Day 453: The Talons of Weng-Chiang Part 6

Mr Henry Gordon Jago and Professor Litefoot have both been discussed in previous entries of the blog. They both come across as strong characters that work particularly well when placed opposite someone else. So it stands to reason that the two characters should meet, to see how their chemistry works against each other. The result is pure beauty. Jago gets to act as a motivating influence for Litefoot, encouraging him to go forth and fight the evils that have been brought to their time period. Litefoot, in turn, acts as a calming influence for Jago, allowing him to reveal his inner self and how he isn't really the showman that he purports himself to be. The two work wonderfully together, and it's no surprise that they eventually got a spin-off series of their own through the audio company Big Finish, which I have listened to a few episodes of and can heartily recommend.

Speaking of double acts, however, there is another double act in this story that has not been mentioned. Philip Hinchcliffe and Robert Holmes are the producer and script editor of Doctor Who. They have breathed new life into this series, starting with the fantastic The Ark in Space and moving on creating more classics in their wake such as Terror of the Zygons and The Robots of Death before finally finishing their reign with this story. Production-wise, they have been splendid, bringing more engaging stories that can be quite dark and scary but never lose the inner joy of seeing a man in a box travel the cosmos and fight monsters. It's a shame to see them move on, as Hinchcliffe moves on to other programmes and Holmes begins to wrap up his script editing tenure, but the legacy that they leave for future generations is one of consistent quality and excellent storytelling.

Day 452: The Talons of Weng-Chiang Part 5

The end of this episode reveals the face of the mysterious force guiding the events, that of Weng-Chiang the apparent Chinese god. It comes to us as a surprise, because we haven't received too much information about his face. The Doctor offhandedly mentions that it would be deformed in the previous episode, but beyond that all we see is the mask that covers it and we are content to leave it at that. Seeing this grotesque visage, therefore, is a great shock, and probably makes quite a few children scurry to the other side of the room or yelp out in terror.

It's also worth mentioning the way in which the cliffhanger is set up. We are led to believe that it is the type of cliffhanger whereby a regular is put in mortal peril. Greel (at this point masked) goes to attack Leela but she fights back. This subverts the expected nature of the cliffhanger, therefore making the reveal of the face more of a surprise. Also, thanks to David Maloney's direction the face is only on screen for a fraction of a second, thus preventing the audience from being able to get used to the face, only leaving it as a quick image that instantly burns itself into the mind. Also, the audience is able to imagine any parts of the face that don't stand out, which creates something more horrible than was achievable on screen in their minds, and a truly memorable cliffhanger.

Day 451: The Talons of Weng-Chiang Part 4

The main crux of this episode takes place in a music hall. It's a variety night of sorts, with singing and magic all held together by the impresario Henry Gordon Jago. Jago is another wonderful character, being incredibly theatrical and willing to engage in anything, however under all of this is a man who is a bit of a fool. Jago also works well against other characters, as he is able to slip into various roles like the performer that he is when the situation requires it. When with Casey, his stagehand, for instance, he is the boss, a man of wisdom who is perfectly in control. Compare this to when he is with the Doctor, for instance, and you see a very different character. He acknowledges the Doctor as his superior and fawns over him, revealing his inner fool in the process as he tries to help the Doctor but inevitably messes up in the process, such as the scene in this episode where he attempts to stealthily contact the Doctor by unconvincingly crouching down behind his seat, with the Doctor taking this very nonchalantly, himself preferring the method of hiding in plain sight. It's yet another example of the fantastic character work in this serial and shows why this story is so well regarded by some fans.

