to this almost casual feeling.  Even the cliffhanger to part one, as an alien secretly observes Sarah rescuing the Doctor from a cell inside the Space Defence Centre, feels oddly loose and not the shocking/impressive moment it should be.

Still, they do a nice job of maintaining the mystery, even as in part two things become more and more odd -- such as the day calendar that only reads 6th July.  Part of the fun here is Milton Johns's portrayal of astronaut Guy Crayford, who's pitched at just the right level of control mixed with borderline hysteria.  His scenes with the alien scientist Styggron are quite entertaining, particularly as Styggron has no interest in Crayford's feelings whatsoever.  Plus, by including Crayford in the proceedings and adding his backstory (as told by Sarah) of a deep space astronaut who disappeared and was pronounced dead, they're able to keep the Earth pretense up.  Having Benton and Harry Sullivan also walking around helps, even if they're not in these two episodes much and they're behaving strangely (because androids) when they are around.

But by the end of part two we've started to work things out, and thankfully the Doctor has as well: for whatever reason, this is just a very accurate facsimile of Earth.  However, by this point the focus has shifted; Sarah has clearly been replaced by an android (with lots of clues for the viewers -- the Doctor mentions her scarf, but there's also the ginger pop stuff and the lack of a sprained ankle as sustained earlier in the episode), and in what's the most interesting cliffhanger of the story (and directed with some urgency, thankfully), "Sarah" is knocked back and her face falls off, revealing the android circuits inside...

July 26: Pyramids of Mars Parts Three & Four

Part three keeps the momentum going, as the Doctor formulates a plan (thanks to Laurence) to blow up the missile that the mummies are building in order to destroy the apparatus on Mars that keeps Sutekh a prisoner.  There's an entertaining scene with Sarah and the Doctor inside the poacher's shed looking for explosives, where Sarah tosses a box of gelignite to the Doctor, much to his alarm: "Sweaty gelignite is highly unstable," he says quietly.  "One good sneeze could set it off."  They can't find any detonators though: "Perhaps he sneezed [to set it off]," Sarah says facetiously -- a comment which the Doctor is very clearly (and wonderfully) not amused by.

Sutekh, last of the Osirans. (Pyramids of Mars Part Three) ©BBC
While they're gone, Laurence receives a visit from Marcus and unsuccessfully tries to break Sutekh's hold on him, resulting in Marcus strangling Laurence.  This leads to probably the most callous Doctor moment ever: after he finds Laurence is dead (casually pushing the body aside when he's done examining it), the Doctor gets on with his work, prompting a rebuke from Sarah: "A man has just been murdered!"  "Four men, Sarah," the Doctor responds evenly, putting things in perspective.  "Five, if you include Professor Scarman himself, and they're merely the first of millions unless Sutekh is stopped."  It's a nice way of making the Doctor seem not quite human while still on the side of "good". 

The stuff with the Doctor dressed as a mummy (and yes, that's really Tom Baker underneath -- director Paddy Russell insisted on it, much to his displeasure) and Sarah turning out to be a crack shot with a rifle is also quite entertaining, and the fact that Sutekh is containing the force of the explosion with pure mental energy is quite impressive -- and requires the Doctor to head down the sarcophagus space-time tunnel to Sutekh's tomb (prison?) in order to distract him so that he releases his mental grip on the explosion.  Sutekh is not happy with the Doctor...

The opening of part four is fantastic.  Sutekh's power over the Doctor, even while he's still confined to his chair, is impressive, and Tom Baker really sells the Doctor's horror and fear over being controlled by Sutekh.  It's also quite worrying, how Sutekh is able to take full control of the Doctor and have him take Marcus and a mummy to the pyramid on Mars that controls Sutekh's imprisonment.

