carole ann ford

Doctor Who – The Sensorites. Episode Two – The Unwilling Warriors

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It sometimes feels as if Carole Ann Ford has spent the last fifty years complaining how underdeveloped Susan was. According to Ford, Susan was to be an active, Avengers-type girl with psychic powers, so she was later perturbed to receive scripts where she was called upon to play a character who appeared to be little more than a frightened fifteen year old girl.

Quite how much truth there is in the concept of a super-Susan is hard to establish. I’m not aware of any draft scripts that present the character in this way (and Sydney Newman, who more than anyone can be called Doctor Who‘s creator, was always clear that Susan was to be the audience identification figure – a normal teenage girl).

When the first story was being written, there was some talk about making her an alien princess, but it does seem that very quickly it was decided to keep her pretty much as an ordinary girl (even though it’s established that’s not the case). It was a constant source of frustration for Ford and led to her desire to leave the series at the earliest opportunity – although she was possibly unaware that the production team were equally keen to dispense with her services.

One remnant of super-Susan is touched upon in this episode – a skill with telepathy. Her ability to connect with the Sensorites causes her to act as their intermediary – which concerns the Doctor. It gives Ford a little more than normal to work with, which is welcome, and it allows us another brief look at the unearthly child from the opening episode.

Ian spends part of the episode being stalked, rather slowly, around the ship by the Sensorites. Frightening though they appear, the Sensorites aren’t aggressive – although they do insist that everybody has to come down to the Sense-Sphere to live with them, which doesn’t sound like the best proposition ever. The Doctor, as might be expected, isn’t happy. “I don’t make threats. But I do keep promises. And I promise you I shall cause you more trouble than you bargained for if you don’t return my property!”

Another remnant of the early aim of the series to educate as well as entertain is touched upon when the Doctor discusses how they might gain the upper hand with the Sensorites.

DOCTOR: It’s a fallacy, of course, that cats can see in the dark. They can’t. But they can see better than we humans, because the iris of their eyes dilates at night. Yes.
IAN: What are you driving at, Doctor?
DOCTOR: Oh, it’s all perfectly simple, Chesterton. You see, the Sensorites eyes are the exact opposite to that of a cat. The Sensorites eyes were completely dilated, that is, enormous, in light.
IAN: The conclusion being that they would contract in darkness.
DOCTOR: Exactly. And that is our best weapon. The Sensorites will be frightened of the dark.

There’s not a great deal going on this episode, apart from giving us our first proper look at the Sensorites. But it ends with a jolt – as Susan prepares to journey down to the Sense-Sphere alone (even if, as so often, the cliff-hanger is negated in the opening moments of the next episode).

Doctor Who – The Sensorites. Episode One – Strangers in Space

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It’s fair to say that The Sensorites is something of an unloved story amongst Doctor Who fans (often regarded as nothing more than an excellent cure for insomnia). I think this is a tad unfair (it’s never been a story I’ve struggled with too much). Yes, some of the plotting is a little simplistic, but then the series was still feeling its way during this point, so a little slack needs to be cut.

Probably the most notable part of the serial is that the Sensorites aren’t mindless monsters – they have an ordered society and their decision to imprison Maitland’s ship in an endless orbit is revealed to be an exercise in defence, not attack.

This possibly shouldn’t come as a surprise for anybody re-watching season one in order. We’ve yet to get to the point where non-humanoids are regarded as evil by default. So far only the Voord (underdeveloped as they are) match the template of a monster who desires to dominate others (later to become a familiar Doctor Who trope). Even the Daleks in their first appearance aren’t interested in conquest – survival is the only thing on their minds.

Quite a few six-parters employed a 4-2 or 2-4 format (good examples are The Seeds of Doom and The Talons of Weng Chiang). The Sensorites does something similar – episode one and two take place on Maitland’s spaceship whilst the remainder relocates to the Sense-Sphere. Although here it’s done for more practical reasons, as the studio was too small to house all the sets.

We open with a mystery – the TARDIS materalises inside a spaceship and the Doctor and his friends find two people – a man and a woman – who are both apparently dead. They’re just about to leave when the man stirs and shortly after he explains that they’ve been put into a deep sleep by the Sensorites, who live on the nearby planet.

Lorne Cossette (as Maitland) gives a strange and unconvincing performance, so it’s a blessed relief that he doesn’t travel down to the Sense-Sphere with the others later on. But there is a line of dialogue which suggests he’s been deeply affected by the Sensorites, so that might explain that Cosette isn’t just indulging in a spot of bad acting (although I’m not convinced). Ilona Rodgers (as Carol) has equally earnest dialogue but manages to make a slightly better job of things.