Day 450: The Talons of Weng-Chiang Part 3

It's interesting to note that it's only in this part that we get an indication of the science fiction elements of the story. Whilst previously we have seen giant rats and walking ventriloquist dummies these have been things that could fairly easily be given a rational explanation that fits the Victorian time period that the story is set in. However, here we get to see Li H'Sen Chang capture young women to put into a machine that presumably takes their life force to feed his mysterious benefactor. This is the story finally admitting what it is: a science fiction story, and yet it still remains trapped within the bounds of what it originally purported itself to be: A Victorian adventure. The design of the machine is rusty, feeling like something that a Victorian inventor would have made in his shed and not a futuristic piece of technology. Likewise, the fact that it is young women taken brings to mind the Jack the Ripper murders, keen in the minds of the public at the time. Even the Doctor, as shown below, forgoes the normal scarf for a more Sherlock Holmes look. This all shows the versatility of the series, giving us a Victorian adventure as a change from the expected run of science fiction stories.

Day 449: The Talons of Weng-Chiang Part 2

There's much humour to be had from the interplay between two of the characters in this story, being Professor Litefoot and Leela. Litefoot is a Victorian gentleman, being exceedingly polite and clearly showing his nature as a member of the upper class, which acts as a strong contrast to Leela, the Doctor's savage companion. She cares not for manners and the like, instead doing as she pleases. Litefoot, being a gentleman, is far too polite to comment on this and so he is forced to go along with her behaviour, resulting in some great scenes such as Leela picking up a large piece of meat and eating it directly off the bone, meaning that Litefoot has to do the same out of politeness for his guest. By seeing Litefoot out of his comfort zone we can both laugh at the character's actions but also gain a respect for him as he is willing to do uncomfortable things in order to make people feel more comfortable. Credit for this clearly goes to Trevor Baxter, the actor who plays Litefoot, but also to Robert Holmes who once again shows his fantastic ability as a writer.

Day 448: The Talons of Weng-Chiang Part 1

There's a minor disappointment to be had with this story. It looks and feels impressive, and we shall certainly go on to see where this story succeeds. However there are one or two things that fail to make everything work. One such thing is the decision to have a giant rat as a monster. On paper, it sounds like a good idea. Rats are creepy looking animals, and could easily frighten youngsters. However, in creating the special effects for the rat, we end up with an unconvincing prop and a shot that is blatantly a normal sized rat climbing over a model. It's disappointing because the serial promises us so much from the outset, with a fantastic design and intriguing story. Still, nothing is perfect and I've got a feeling that this serial will improve...

Day 439: The Deadly Assassin Part 4

The villain of The Deadly Assassin is The Master, making his return after last being seen in Frontier In Space. He's changed since trying to pit Draconians and Humans against each other, however, both physically and mentally. Physically, he has changed from the suave looks of Roger Delgado (who sadly passed away after an unfortunate car accident in Turkey) to a sack of rotting vegetables with eyes, hiding away in the shadows. It reflects the mental change as well, as he has become a more desperate  creature, desperate to stay alive and regain his former form. This can be seen, for instance, in the climax of the story where the Doctor and the Master fight each other as Gallifrey collapses around them. The fight is more visceral than we are used to, with them punching and wrestling each other to stay alive, indeed in what is believed to be te last time that we see the Master, we see only his hands as he desperately tries to hold onto an edge and prevent his fall. It serves as a representation of his own journey as well, as he desperately clings onto life even after using up all of his regenerative powers, just so that he can survive. It's interesting to see this change in demeanour take place, and one that shows that the series is not afraid of taking old ideas and repurposing them for a new use, whether it be the Master or indeed the Time Lords themselves, showing that this series can still be interesting 438 episodes into its run.

Day 438: The Deadly Assassin Part 3

This individual episode stands out in the story that surrounds it. Previously, the Doctor had connected himself up to the Gallifreyan Matrix, which will hopefully lead him to the titular assassin. What then follows over the next half hour or so is an extended piece on location, where the Doctor fights with what is eventually revealed to be Chancellor Goth, a fellow Time Lord and a Presidential candidate. But what stands out is not the plotting, it is instead the visuals as given to us by David Maloney, the director for this story.

Maloney creates an interesting atmosphere, with two main characteristics. One is the ability to be unsettling. This brings forth the dream-like qualities of the Matrix, such as seeing eyes appear in cliffs or injuries disappear simply by thinking about them. This makes up much of the first half of the episode and emphasises the disturbing and occasionally dangerous side of the Matrix.

