Friday, May 20, 2016

Making Peace With Pertwee (part 2)

The second chapter of my latest Doctor Who three-parter, beginning a countdown of my top ten Pertwee serials. (You can check out the first chapter, an overview of the Pertwee years, here.) As I noted in Part 1, my enthusiasm for the Third Doctor era is tempered by some very real reservations, so I suspect my top-10 list won't resemble anyone else's. (Spoiler: two of his most beloved serials -- "The Silurians" and "The Green Death" -- are nowhere to be found.) I gravitate towards the serials that aren't quite as emblematic of the Letts-Dicks approach, but that strive for a little more novelty, even if they're rougher around the edges. And I definitely respond most to the serials that are best directed. One of the first Who reviewers I read, Finn Clark, argued that strong directors were particularly needed during the Troughton years, as a way of differentiating the numerous base-under-siege stories. I see it differently. I think solid directors were needed much more in the Pertwee era. The similarity of settings -- particularly during the earlier, Earthbound years -- cried out for directors with singular style and creative vision. I find parts of the Pertwee era visually flat (the early '70s, after all, were not a particularly flattering time, design-wise); of the serials below (#10 through #6 on my list), I see that all are anchored by directors whose work bears evidence of a deeply personal aesthetic. For me, that often made the difference between a good Pertwee and a great one. Here goes:

#10. Invasion of the Dinosaurs
written by Malcolm Hulke
directed by Paddy Russell
Oh, of course: if you're going to do a six-parter about dinosaurs, it would be nice if the dinosaurs weren't so dismal. But after the first puppet makes its appearance, you know what you're in for, so you make the mental adjustment. "Dinosaurs" is the oddball Hulke serial where you don't root for the meek to inherit the Earth; here, the peacemakers are the nutjobs. Hulke tries to hammer home that the quest to preserve the planet remains a noble one, and that only these particular antagonists are misguided -- but still, most of the famed Hulke moralizing is happily buried beneath layers of fruitcake. You almost sense that once Robert Sloman picked up Hulke's penchant for polemics, it liberated Hulke: he could be livelier and sloppier. But other forces drive "Dinosaurs" as well. Sarah Jane is still settling in, but Lis Sladen has already proven a force to be reckoned with. You see her mind going a mile a minute, and keeping Pertwee engaged; you can tell that he's adapting to her rhythms, not vice versa. (There's a scene early on where the Doctor, the Brigadier and Sarah Jane are seated at a table, strategizing, and each is using their particular insights to solve the puzzle; it's a dynamic we haven't seen since Liz Shaw left, and it's invigorating.) Legend has it that Pertwee was fighting back pain and boredom during Season 11, and so the story has been passed down that he's muted and off his game. On the contrary: Season 11 offers some of his most ingratiating performances. The new dynamics keep him from resorting to old habits. And one other thing challenges him in "Dinosaurs" -- in a good way: the maddeningly hands-on Paddy Russell. She was a director who loved to rehearse. (Sladen would say she wrung every ounce of spontaneity out of a scene.) But her serials never seem over-rehearsed. They seem confident. They seem full of details and ambiguities too often overlooked in Classic Who. Russell feels in command of every moment of "Dinosaurs": there's not a scene in which the intent is unclear, in which the execution is muddy. And Pertwee -- with a control-freak director and an able new acting partner -- seems renewed, forced to think on his feet. Even driving through the streets silently, his face seems fairly bursting with thought. It's a look that suits him.