The Doctor’s still in full run-away mode – after a brief chat with Maitland and Carol, he decides there’s nothing he can do to help. So if the Sensorites hadn’t stolen the lock of his TARDIS he’d have been quite happy to nip off and leave them to their fate ….

But once circumstances force him to take action, he does so with gusto – elbowing Maitland aside as he takes control of the ship. Newman gives Hartnell some lovely lines, such as “it all started out as a mild curiosity in a junkyard, and now it’s turned out to be quite a great spirit of adventure.” My favourite comes a little later in the episode. “I learned not to meddle in other people’s affairs years ago. Now, now, now, don’t be absurd. There’s not an ounce of curiosity in me.”

Barbara and Susan meet the third member of the crew, John (Stephen Dartnell). Dartnell, who had played Yartek, leader of the Alien Voord in The Keys of Marinus, gives easily the best performance of the three crew-members. John was the most deeply affected by the Sensorites’ mental attacks and it’s left him in a very fragile state. Maitland believes that he’s potentially dangerous, although the reason for this is never explained. We later learn that the Sensorites have control of John’s mind – had they ordered him to do something violent prior to the Doctor’s arrival? If so, it seems rather out of character for the Sensorites, since it’s stressed that they haven’t actually hurt the Earth people.

The scenes of the zombie-like John stalking Susan and Barbara are effective, although it’s all done very slowly. But when he eventually does run them down it’s clear he poses them no threat – Barbara cradles him as a mother would a child.

The reveal of the monster at the end of episode one would become a familiar Doctor Who staple. We’ve already seen it happen in The Daleks and it happens again here. After an episode of discussing them, things would have fallen rather flat if they hadn’t convinced. So it’s lucky that our first glimpse of a Sensorite is eerie and unsettling.

Doctor Who – The Aztecs. Episode Four – Day of Darkness

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After Ian successfully manages to re-enter the tomb (via a hazardous journey from a tunnel which starts in the garden) it seems that escape should now be a formality. But as this happens right at the beginning of the episode it’s obvious there will be complications.

Pulling the tomb door open from the outside doesn’t work, so Ian elects to go back through the tunnel and open it from inside again. But when Ian and Susan find Autloc senseless in the garden, attacked with Ian’s club, he finds himself once again the victim of a frame-up (this happened to him in the previous story, so he should be getting used to it by now).

It was Ixta, on Tlotoxl’s instructions, who attacked Autloc. This benefits Tlotoxl in several ways – it drives a wedge between Autloc and Barbara and also discredits Ian. With Susan due to be punished for her refusal to agree to an arranged marriage (her tongue and ears will be pierced with thorns) this final episode has skillfully drawn several different jeopardy threads together.

After Cameca frees Susan, it’s not clear why Ian doesn’t follow them. Instead, he disguises himself as a guard – presumably in order that he can fight Ixta to the death. Thankfully, this climatic fight was shot on film at Ealing and therefore is much more convincing than the others seen earlier in the story. Although it’s hard not to distracted by the wrinkly backdrop (a pity it couldn’t have been smoothed out a little better).

With Autloc having renounced his position and possessions in order to wander the wilderness it appears that all Barbara has achieved is to destroy one man. The Doctor offers a more encouraging spin on events, but it’s left to the viewers to decide whether he’s correct or simply trying to comfort her.

BARBARA: What’s the point of travelling through time and space if we can’t change anything? Nothing. Tlotoxl had to win.
DOCTOR: Yes.
BARBARA: And the one man I had respect for, I deceived. Poor Autloc. I gave him false hope and in the end he lost his faith.
DOCTOR: He found another faith, a better, and that’s the good you’ve done. You failed to save a civilisation, but at least you helped one man.

The Aztecs is undeniably a quality production – it’s well acted, well written and impressively directed by John Crockett (even allowing for the limitations of the studio).

Although I have to put my hand on my heart and admit that I do find it somewhat uninvolving (the comic-strip antics of The Keys of Marinus are much more entertaining). But it’s an excellent vehicle for Jacqueline Hill and William Hartnell, with William Russell also enjoying some decent material (Carole Ann-Ford is less involved, mainly because she was largely absent from the middle episodes).

Doctor Who – The Aztecs. Episode Three – The Bride of Sacrifice

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Whilst it would be unfair to regard The Aztecs as worthy but dull, it’s undeniable that it’s always been a story that I’ve found it easier to admire than love. It’s certainly a less engaging experience than Marco Polo – possibly because Polo had three extra episodes to play with (allowing for more character development) but maybe it also has something to do with the fact that it’s harder to get involved with the sympathetic characters we meet in The Aztecs.

Polo and Ping-Cho both had interesting motivations which explained their actions (Polo wished to go home, Ping-Cho became increasingly anxious about being trapped in an arranged marriage). But neither Autloc’s crisis of faith or Cameca’s love for the Doctor has quite the same impact.