The second half of the episode changes tack slightly, however, moving from the surreal to a hunting expedition, with the Doctor acting as prey to Goth's predator. Here, tension runs high with strong close ups and a focus on the vegetation that surrounds the area that masks the two Time Lords and makes for a for tense experience. It's also worth mentioning that the episode is far more violent than most from Doctor Who, with an awful lot of blood being shown, reminding us of what is at risk and that they are both in a vast degree of danger (and occasionally pain).

All in all, it makes for a gripping and stand out episode, and stands testament as an excellent piece of work from one of Doctor Who's strongest directors.

Day 437: The Deadly Assassin Part 2

It's worth noting that this is the first and only story in the Classic Series of Doctor Who to not feature a companion. The Doctor is alone on Gallifrey, which makes for a remarkably interesting story. Aside from serving as an audience identification figure, the companion also serves as an ally for the Doctor. This is especially apparent in this story, where the Doctor is almost immediately accused of something and is thrown into a bid to prove his innocence. In this instance, we sort of miss the companion, to act as defendant for the Doctor and hopefully turn the tide in his favour. However, it's also apparent that the absence of a companion makes for a better story. We truly get the sense that the Doctor is fighting for his life and thus we are gripped to discover whether he will survive or not. It makes for a nice piece of storytelling from Robert Holmes, but we're only halfway through The Deadly Assassin.

Day 436: The Deadly Assassin Part 1

Gallifrey, home planet of the Time Lords. As far as we're concerned, it is a mystical and wonderful place, where Gods wander the corridors and observe the Universe. It is a place that we have only briefly visited before, with visits generally being confined to one room, or with the Time Lords kept away whilst we focus on the main action. But now, in The Deadly Assassin, we finally get to see the true power of Gallifrey.

It's not entirely what's expected, to be perfectly honest. Instead of meeting Gods, we meet bickering old men who worry about the colour of their robes and such. One could easily be disappointed, but it's also easy to accept these new facts and move on, as we can enjoy the old men bickering (thanks mainly due to Robert Holmes, the writer of this serial and several other classics), and just settle into witnessing all of this previously untold history fold out before our eyes. We can see Time Lord Presidents, Prydonian chapters, Castellans and the like and we can be excited to see all of what we could only guess about come forth and reveal itself. It's good to watch The Deadly Assassin, and discover more and more about the Time Lords.

Day 409: Planet of Evil Part 4

The key driving force behind this story is one of an anti-matter monster which is rather annoyed that anti-matter is being taken from them. The Doctor resolves to ensure that all anti-matter is handed back, however there is a scientist, Professor Sorenson, who disagrees with this and sneaks anti-matter aboard the spaceship. Later, in scenes reminiscent of Inferno, we see the Professor turn into a monster, nicknamed Anti-Man by the Doctor, reflecting the mania with which he proceeded to keep the anti-matter in an attempt to find an alternate energy source.

But there's more to it than just that. Sorenson is fully aware that he is turning into a monster and tries to keep it under control with a vaccine. The Doctor then informs him that the vaccine will no longer work, and that Anti-Man will soon take full control over Sorenson. So in a harrowing scene, we see Sorenson lie down and prepare to be ejected into space. His hand hovers over the switch to eject himself, but we see that the hand has already changed into something monstrous. In a way, the Professor does die at that point. But it's not because he was ejected into the cold vacuum of space, instead it is because the monster has taken over. And whilst all turns out well by the end of the story, and the Professor regains his senses, this singular moment of horror remains one of the most truly disturbing scenes in Doctor Who.

Day 408: Planet of Evil Part 3

There are two characters of great interest in this story: Salamar and Vishinksy. Salamar is the controller of the Morestran spaceship, with Vishinsky as his second in command. Salamar is young, he makes impulsive decisions and is keen to make an impression as a strong commander, whereas Vishinsky is more eager to sit down and listen to arguments, in particular those of the Doctor. This is all fairly generic, until we reach the cliffhanger.