Sadly, it does sag a little in the middle, as they remake part of Death to the Daleks here, with mental puzzles and such needing to be solved in order to get further inside the pyramid.  In the fine tradition of Terrance Dicks, Sarah even mentions how it reminds her of the "city of the Exxilons" -- but that doesn't solve the basic problem of repetitiveness.  Tom Baker and Elisabeth Sladen do manage to keep things entertaining (such as with their entrance and immediate exit into the room Marcus is currently in, or with the Doctor writing "RELAX" in the dust of the cylinder Sarah is trapped in and Sarah sarcastically indicating her understanding), but it's not quite as wonderful as the first part.  But then Sutekh is actually freed and heads out to wreak his vengeance on the universe -- but thanks to some technical jiggery-pokery by the Doctor, he ends up trapped in a "corridor of eternity" and thus cannot leave before he dies.  The universe is saved, and the Doctor and Sarah leave as an explosion from the sarcophagus starts a large fire in the priory...

It's not hard to see why Pyramids of Mars has a reputation for being one of the standout Tom Baker stories (and indeed one of the standouts of the entire series).  There's a real effort here to make this as tense and serious as possible -- there's very little in the way of humor to relieve things, and much of the humor we do get is rather black (such as the aforementioned bit with the gelignite).  Tom Baker is at the top of his game here, acting alien and intense without going too far or (most crucially) turning into a caricature, and Lis Sladen is more than up to the task of keeping up with him.  Add into that an outstanding performance from Gabriel Woolf as Sutekh (never has evil sounded so calm and cultured as here) and a creepy turn from Bernard Archard as the possessed Marcus Scarman, and the result is a cast taking an already solid script and elevating it to something special.  It's not perfect, but it's a lot closer than most other stories ever get.

July 25: Pyramids of Mars Parts One & Two

I always forget about the opening "prologue" of this story, with the nice stock footage of Egypt and the discovery by Marcus Scarman of Sutekh's untouched tomb.  I'm not sure why I forget; it's a nice set-up showing that something terrible will be happening for the next four episodes, but in my head the story opens with the TARDIS scene and the Doctor acting inscrutable.

This first episode is all set-up, mainly: there's something wrong at Scarman's house  -- a priory in England, with rooms full of Egyptian artifacts but the professor himself nowhere to be found.  In his place is an Egyptian named Namin who's running things while Scarman is away.  Namin's willing to preserve his secrets at all costs, so there's a chase sequence outdoors with Namin and two mummies (yep, walking mummies -- with huge chests) trying to find the Doctor, Sarah, and a wounded gentleman named Dr. Warlock, who was shot by Namin but only injured, thanks to the Doctor's intervention.  It's a nice chase (even if we have Egyptian mummies hunting people down in the English countryside), and it eventually culminates with our heroes escaping (for now) and taking refuge at the house of Scarman's brother, Laurence.  There's some stuff there with a crude radio telescope and a signal from Mars that apparently translates as "Beware Sutekh" -- although why this signal is apparently being broadcast in English is never explained.  The Doctor is now worried ("If I'm right, the world is facing the greatest peril in its history") and they head back to the priory to see Namin summon Sutekh's servant from inside a rather nice special effect in a sarcophagus, who coolly but quite brutally kills Namin, telling him that Sutekh only needs one servant.  The servant then very calmly declares that he brings "Sutekh's gift of death to all humanity."  It's a creepy cliffhanger.

There's a lot more of this coldness and callousness on display in part two.  Sutekh's servant turns into Marcus Scarman, only Scarman looks like a walking corpse (so kudos to the makeup department on that one).   Dr. Warlock is strangled to death by a mummy in Laurence's house, and a poacher who happened to be on the grounds when the mummies set up a forcefield around the place is crushed to death between two mummies in a literal death hug -- though not before the poacher tried to shoot down Scarman, only to see Scarman expel the bullets and suck the smoke into his chest, unharmed (well, I think that's what's happening; it's a really neat use of reversing the footage, but it's not quite clear what's supposed to happen beyond "bullets can't harm him").  But the most striking version of this comes from the Doctor himself, as he shows Sarah the consequences of not stopping Sutekh in 1911:
DOCTOR: 1980, Sarah, if you want to get off.
SARAH: It's a trick!
DOCTOR: No.  That's the world as Sutekh would leave it.  A desolate planet circling a dead sun.
SARAH: It can't be!  I'm from 1980.91
DOCTOR: Every point in time has its alternative, Sarah.  You've looked into alternative time.
LAURENCE: Fascinating.  Do you mean the future can be chosen, Doctor?
DOCTOR: Not chosen, shaped.  The actions of the present fashion the future.
LAURENCE: So a man can change the course of history?
DOCTOR: To a small extent.  It takes a being of Sutekh's almost limitless power to destroy the future.
The manner in which the Doctor matter-of-factly shows the result of their inaction is quite callous, but it's also very effective (and looks a lot like it's been inserted to forestall viewer questions about how Sutekh could destroy the world in the past).