Both Autloc and Cameca find themselves manipulated (by Barbara and the Doctor). In Barbara’s case, it happens because of her desire to fundamentally change the course of Aztec society. Even when Autloc spells out to her that he will be ruined if she proves to be a false goddess, she appears to be unmoved.

BARBARA: Am I not a god? Support me. Tlotoxl won’t dare defy us both.
AUTLOC: If I take that course, there is no way back for me. In all humility, I beg you, do not deceive me or prove false to me.

Although the Doctor strikes up a friendship with Cameca in order to find out more about the tomb, it’s his misunderstanding of Aztec customs (especially what is signified when a man offers to make cocoa for a woman) which proves to be his downfall. It’s a lovely comic scene which Hartnell plays to perfection – his expression when he realises he’s become engaged is priceless, as is Ian’s reaction when the Doctor calmly tells him his happy news!

DOCTOR: Happy days, my dear.
CAMECA: The happiest of my life, dear heart. Was ever such a potion brewed? In bliss is quenched my thirsty heart.
DOCTOR: Very prettily put, my dear.
CAMECA: Oh, sweet-favoured man, you have declared your love for me, and I acknowledge and accept your gentle proposal.

It’s a light moment in an otherwise dark and dramatic episode.

The Doctor has attempted to persuade Barbara that interfering with Aztec society is doomed to failure (although he doesn’t specify why). She doesn’t accept this and it takes Ian to finally make her see the impossibility of her actions.

BARBARA: Tlotoxl’s evil and he’ll make everyone else the same.
IAN: They are the same, Barbara. That’s the whole point. You keep on insisting that Tlotoxl’s the odd man out, but he isn’t.
BARBARA: I don’t believe it.
IAN: Well, you must. If only you could stand away from this thing, you’d see it clearly. Autloc’s the extraordinary man here. He’s the reasonable one, the civilised one, the one that’s prepared to listen to advice. But he’s one man, Barbara. One man.

This is maybe a little unfair on Ian’s part. We don’t meet that many members of Aztec society throughout the story, but it’s probable that Cameca wouldn’t be opposed to the abolition of human sacrifice. Or maybe she would. One way that Ian’s point could have been proved beyond beyond all doubt would have been for the humane and gentle Cameca to mention her support for sacrifice – thereby showing us that the Aztecs’ beliefs were simply too far ingrained in every member of their society for Barbara to ever hope they could be changed.

Doctor Who – The Aztecs. Episode Two – The Warriors of Death

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The Doctor is furious with Barbara for halting the sacrifice. We’ve seen an angry Doctor before, but not like this and it’s clear that Hartnell relishes the opportunity to really go for it. Hill is excellent as well and it’s one of those scenes that crackles with energy, although it’s notable that the Doctor doesn’t remain angry for very long (another sign of the general softening of his character).

TLOTOXL: I would ask you, how shall a man know his gods?
BARBARA: By the signs of their divinity.
TLOTOXL: And what if thieves walk among the gods?
BARBARA: Then indeed, how shall a man know?

This short exchange, beautifully delivered by Ringham and Hill, tells us everything we need to know. Tlotoxl is convinced that Barbara isn’t the spirit of Yetaxa, but lacks any proof. This means he’ll spend the remainder of the story using whatever means are at his disposal (in this episode it’s Ian) to chip away at the composure of the false goddess.

Having won a victory over Ixta with his magic thumb, Ian then faces a rematch – but Ixta will have a secret weapon (the unwitting help of the Doctor). It’s a slight contrivance that Ixta is the son of the man who built the temple, which means the Doctor (in exchange for non-existent temple plans) hands over a plant that will disable his opponent (who turns out to be Ian). Two coincidences, that’s rather a lot!

I like the way the Doctor describes himself to Cameca. “I am a scientist, an engineer. I’m a builder of things.” There may be the hint of pretence here, as he’s attempting to explain his interest in the temple, but there’s an essential truth to this statement. Much, much later he’ll become the defender of the universe (whose name alone makes monsters tremble in fear) and part of the charm of the series will be lost forever.

Carole Ann Ford’s off on holiday, so only appears in a single pre-filmed scene. It’s another nod back to Lucarotti’s previous story, as Susan reacts in horror to the thought of an arranged marriage (much as she did when she learnt of Ping-Cho’s intended fate).

The Doctor, realising that Tlotoxl means them great harm, asks Barbara to play up to Autloc. The more she can convince Autloc that she is Yetaxa, the more it will help them. Barbara’s happy to do this, no doubt because she still clings to the hope that she can bring about a fundamental change in their society, but it already poses the uncomfortable question about what Autloc’s fate will be once he realises his faith in Barbara was misplaced.