The Doctor and Sarah Jane are accused of killing members of the crew with special anti-matter powers, and so Salamar decides to eject them into space (acting on the suspicions of Professor Sorenson whom we will deal with tomorrow). Thus, they are held in coffin like structures, and are ready to be ejected when Salamar gives the order to Vishinsky that they be sent out into space. Vishinsky refuses, so Salamar forces him to do it, taking his hand and making him pull the lever to send them outside. It shows that Salamar is not just doing this to get rid of what he sees as the problem, he is also doing this to express his superiority over Vishinsky by making him do the action. He is the commanding officer and he isn't going to let anyone else on the ship forget it.

However, by performing this action, it reveals how unstable Salamar is, that he is willing to go to extraordinary lengths to prove his dominance over anyone else. As we approach the conclusion, we shall see how this instability shall manifest itself even more as the Planet of Evil rears its head once more...

Day 407: Planet of Evil Part 2

There's a rather nice effect featured in this episode which complements the story nicely. It's the oculoid tracker, a flying gizmo that provides a group of Morestrans (humans who colonised the planet Morestra) with knowledge of what's going on, by acting as a spy. It flies about the place with some considerable speed, juxtaposing itself with the alien landscape by being a rare piece of technology. It also helps that David Maloney, the director, makes the decision at several points to attach it to the bottom of a film camera and then place the film camera high above the studio floor, after which the camera begins to move around the jungle from the high vantage point. This both shows the tracker at work, allows for the model to be shown off, and shows the beauty of the alien planet, whilst being an innovative camera position and one that shows David Maloney as a director who is very good at his job.

Day 406: Planet of Evil Part 1

This story is beautiful. Seriously beautiful. To clarify, I'm not referring to the performances, nor the plot, nor the direction (although all of those are beautiful in their own right), instead I am referring to the sets. Or to be more specific, the jungle set of Zeta Minor. It was designed by Roger Murray-Leach, who creates an alien jungle before our eyes. The plants all look unfamiliar and untamed, creating an uneasy and alien landscape. This is coupled with the lighting from Brian Clemett which exacerbates the exotic feel of the planet, covering it with reds and blues unfamiliar to the human eye, and the fact that portions of the jungle have been filmed in Ealing, allowing for a larger space and thus giving the jungle more room to breathe. This all creates one of the most beautiful sets that we have seen for some time in Doctor Who and shows the wider world the hidden beauties that Doctor Who can produce on screen.

Day 397: Genesis of the Daleks Part 6

Of course at the end of the day the Daleks survive. It's actually quite shocking to see their actions at the end of the story, as Davros first orders them to turn on the traitors to the Dalek cause, then later when Davros realises that the Daleks are taking over from him he attempts to stop them, only to be exterminated himself. He begs for mercy and pity, to be acknowledged as a being higher than the Daleks, however these terms are all alien to a Dalek, ones which he specifically had removed to make them better at killing. It's a dark moment for the series and a reminder that the evil metal pepper-pots are legitimately evil.

But this is not a sad ending. The Doctor at one point finds himself with the power to destroy the Daleks once and for all, and yet he can't quite bring himself to do it. He questions whether he has the right to destroy an entire intelligent species, even if that species is the Daleks. He knows that for all the suffering that the Daleks have brought, they have also inspired civilisations to go forth in peace, to protect others from the Daleks' menace. Alliances have been formed and friendships created all because of the Daleks.

I'm writing this at 11:42 on Christmas Eve. Watching Genesis of the Daleks in the lead up to Christmas has been interesting. I've not been able to feel as festive, knowing that each night I will see more destruction and death from this story. But in the end, it does oddly represent Christmas. It shows that even in the darkest places, there can still be hope and there can still be light. Even the Daleks, the most evil beings in the universe, can create hope (even if this may be unintentional), and through hope, the universe can be a little bit of a better place.