#9. The Sea Devils
written by Malcolm Hulke
directed by Michael E. Briant
In one well-remembered scene, the Master sits in a prison cell watching children's programming -- and that's apt, because "The Sea Devils" is very much like a recruitment ad that you'd see on a Saturday morning kiddie show. Join the Navy: you'll get to ride in a submarine, and there'll be sword fights and boat races, and you can navigate a mine field, and blow things up -- and there'll still be plenty of time to practice your golf putting, to fight over finger sandwiches, and to indulge in the kind of hoary gags ("after you" "no, after you") that your parents learned from their parents. "Sea Devils" is not so much a follow-up to "The Silurians" as a topsy-turvy remake: glib where that one was glum, snappy where that one was slow. It's almost the early serial's undoing -- forget about "Silurians," it tells us: you know, the one that exposed human beings at their most paranoid, ruthless and unforgivable. Now even the Doctor will blow up alien reptiles without batting an eyelash. There are a lot of devilishly good performances -- not just the regulars, but also Edwin Richfield, June Murphy and Donald Sumpter. There's almost no forward motion, it's just a string of set-pieces, but forward motion was never Michael Briant's strong suit. Derek Martinus and David Maloney propelled you from one scene to the next; Briant, at his best, simply encourages you to bask. And every ten minutes or so, he reaches into the candy box and pulls out another goodie -- and no confection is as sweet as Katy Manning, finally elevated (after a season and a half) from assistant to colleague. Hulke imbues her with new assurance and astuteness; Manning seems exhilarated by the redefinition of her role, and her empowerment fuels the fun. "Sea Devils" has its oddities -- including the fact that the eponymous aliens are draped in foam-blue fish-net mumus -- but none of that detracts from the viewing pleasure. It's the most ebullient Pertwee serial.

#8. Inferno
written by Don Houghton
directed by Douglas Camfield (and Barry Letts, uncredited)
A drilling operation on Earth is going awry; the Doctor ends up on a parallel Earth where he sees the catastrophic impact the drilling could have on our own world. You presume the Doctor will gain insight that will help him persuade our chief scientist, upon his return, to stop the drilling, but that's not where Houghton goes. He doesn't go anywhere. By the time Episode 5 hits, and the parallel Earth starts to crumble, Houghton -- after a sensational start -- runs out of ideas, so he resorts to the cliches of the horror genre to see him through, as werewolf-like beasts burst through doors and break through windows -- all while characters shout, over the crude hum of machinery, unfortunate lines like "it's about time you learned that some problems just can't be solved by brute force and terror." Eventually, the Doctor returns home, but no one believes his predictions of doom, until the chief scientist himself is changed into a werewolf -- and then everyone goes, "Omigod, he's a werewolf: we must stop the drilling," as if that's a logical conclusion to draw. What sustains "Inferno" through the bad, late stretches are the three leads, all of them at their most winning. Caroline John is particularly good. She appears first as our Liz Shaw, then as one on the parallel Earth: tougher, more severe and less trusting. But as she softens, and becomes more like the Liz Shaw we know, John still manages to distinguish between the two characters. She's masterful. Right up there with the dimwitted decision to axe Ian Marter after his first season of Who is Barry Letts's decision to can Caroline John after hers. Not to denigrate Katy Manning, who grows wonderful as Jo, but John hits the ground running and only grows more assured -- and she inspires Pertwee to heights he only sporadically hits again in the serials to come. Fittingly, Pertwee's first season ends not with the Doctor, not with the Brigadier, but with a close-up of Liz: a strong woman who made the Doctor even stronger. And then, in a feat of chauvinism that will come to haunt the era, she's gone.

#7. Death to the Daleks
written by Terry Nation
directed by Michael E. Briant
The closest to a mood piece that Doctor Who had attempted since "The Abominable Snowmen" six years earlier. A lot of "Death" is silent exploration, but done with a gentle hand and a cheekiness that's rare for the era; it's a Pertwee playing out like a Hartnell, with the tone of a Troughton. Briant was a hit-or-miss director, but on a good day, he was the best the Pertwee era had to offer, and perhaps because -- by his own admission -- he disliked the script so much, he was struck with the kind of inspiration that made for not just a good day, but a very good one. And he's aided immeasurably by production designer Colin Green (whose only other Who contribution was the sumptuous "Enlightenment"); Briant was always at his best working with a strong art director (e.g., "Robots of Death," with Kenneth Sharp), and these two have a field day taking an underwritten story and making it visually arresting. And Carey Blyton upends all expectations of what Who should sound like; he orchestrates "Death to the Daleks" for a saxophone quartet, in a style that could be described as Claude Debussy meets Bernard Herrmann. (At its lightest, it's sort of "Golliwog's Cakewalk" crossed with the shower scene from Psycho; Herrmann's screeching strings have their counterpoint in a recurring percussive effect that's half ratchet, half razor strop.) This is Doctor Who as theme-and-variations: the pleasures not to be found in simple scares, but in the interplay, manipulation and subversion of color, camerawork and composition. And if that's not enough to engage you, "Death" comes with a secret weapon: Bellal. This native of the planet Exxilon, a miniature man seemingly covered in grey, clay papier mâché, is utterly charming: a triumph of conception and casting. Actor Arnold Yarrow manipulates his voice and gesticulates so convincingly that it more than makes up for the lack of facial features. At a mere 5'3", he's nearly a foot shorter than Pertwee, and he proves a delightfully meek foil, showing Pertwee off at his most protective and endearing. "Death to the Daleks" is the quietest Third Doctor serial, and for an era steeped in squabbling, that's cause for celebration. (I discuss "Death to the Daleks" in detail here.)