AUTLOC: If your words are denied, shall we not be living in defiance of the gods?
BARBARA: Famine, drought and disaster will come, and more and more sacrifices will be made. I see a time when ten thousand will die in one day.
AUTLOC: Where will it end, Yetaxa?
BARBARA: In total destruction. Your civilisation will pass forever from the land.
AUTLOC: You prophesy our doom.

Even this early on, we’ve been primed that there won’t be a happy ending. In this era of the programme, the Doctor’s main focus is survival – fighting injustice is something he does rather as an afterthought. But whilst later stories might see him toppling entire civilisations with a few words, you do get the sense that this isn’t going to happen here.

The fight between Ian and Ixta goes on a little too long (and like Ixta’s fight in the previous episode suffers from being shot on VT) but it does leave us with an excellent cliffhanger. As Ian faces death, Tlotoxl taunts Barbara to use divine intervention to save him ….

Doctor Who – The Aztecs. Episode One – The Temple of Evil

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It’s apt that the episode opens with a scene between Barbara and Susan (we don’t see the Doctor and Ian until we’re a few minutes in). Barbara is very much the focus of the story, as might be guessed when we learn that she knows something about the Aztec civilisation.

As a history teacher, with a special interest in the Aztecs, she regards her surroundings with the eye of an expert. But if the story is designed to teach us anything, it seems to suggest that her book knowledge leaves her woefully unprepared to deal with the realities that she finds.

Susan operates as Barbara’s line-feeder here, helpfully informing the viewers that they’re in Mexico (sometime before 1430) as well as giving us the nugget of information that the Aztecs favoured human sacrifice.  But Barbara is quick to point out that they had their cultured and civilised side as well and it’s this duality which will form the dramatic centre of the story.

It’s possible to see parallels between this and Lucarotti’s previous story, Marco Polo. Both feature two central guest characters – one who tends to side with the Doctor and his friends (Marco/Autloc) with the other standing in opposition to them (Tegana/Tlotoxl). What’s different about The Aztecs is how the four time-travellers are on shaky ground from their first appearance – Barbara is masquerading as the reincarnation of the goddess Yetaxa and so risks being unmasked at any moment. This gives the story a different feeling from Marco Polo, where Marco’s patronage ensured the Doctor and his friends had a sense of stability and security.

Autloc (Keith Pyott) and Tlotoxl (John Ringham) are two sides of the same coin. As High Priests of Knowledge and Sacrifice they both wield enormous power – although there’s the sense, from their first scene onwards, that they aren’t in harmony. Even before Barbara attempts to stop the practice of human sacrifice, Autloc is uneasy – maintaining that the rains will come with or without sacrifice.

Autloc is restrained and dignified whilst Tlotoxl gives the impression of a cut-price Richard III.  Ringham made no secret of the fact that he modeled his performance on Olivier’s 1955 film of Richard III – the shuffling gait, the hunched back and the looks direct to camera are all dead giveaways. But whilst it’s not subtle, it’s certainly effective – meaning that Tlotoxl is a character whom your eye is always drawn towards (even when he’s not speaking).

Is Tlotoxl evil? His prime concern is to protect his people (since he’s correct that Barbara is a false goddess it’s not an easy question to answer).  However reprehensible Barbara might find the notion of human sacrifice, her wish to mould the Aztecs in a twentieth century image is doomed to failure (and is it really any different from the Monk’s desire to accelerate human learning in The Time Meddler?).

At this point in the series’ history, messing about with time was strictly off limits.  David Whitaker made his philosophy for the series quite clear. “The basis of time traveling is that all things are fixed and unalterable. Doctor Who is an observer.” This is odd – and does seem to refer more to the historical stories (after all, the Doctor is the prime-mover in organising the attack on the Daleks in the second story. Had he not been there it’s doubtful whether the Thals would have done anything by themselves).

The next script-editor, Dennis Spooner, would gleefully overturn this rule (such as in The Romans, where we learn that the Doctor inadvertently gave Nero the idea for burning Rome).  The debate about changing history is a key part of The Aztecs, but when the Doctor says that you can’t rewrite history, does he mean that you shouldn’t or – like Whitaker – that it’s impossible?  It’s hard to believe that he really meant the latter ….