Laurence is meanwhile having trouble accepting that his brother is dead and that the Marcus we see is just a walking corpse, so when the Doctor tries to set up a jamming device to break Sutekh's control over Scarman, Laurence tries to stop him -- just as two mummies burst in to kill them, leaving us with the rather disturbing image of one of them grabbing Sarah's throat as the cliffhanger...







91 And yes, this is the story where Sarah Jane Smith repeatedly states that she's from 1980.  This isn't really the place to get into the whole UNIT dating argument, other than to observe that this is one of the few pieces of on-screen evidence to not gel with an early-70s setting for the Pertwee UNIT stories and so is probably the bit brought up most often for the late-70s theory.

July 24: Planet of Evil Parts Three & Four

It's a bit sad that, after we spent so much time in that awesome jungle for the first two episodes, that most of our time in these last two are spent on the Morestran spaceship.  It just can't compare.  But you can see what Louis Marks (whose last script was Day of the Daleks, you might recall) is doing by heading inside the ship; it's one thing to have something roaming the jungles outside, but it's another to have it in the ship with you.

Part three does a good job of maintaining the suspense, with the Doctor spinning through a black void and communicating with the antimatter creature -- apparently his promise as a Time Lord to return the antimatter was good enough for the creature to accept.  And so the spaceship tries to leave Zeta Minor, Salamar having ordered that the antimatter be taken off the ship -- only it seems that Professor Sorenson has hidden some away, thus preventing the ship from getting too far into space.  That's bad enough, but it seems that Sorenson is being taken over by the antimatter, turning into some sort of animal (this is often compared to Jekyll and Hyde, but it's also a lot like a werewolf).  The glowing eye effect is pretty nifty, but there's a lot of "hands covering face" acting -- presumably to remove whatever has been painted on Frederick Jaeger's eyelids.  Still, it's an effective shot.

But yes, Sorenson has turned into an animal-like creature and started killing people, but Salamar is convinced that the Doctor and Sarah are responsible.  There's a nice moment after the first death in this episode, where Vishinsky consigns Morelli's body into space, while playing the last rites for a Morestran Orthodox.  It shows the level of thought that went into things (even if Vishinsky doesn't seem particularly sympathetic towards Morelli's beliefs: "One of those," he says a bit derisively upon learning his faith, and then when he plays the last rites silently, he remarks, "We may have to play the last rites, but we don't have to listen"), and it's a clever way of establishing the jettison equipment -- so that when Salamar wants to space the Doctor and Sarah, we already know what that entails.  Thus the cliffhanger is even more effective, particularly since we see them both disappear from view...

The antimatter creature watches the TARDIS depart. (Planet
of Evil
Part Four) ©BBC
Part four doesn't quite wrap things up as nicely as one might want.  There's a sense in which things have been nearly sorted out less than halfway through, which is presumably why they introduce a new threat by having a crazy Salamar shoot Sorenson with a "neutron accelerator", which turns him into a whole bunch of antimatter creatures roaming the ship and attacking people.  It only stops when the Doctor finds the real Sorenson, knocks him out, and drags him into the TARDIS so he can take him back to Zeta Minor.  It's noticeable that this is one of those rare instances in which the Doctor seems to have total control over the TARDIS, able to make short hops in space but not time with it -- and to have a dangerous enemy along for the ride is even more striking.  But in any event, the Doctor is able to return the antimatter and the hybridized Sorenson back to Zeta Minor and save the Morestran spaceship.  Pleasingly, the antimatter creature decides to return Sorenson to "our" universe, minus any antimatter contamination -- it's nice to have the misguided "villain" survive the story.  The Doctor thus returns Sorenson, picks up Sarah, and heads off to Earth again.