#6. The Claws of Axos
written by Bob Baker & Dave Martin
directed by Michael Ferguson
It's like Doctor Who on LSD: a trip you don't soon forget. There's a hallucinogenic aspect to all of Ferguson's Who serials: here he goes full throttle. "Axos" has long been dismissed as a walking-joke serial, and like most of Baker and Martin's efforts, it tosses around way more ideas than it knows what to do with. But it's visually arresting in a season that often looks flat and forgettable; the gaffes are easily forgiven, because the images stay with you, The interior of the ship is a psychedelic synthesis of textures and colors and shapes. (In its own way, it's as other-worldly as Hartnell's "Web Planet.") And "Axos" itself is full of memorable moments: the aliens materializing out of walls, then merging back into them; the Doctor and Jo escaping an exploding ship while golden faces block their path; Jo being hyper-aged, as the Doctor stares, horrified and helpless. "Axos" features one of Pertwee's best performances -- his reactions sharp, his timing impeccable, and his character deliciously ambiguous; it also has one of the era's best bureaucrats. The Pertwee years are strewn with self-serving businessmen and fatuous government officials -- after a while, it's hard to remember one from another -- and they constantly prompt Pertwee to go on the attack, a dynamic that quickly grows stale. But "Axos," to its credit, manages to eat its cake and have it too. It offers up a government official who's so loathsome that he provokes not merely testiness in the Third Doctor, but genuine rage (he lights a fire under Pertwee, rare for Season 8). And at the same time, the script takes the piss out of him by giving him a commanding officer who sees right through him. When the unctuous government official calls in his report, asking the head of the Ministry if they should scramble the call, and the Minister responds, "Just your report. I'm sure that will be scrambled enough," it's a welcome relief. Someone else can take care of cutting the bureaucrats down to size; Pertwee can just get on with the plot.

Next: continuing the countdown, #5 through #1.

3 comments:

  1. I'm a fan of most of these too. I'm surprised Delgado doesn't get a mention in Sea Devils as he is glorious throughout and I love the CVs minus doors that stand in for prison cars. What about that goat farting music too? I also agree that Pertwee is very good in S11 and find him and Sladen a charming team (even if the Tom Baker/Sladen one is better still). I respect your views on Death to the Daleks but I find that a plod to sit through, I'm afraid!

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    1. You're right: I should have mentioned Delgado in "Sea Devils." As I noted in Part 1, though, I find him a delight throughout his time on Doctor Who; in these capsule reviews, I tended to focus on performances that were unusual or surprising or noteworthy in some way. He's so consistently good I probably don't mention him enough in these reviews! Anyway, glad you enjoyed. I know "Dinosaurs" and "Claws" usually get dismissed or mocked, but I find them entertaining. I watched "Claws" after hearing so many awful things said about it; as I watched, I was entranced by the design and direction. I see all the flaws, but when something's that visual captivating, who cares? It was interesting that on the "Claws" DVD commentary, everyone seems to apologize for the story, as if someone the serials surrounding it -- that are filled with social commentary -- are somehow "better." But for me, the serials that depend on (and occasionally get bogged down in ) social commentary don't hold up as well, after 45 years, as the stories that simply aim to be fun (like "Sea Devils") or visually stimulating (like "Claws" and "Death").

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    2. For me, the social commentary ones feel like my childhood. I remember the mining disputes and pit closures that Green Death kind of predicted and the show has always reflected the British culture of the time so for me they work on two levels of fun and personal history. Once again, a bonus of being a Brit viewer, I guess. It's also a very BBC thing, especially in the 70s and 80s. Looking forward to seeing what your top ones are.

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