DOCTOR: There’s to be a human sacrifice today at the Rain Ceremony.
BARBARA: Oh, no.
DOCTOR: And you must not interfere, do you understand?
BARBARA: I can’t just sit by and watch.
DOCTOR: No, Barbara! Ian agrees with me. He’s got to escort the victim to the altar.
BARBARA: He has to what?
DOCTOR: Yes, they’ve made him a warrior, and he’s promised me not to interfere with the sacrifice.
BARBARA: Well, they’ve made me a goddess, and I forbid it.
DOCTOR: Barbara, no!
BARBARA: There will be no sacrifice this afternoon, Doctor. Or ever again. The reincarnation of Yetaxa will prove to the people that you don’t need to sacrifice a human being in order to make it rain.
DOCTOR: Barbara, no.
BARBARA: It’s no good, Doctor, my mind’s made up. This is the beginning of the end of the Sun God.
DOCTOR: What are you talking about?
BARBARA: Don’t you see? If I could start the destruction of everything that’s evil here, then everything that is good would survive when Cortez lands.
DOCTOR: But you can’t rewrite history! Not one line!

John Crockett’s direction is rather good, helping to disguise the limitations of the small sets. The camera work is fluid and the movement of Tlotoxl helps to draw the eye (such as in the closing moments of the scene where Ian meets Ixta for the first time – Tlotoxl is a striking presence in the centre of the frame). The painted backdrops may look a little wrinkled, but they help to give several sets a sense of depth. This works especially well in the garden scenes (the Aztec pyramids in the background look rather impressive.)

If Barbara spends most of her time with Autloc and Tlotoxl, the the Doctor and Ian are also paired off with supporting characters. The Doctor makes the acquaintance of the charming Cameca (Margot Van der Burgh) whilst Ian meets the less charming Ixta (Ian Cullen). Ixta is a warrior and keen to ensure that Ian proves not to be a threat to his supremacy. There’s an early chance for Ixta to demonstrate his prowess – although this falls a little flat, due to the difficulties in staging fights in the studio. It ends up as less than convincing and it’s a pity it couldn’t have been shot on film.

The episode ends with Tlotoxl declaring that he will destroy the false goddess (and looking straight down the camera lens as he does). After just one episode all of the pieces of the story are firmly in place.

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Doctor Who – The Keys of Marinus. Episode Six – The Keys of Marinus

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It’s fair to say that the whodunit mystery in this episode and the previous one is hardly of an Agatha Christie level. Barbara, Altos and Sabetha decide to speak to Aydan’s wife Kala to see if she knows anything. But it it seems not. “Leave me alone. I do understand and I sympathise with you. You must have been sick with worry since you spoke to Susan, but I just can’t help you. I know nothing.”

Of course, she couldn’t have known that Susan and Barbara had spoken (on the space-phone, after Susan was kidnapped) so it proves she was involved – and as it turns out was the one who murdered Aydan. Doh!

Kala’s accomplice is unmasked (not the greatest shock in the world) and the Doctor and the others are then free to return to Arbitan. But none of them know that he’s dead – murdered by Yartek (Stephen Dartnell). Or to give him his full name – Yartek, Leader of the Alien Voord. If my memory serves me right this phrase first pops up in The Making of Doctor Who by Terrance Dicks and Malcolm Hulke, but wherever it first surfaced it’s remained pretty much the only way to refer to him for decades. Or if you prefer the shorterned version – YLOTAV.

Yartek isn’t terribly convincing when he pretends to be Arbitan, but it still seems to good enough to fool Ian, who hands over the final key to him. When he and Susan leave the Conscience Machine he still seems to be putting the pieces together – but afterwards he tells the Doctor that he only handed over a fake key (so was he pretending he didn’t know what was going on to Susan?)

Arbitan wanted all the keys so he could restart the machine and control the Voord. But the Voord had proved to be immune to the machine’s control, so how would that work? But since Yartek planned to use the machine, it seemed that he knew that he and the other Voord wouldn’t fall under its control. Somehow. Possibly after six episodes, Terry Nation had begun to find his attention wandering a little.

What’s slightly irksome is that after they’ve spent weeks searching for the keys, the machine is destroyed – so they might as well not have bothered in the first place. The Doctor then says “I don’t believe that man was made to be controlled by machines. Machines can make laws, but they cannot preserve justice. Only human beings can do that.” A pity he didn’t say that in episode one, it would have saved them a fair amount of trouble!

The Keys of Marinus might be a low-brow romp, but it’s never less than thoroughly entertaining. However, as we prepare to enter the temple of evil, the tone of the series is set to change again.

Doctor Who – The Keys of Marinus. Episode Five – Sentence of Death

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The search for the final micro-key takes place over the course of the next episode and a half (this extra time allows for a slightly more involved plot). We’ve reached the city of Millenius and Ian finds himself accused both of murder and the theft of the micro-key. And here, the accused is guilty until found innocent.

Hartnell’s back from his holidays! It’s lovely to see the Doctor again and he turns up at just the right time since he’s the ideal person to speak for Ian at the tribunal. The Doctor’s in his element here. “My Lords, I cannot defend a man when I have not considered every aspect of the case. I must have time to examine witnesses, read statements and to prepare my case.” He just loves the whole court atmosphere, doesn’t he?