There are two things going for Planet of Evil: the superb design work on Zeta Minor and its antimatter creature (pinched from Forbidden Planet or not, it's still cool) and the desire from Louis Marks and the rest of the crew to make a straightforward scary story.  These decisions go a long way in papering over any flaws the rest of the story might have (such as making Salamar go mad -- difficult in the best of circumstances, but Prentis Hancock does seem to be a little out of his depth, such that it's almost like a switch is flipped when it's decided, "oh, he's crazy now").  It's not designed to be an allegory or an "event" story; it's just there to tell a tense, scary story, and at this it succeeds marvelously.  A solid, well-done tale.

One lingering question though: what is it about the planet that makes it evil, exactly?

July 23: Planet of Evil Parts One & Two

Hey, that's not London...

The thing that immediately strikes you about Planet of Evil is how impressive that jungle set is.  It's a riot of plants and colors, and it's all lit very moodily -- particularly on film.  But what's perhaps even more impressive is that the character of the jungle is retained when they go to studio scenes shot on video; it still looks like the same set (albeit with more standard lighting).  And so they've taken this really good jungle and decided to make it scary.  So add one lost expedition and the Doctor and Sarah stumbling on the remnants, just as the reinforcements arrive, and you've got a nice old-fashioned tale of suspense.  There's clearly something out there, killing people by sucking all the liquid from them (the disappearing effect is rather meh, but the dehydrated appearance of the bodies is first-rate) -- and unfortunately those reinforcements think the Doctor and Sarah are somehow responsible.

The Morestran spaceship does provide a nice contrast to the jungle set, even if it occasionally looks too much like a quick set that someone's put up in an hour, but the crew themselves disappoint by being rather one-dimensional; they don't trust the Doctor, and that seems to be their only motivation -- even to the exclusion of leaving Zeta Minor as quickly as possible.  I guess once they think they've caught the culprits there's no need to worry -- and the Doctor and Sarah making an escape, only to have one of the Morestran guards attacked by a nifty Forbidden Planet-esque monster, doesn't exactly help their case any.

Part two gives us more of the same but adds into the mix some motivation for what's going on, thanks to the Doctor.  The Morestrans still believe the Doctor's responsible for the deaths (and there seems to be a math error here: Sorenson says there were eight in his expedition, and he appears to be the only survivor; then we see O'Hara killed, which should make eight deaths, but Salamar keeps referring to seven deaths), but the Doctor's worked out that Zeta Minor is a gateway between universes, this one and one he refers to as one of antimatter, and that the antimatter universe isn't going to let the Morestrans take any of their universe away (in the form of mineral samples that Sorenson has collected).  But the Morestrans desperately need energy, so Sorenson doesn't want to relinquish the minerals.  However, their ship is unable to leave the surface, and then the antimatter monster attacks the ship -- which seems to convince the Morestrans that maybe the Doctor isn't responsible.  The Doctor offers to negotiate with the other universe, but when he's at the black pool which seems to be the immediate gateway, the antimatter creature rises up and causes him to overbalance and fall into the pool (with another David Maloney freeze-frame cliffhanger)...

July 22: Terror of the Zygons Parts Three & Four

A reasonable cliffhanger resolution for once: the signalling device for the Loch Ness Monster is destroyed, and the Doctor was the last one holding it, ergo the Doctor has been destroyed too.  Thus the Zygons can proceed with their plans without further interference, they believe.  And seriously, the Zygons are still so creepy-looking.