Day 396: Genesis of the Daleks Part 5

The scene to the left says an awful lot about the character of Davros. He can come across as a perfectly reasonable character, willing to engage in scientific discussion. But he's also a character that is insane, and has hidden that insanity away, only to reveal itself when he gets too emotional. He seeks power above anything else, and will achieve this by any means necessary. It's quite apt that towards the end of his rant he begins to sound like a Dalek, as he reflects his own creation, showing the influence that this God has had on his creations.

Day 395: Genesis of the Daleks Part 4

The underlying theme of this story is one of preventing a great horror. The Time Lords have seen that the Daleks will become far more evil and have thus decided to send the Doctor to either destroy them or introduce a weakness to be exploited in the future. This is a remarkably interesting move, as it portrays the Time Lords as uncharacteristically willing to change the course of history. Granted, they have done this sort of thing before in the Pertwee era, but never on this scale. This is the dark side of the Time Lords, the side where they are willing to use their god-like powers for the benefit of what they see as right.

The move is also rather interesting as it allows the series to play with the concept of time travel. Now more than ever we are confronted with the fact that time can be rewritten, for better or for worse. Indeed the cliffhanger to this episode is Davros forcing the Doctor to tell him of every single Dalek defeat, so as to prevent future Dalek defeats. Other cliffhangers feature the Doctor in danger, or a significant plot element being revealed. This time, it's history that's in danger, and the Doctor is powerless to stop it.

Day 394: Genesis of the Daleks Part 3

Lurking in the shadows of the story so far is Davros, the creator of the Daleks. Aside from his disfigured appearance and apparent lack of care for anything other than the Daleks, he has not had much worth commenting on so far. At this point in the story, however, we begin to truly see the way in which Davros operates. We first begin our suspicions when Davros is called for an inquiry and told to shut down his experiments within 12 hours. He accepts these terms and goes off on his merry way. But through all of this acceptance of terms, there is the underlying current that he is lying, and that he will have some other way to continue these experiments. Indeed he does, as we see that he has leaked valuable information to the Thals in exchange for his survival, and the survival of his experiments. We now truly get the measure of the man. He is someone who puts his dedication to his experiments above all else, even the survival of his own race. He is a nasty piece of work, but he is also an inherently interesting character, and one who we look forward to seeing through the rest of this story.

Day 393: Genesis of the Daleks Part 2

This story, being set on Skaro the home planet of the Daleks, features both the Kaleds (the race that creates the Daleks) and the Thals (who we have previously seen in The Daleks and Planet of the Daleks). We expect the Kaleds to be ruthless and evil, ad they are the ones who will create the villainous Daleks. The script generally follows these expectations, although there is some revelation that there are moderates who only wish for war to end between the Thals and the Kaleds, giving us hope amongst the bleakness that there are people who are on the side of good in even the darkest of places.

It should also be noted that the treatment of the Thals is not in line with our expectations. Previous encounters with the Thals have shown them to be on the side of good, but here they are as ruthless as the Kaleds, using slave labour in roles that will kill them, gunning down people before our eyes, they are just as bad as their enemies. But this is actually to be expected. In their first appearance in The Daleks, the Thals speak of how they used to be more war-mongering, but they eventually settled into a more peaceful role in life. We now get to see what they used to be and we can see why they changed. These Thals are horrible, and show the corruption that war and fighting brings to a race, bringing the notion forward that there is no good side in a war, only people trying to ensure that their side wins.

Day 392: Genesis of the Daleks Part 1

Doctor Who has been dark on occasion, particularly over the past few episodes. But it hasn't really been bleak, aside from a few exceptions (The Massacre, Inferno and select sections of The Daleks' Master Plan and The Myth Makers). This story is different. Despite being written by Terry Nation whose past few stories have been simple adventures, we get something which appears to be unrelentingly bleak. Death is everywhere, whether through old corpses or machine guns being fired with the intention of making some new ones. The bright corridors of Space Station Nerva seem light years away, as we are instead given shadows and black corridors, even the location of a traditional Doctor Who quarry comes across more as a wasteland than ever before, thanks to some well placed props and some excellent direction from David Maloney. All in all, this lets the audience know that we aren't going to be in for a fun sort of adventure, and that things are going to be different this time.