Things to love about this episode number one – the hats of the three judges. You don’t often see hats as impressive as this.

Things to love about this episode number two. Raf De La Torre is the senior judge and the only one to have a speaking role. The other two (played by Alan James and Peter Stenson, who doubled up with other roles as well, playing Voords, Ice Soldiers, etc) are noteworthy for several reasons. The first is their stick-on beards and the second is their excessive head movements when Raf De La Torre confers with them. Neither are allowed to speak, as they’re just lowly extras, so they indulge in manic head bobbing instead. It’s a lovely moment of unintentional comedy.

The Doctor’s pretty smug. He’s convinced he knows who committed the murder (it’s elementary, he says) but he has no evidence. Using Barbara and Susan he demonstrates exactly how the crime was committed – but the problem remains, how to prove it?

Things to love about this episode number three – a classic Billyfluff. “I can’t improve at this very moment. I can’t prove this very moment.”

There’s some familiar faces to spot. Fiona Walker, who returned to the series twenty four years later as Lady Peinforte in Silver Nemesis, is Kala. Donald Pickering, whose Doctor Who career culminated (if that’s quite the right word) with Time and the Rani is Eyesen. I love watching Pickering as he’s always a compelling screen presence. It’s not much of a role, but with a less skilled actor it wouldn’t have been half as interesting.

And what’s the Doctor’s plan to prove Ian’s innocence? He gets Sabetha to perjure herself by pretending that Aydan (Martin Cort) gave the key to her. Not quite the sort of thing that you’d expect to see at the Old Bailey. Aydan’s startled admission of guilt (and his murder immediately afterwards) moves the case on a little. But it doesn’t prove that Ian is innocent, so his execution will take place at the designated time. Ian looks at the Doctor, who can only shake his head sadly, which isn’t very encouraging.

And then Susan is kidnapped. Eek!

Doctor Who – The Keys of Marinus. Episode Four – The Shows of Terror

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It was David Whitaker’s idea that the locations of the story should be quite varied – one week a jungle, the next desolate snowy wastes. This is something that doesn’t occur very often in Doctor Who – normally when the TARDIS lands we’re never expected to wonder what the rest of the planet might be like. Often (picking a few random examples – say, The Daleks and The Krotons) it’s strongly implied that everywhere else is of little interest and where the Doctor is now is all that matters. But The Keys of Marinus, which shows us several cities ruled by different people as well as more barren locales, is quite different and should be applauded for that.

Last time, we left Ian and Barbara freezing to death in the fake snow. Luckily(?) they’ve been rescued by Vasor (Francis de Wolff) a man who lives in a hut all by himself in the middle of the snowy wastes. He shows Barbara how to restore life to her frost-bitten hands (doing so in a way that carries a certain overtone – it’s clear that he enjoys holding her hands in his). Indeed, there’s no two ways about it – Vasor is clearly keen for Barbara to spend some quality time with him (just as soon as he’s got Ian out of the way) and it’s equally clear what he wants to spend this time doing. It’s not spelt out, but then it doesn’t really need to be.

Ian sets out to find the others and hands over his travel dial in exchange for some of Vasor’s furs. Although Vasor, as scripted, tells Ian to pick up a coat and gloves, he only puts on a ratty piece of fur – which can hardly be expected to offer a great deal of protection (a poor bargain for his travel dial). Once Vasor and Barabara are alone he insists on feeding her some more food. “We must fatten you up, eh?” Brrrrr, I don’t fancy Barbara’s chances ….

Ian discovers Altos unconscious in the snow, but once Ian’s rubbed some life into his legs he seems able to carry on (yes, you can read something homoerotic into this if you wish). Luckily for Barbara, the two of them get back to the hut before Vasor’s been able to have his wicked way and the four of them then go back out to look for Susan and Sabetha.

They’re taking shelter in the ice caves, which is a decent-looking set. The Ice Soldiers, frozen warriors who are guarding the micro-key, aren’t quite so impressive though. This is another of those inexplicable Arbitan moments. The micro-key is contained within a solid block of ice, but if they melt the ice then the homicidal Ice Soldiers will wake up. Arbitan certainly didn’t like to make things easy, did he?

The excitement level as our heroes are pursued is fairly low – although Vasor gets his long overdue comeuppance from the Ice Soldiers (a sword in the back). Not the best episode of the story then, but Francis de Wolff (at times overacting like a good-un) is entertaining enough.

Next time, Ian faces a sentence of death.

Doctor Who – The Keys of Marinus. Episode Three – The Screaming Jungle

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It’s not really correct to think of the Voord as the villains of the story as they only appear briefly in episode one and then not again until episode six. Had they decided to shadow the Doctor and his friends as they quested for the keys that would added a little extra excitement, although with their wetsuits and big flippers they probably would have stood out somewhat.