One of the primary plot points for part three, however, involves the pub's landlord, Angus, being killed by the Zygon masquerading as Sister Lamont (and the transformation from Zygon to human and back is really well done -- that red-and-black effect does a good job of selling the change, rather than just, say, a simple dissolving mix), which leads to a cross-country chase for Warrant Officer Benton and his men -- and look, an alien that's not immune to bullets.  Someone probably should have told that trooper about the shapeshifting, though.  The big point gets the Duke of Forgill involved -- turns out he's a Zygon in disguise as well, and Sarah quickly (and serendipitously) learns that there's a tunnel leading right to the Zygon spaceship in Loch Ness.  She's able to rescue Harry, too -- although the Doctor still ends up being captured by the Zygons and taken back to their spaceship.  And when the Brigadier tries to get them to come out of the loch, they end up (in a really nice effect, both underwater and above it) simply flying away...

Part three does a good job of keeping the momentum going and setting up the big finale, and part four doesn't disappoint.  There are some marvelous moments in front of the camera -- that forced perspective shot of the spaceship model in the quarry, with people apparently jumping out of it, is so good that it's actually all too easy to believe it's a real full-blown set built on location (and compare this to the tank scene in Robot) -- and the script has some witty moments too.  "You can't rule a world in hiding," the Doctor tells Broton, the Zygon leader.  "You've got to come out onto the balcony sometimes and wave a tentacle, if you'll pardon the expression."  Robert Banks Stewart (a writer new to the show) also slyly pokes fun at its limitations: "When does this great operation begin, this conquest of the world?  ...  And what are you going to do with it when you've got it? Isn't it a bit large for just about six of you?" the Doctor wonders.  There's also the forward-thinking moment where the Brigadier handles a phone call from the Prime Minister who is clearly female ("Oh, absolutely understood, madam.  No public announcement").  But contrasting with this is the somewhat bloodthirsty moment where the Doctor traps the remaining Zygons inside the spaceship which he then sets to self-destruct -- as if the fact that these are would-be conquerors means that their lives somehow don't have value.

A Zygon is given orders by its leader Broton. (Terror of the
Zygons
Part Four) ©BBC
The resolution of everything is admittedly a bit daft (Broton's plan appears to be to hold the International Energy Conference to ransom with the Loch Ness Monster coming out of the Thames) -- although, again, the fact that Zygons can be killed by bullets is rather nice -- but there is a nice bit of symmetry.  The story started with the Skarasen (the Zygons' name for Nessie) attacking oil rigs, and now it ends with the Skarasen terrorizing London.  This is probably the worst the special effects get for the Skarasen, and it's not that bad at all (though it should be noted that the DVD has done a good job of stabilizing the most offending shot, which had wildly shaky film with rock-solid video superimposed on it, so that it only looks a bit bad, instead of really bad).  But the Zygons have been defeated, and all that's left is for everyone to head back from London to Scotland to the TARDIS -- even though two of those people (Harry and the Brig) are going to go straight back to London again (and the Brigadier has changed back into that kilt again).  Sarah prefers to head back to London via TARDIS, and so off she and the Doctor go.

And so we say goodbye to Harry Sullivan as a regular companion (though he'll be back for one more story later this season), and Brigadier Lethbridge-Stewart as a semi-regular character (he'll be back a few more times, but not until 1983).  It's a bit sad to see Harry go -- Ian Marter is an incredibly talented actor, and it's a shame they got rid of him, even if he's rather superfluous in plot terms.  The Doctor may not have liked having him around, but I sure did.  It's a little less sad to see the Brigadier go, but only because a) we know he'll be back, eventually, and b) his appearances have been more and more sporadic anyway.  Combine that with the fact that the fourth Doctor doesn't seem to really fit in with UNIT anymore, and it's probably best for the Brigadier to bow out at this point.  Oh, and UNIT too!  They'll be back a couple more times, but this in many ways feels like the last gasp of greatness for UNIT.  But at least they get a good story to go out on.

For many people the Skarasen is held up as a woeful effects shot that lets everything down.  As I mentioned in Outside In, this is nonsense.  It's not the world's most convincing effect, but it's a lot better than other effects from around this time.  I think the Skarasen receives the brunt of these criticisms just because all the other visuals in this story are so good.  The Zygons are incredible, the ship is convincing, and Camfield does a superb job of keeping everything moving.  Closer examination reveals that the script isn't quite as good as the direction initially makes it seem (e.g., Broton's plan is a little confused, there are some shocking lapses of good thinking on behalf of UNIT at various points), but it's Camfield's triumph that this only becomes apparent when you really sit down and think about it.  Terror of the Zygons is a solid tale, and when something like the Skarasen is the worst thing about it you know things are going right.  And if the Loch Ness Monster bothers you that much, you're probably watching the wrong show anyway.

July 21: Terror of the Zygons Parts One & Two

Full disclosure: this is the story I wrote a piece on for Outside In (which you can purchase here if you're interested (shameless plug over)).  This will try to not be a repeat of that piece, though I may touch on a couple of those points again.

It is rather nice to see UNIT back in action again, even if we're outside the usual stomping grounds and hanging around Loch Ness instead.  (Not exactly convinced about the Brigadier in a kilt though.)  But what's more striking is how irritated the Doctor seems to be about being summoned back by the Brigadier, even though he's the one who gave him the space-time telegraph in the first place.  "When I left the psionic beam with you, Brigadier, I said it was only to be used in an emergency," the Doctor grumbles.  "Oil an emergency?  Huh!  It's about time the people who run this planet of yours realised that to be dependent upon a mineral slime just doesn't make sense."  He does allow himself to be persuaded to help after the Brigadier mentions the loss of life, though.

Given that this is a UNIT story during Philip Hinchcliffe's producership, we get an interesting blend of that cozy UNIT feel and the more intense air of season 12.  It clearly suits director Douglas Camfield fine (back in the Who fold after 1970's Inferno), and he does a fabulous job with the material, but that blend is still present -- perhaps no more obviously than the sequence in part one where Harry is shot with a sniper rifle out on the beach while trying to help an oil rig worker who's stumbling in from the sea.  So while the Brigadier is setting up a base of operations in the local pub, Harry is lying on the ground with blood on his forehead (and Ian Marter does a good job of selling being struck by a bullet as well).  It's to Camfield's credit that this juxtaposition of styles works so well.  And he also does a good job with the titular aliens, showing us a hand here, a pair of eyes there, so that the first cliffhanger, showing one in its full glory menacing Sarah, has a strong impact.

Zygon Harry hides in a barn. (Terror of the Zygons Part Two)
©BBC
Of course, once we've seen a Zygon, part two gives us lots of shots of them inside their organic spaceship.  They really are a masterpiece of design and still maintain their creepy impact even today.  Their ship is also just as unpleasant, looking like a pizza gone amok.  It's very impressive.  But the other thing we learn is that Zygons have the ability, given a suitable bodyprint, to take on the appearance of human beings -- which therefore allows Ian Marter to play a baddie, as a Zygon assuming Harry's form.  Marter is very sinister in this role, and he's aided by some striking direction -- one shot in particular (as shown to the right), with him half-hidden in shadow, is superbly framed and lit to make Harry seem very sinister.  The sequence doesn't last long, but its impact is long-lasting.

But shapeshifting isn't the only weapon the Zygons have: they also have control of a giant monster living in Loch Ness, which has been chewing up the oil rigs and caused the problem that brought the Doctor to Scotland in the first place.  Yep, it's the Loch Ness Monster, and it honestly doesn't look that bad -- it's a hell of a lot better than the dinosaurs from season 11, and there's something wonderful about the stop-motion animation used to make it chase the Doctor across the moorland -- a welcome touch of Harryhausen added to the proceedings.  It is a bit silly that the Zygons have to resort to gassing an entire town in order to let it pass unseen, but the monster does make for another effective cliffhanger, as it bears down on the Doctor and the tracking device that he can't get unstuck from his hand...