Carole Ann Ford wasn’t particularly enamoured of the way Susan was portrayed in this story and it’s not hard to see why – she seems to be written down in age somewhat (acting more like a very young child at times). So given how hysterical she is in the jungle setting, it’s a blessed relief she’s packed off to the next location pretty quickly.

Things to love about this episode number one – the jungle vines that attack Susan in a less than convincing way.

Things to love about this episode number two – the statue with human arms which gives Jacqueline Hill a quick grope (although in the interests of decency it’s lucky that it could only reach her lower legs).

When they find the micro key in the first few minutes, it appears that this episode will be ending twenty minutes early. Sabetha, Altos and Susan head off for the next location whilst Ian stays behind to look for Barbara. But the key is a fake, meaning that Barbara and Ian still have to find the real one. Slimming down the cast at this point isn’t a bad move since it would have been a stretch to find something for five characters to do (even worse if the Doctor had been there as well).

And since Ian and Barbara are left alone it allows them a decent share of the action. Indeed, had it been decided at the end of The Velvet Web that Sabetha, Altos and Susan should search for the third key, whilst the Doctor went off to look for the fourth, then they could have dispensed totally with the services of Carole Ann Ford, Robin Phillips and Katherine Schofield for this episode and the production would have saved itself some money.

What Ian and Barbara find is a building full of traps. At times, all the suspension of belief you can muster is required – especially when Barbara is menaced by slowly descending spikes (of the patently rubber variety). It’s the sort of thing you might expect to see in a 1940’s Flash Gordon serial, although done somewhat better. And whilst Barbara faces death of an especially unconvincing kind, Ian is struggling to free himself from a prison of solid iron bars.

Except that they’re not solid – it looks like one sneeze would cause them to collapse. Just as it takes all of Jacqueline Hill’s professionalism to make us believe that the spikes are dangerous, so William Russell has to call on his acting experience to make the bars seem solid. Bless them both, they don’t quite succeed but it’s fun to watch them try.

All these traps have been set by Darrius (Edmund Warwick). Rather oddly he tells Ian and Barbara that only couriers sent by Arbitan would have been able to negotiate the hazards that he’s set. But Arbitan didn’t pass this information on – simple absent-mindedness maybe?

The silliest episode so far, it’s somewhat disposable fare – but at least one of the good things about this story is that we’re never too far away from a new location. And as the cliffhanger looms, Ian and Barbara find themselves menaced by some fake snow …..

Doctor Who – The Keys of Marinus. Episode Two – The Velvet Web

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The first stop on their quest to recover the keys of Marinus takes them to Morphoton. It’s a place where every whim and request is able to be indulged – although if this seems too good to be true it’ll probably comes as no surprise to learn that it is.

This episode is notable for having more edit points than was usual at the time – this was in order to demonstrate the difference between Barbara’s viewpoint (she can see their room for what it is – dirty and bare) and the others (they’re conditioned to view it as opulent). In later years this would be a scene that wouldn’t be at all remarkable, but when watching sequentially it’s another of those small moments which does stand out.

It’s maybe right that Barbara – the voice of reason – should be the one not to fall under the spell. But this wasn’t through any demonstration of free will, it was only because the conditioning disc placed on her forehead slipped off during the night. Note to the brains of Morphoton – it might be better to find a more effective way of conditioning your subjects (or at least use better glue).

The episodic nature of the serial means there’s not really time to develop the horror of Barbara being totally isolated.  She’s the only one of the four to retain her own memories (the Doctor, Ian and Susan have all been thoroughly brainwashed). This is a pity as the concept would have produced good material for several episodes. But there’s still the odd creepy moment, such as when Barbara rushes to the reassuring presence of Ian – but immediately after she’s embraced him it’s clear from his immobile stance that he’s no longer the man she knew.

We meet Altos (Robin Phillips) and Sabetha (Katherine Schofield). Both will join the others on the quest (Sabetha is Arbitan’s daughter and Altos is one of Arbitan’s couriers). Their presence is a good thing, especially as Billy’s shortly off for a two-week holiday. They’re fairly stock Terry Nation characters, so how well they come across depends on the actors (who do the best they can).

The brains of Morphotron are a little disturbing (especially the way they’re voiced by Heron Carvic) although the black and white picture does rob them of some of their impact. Barbara saves the day by smashing their brain cases and killing them. Or, at least, that was how it was scripted – alas, Jacqueline Hill only managed to smash one of the four cases and there was clearly no time for a retake. Oh well.

The Doctor’s decided to nip ahead and look for the last key (so we won’t be seeing Hartnell for a few weeks) whilst the others head to their next destination.

And it’s a Terry Nation favourite – a dangerous jungle!

Doctor Who – The Keys of Marinus. Episode One – The Sea of Death

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By going from Marco Polo to The Keys of Marinus we’ve taken a trip from the sublime to the ridiculous. That’s not to say that Marinus is bad – it’s good, pulpy fun – but when watching the series sequentially it’s a little jarring to have this sudden shift in tone. But that’s one of Doctor Who‘s great strengths – the fact that every new adventure might play out in a totally different way from the previous one.

You have to admire the ambition of Verity Lambert’s time as producer. It seems that no story was too ambitious to mount (think of the expertly created props in Planet of Giants or the sheer weirdness of The Web Planet) and Marinus is another example of this. With such a tiny budget the notion of creating a new environment in episodes two, three, four and five obviously placed a huge strain on the meagre resources of Ray Cusick. He manages to pull it off quite successfully, although there are times when you do need to be a little forgiving.

The miniatures that open the story are excellent though. The shot of the island – with a model TARDIS (light flashing) then appearing – is a lovely one. The sight of the Voord’s submersibles traversing the sea of acid is less effective though – mainly because it’s painfully obvious they’re being pulled along by wires (and one of them is reluctant to move, so requires a few hard tugs to enable it to reach the beach!)

The sight of the Doctor, Susan, Ian and Barbara surveying this strange new planet shows how far we’ve come since The Daleks. Back then, Ian and Barbara were wracked with fear and doubt (hating the fact that they’d been uprooted from their safe, 20th century existence) but now they regard this bizarre island with nothing more than mild curiosity.

Hartnell’s a bit stumbly over his lines in the early part of the episode (which gives us one of his classic Billyfluffs – “yes, and if you’d had your shoes on, my boy, you could have lent her hers”). This part of the story – as the four examine the beach – is a little problematic. Given that the studio was so small, the beach set couldn’t be particularly large either – which becomes painfully obvious when everybody has to walk around rather slowly.

The moments when they notice the Voord’s submersibles and Arbitan’s building both seem false – there’s no way to imply that they’ve travelled any distance from the TARDIS, so these things must have been under their noses all the time.

I know that examining logical loopholes in a Terry Nation script is a little futile, but the sight of the Voord suit – which contained a man who’s been destroyed by acid – has always irked me. If the suit had a rip then that would have let the acid in, but he was inside a submersible – so that too, must have had a hole (which is rather unlucky really). And if that was the case, wouldn’t the submersible have been full of acid?

Why does Arbitan’s building allow people to enter? You’d have thought it would have made much more sense to keep them outside (and since the Voord don’t seem to have any particular weapons, an impenetrable wall seems as good a barrier as any). Instead, its obvious that although there’s interior defences, sheer force of numbers will allow the Voord to succeed once they do get inside.

It was a bit of a coup to get George Coulouris to appear as Arbitan, although he was no stranger to low-budget British science fiction, having appeared in ITV’s Pathfinder trilogy. He’s the Keeper of the Conscience of Marinus and he explains to the Doctor and his friends exactly what the machine does. “At first, this machine was simply a judge and jury that was never wrong or unfair. And then we added to it, improved on it, made it more and more sophisticated so that finally it became possible to radiate its power and influence the minds of men throughout the planet. They no longer had to decide what was wrong or right. The machine decided for them”.

And Arbitan wants the Doctor’s help to restore the machine’s power! The notion of anybody being denied free will would later become something the Doctor would fight against time and time again (for example, The Masque of Mandragora) so it’s astonishing that he sees nothing wrong with this machine.

Thanks to a handy bit of blackmail with the TARDIS (the Doctor’s still the type of person not prepared to launch into a dangerous adventure just for the fun of it – that will come a little later) Arbitan persuades the four time-travellers to set off for a jaunt around Marinus to recover the four keys that will restore the machine to its former glory.

Doctor Who – Marco Polo. Episode Seven – Assassin at Peking

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We left the previous episode with Tegana seemingly triumphant. But, alas, it’s “curses, foiled again” as the Khan’s emissary, Ling-Tau, turns up just as his moment of victory beckons. Considering that the TARDIS had been taken off the main road it’s never explained what Ling-Tau and his men are doing there – we just have to accept that Tegana is a singularly unlucky War Lord.

The Doctor and the Khan have been playing backgammon –

KHAN: What do we owe?
DOCTOR: Er, thirty-five elephants with ceremonial bridles, trappings, brocades and pavilions. Four thousand white stallions, and twenty-five tigers.
KHAN: That’s not too bad, so far.
DOCTOR: And the sacred tooth of Buddha which Polo brought over from India.
KHAN: Oh, that? What else? What more?
DOCTOR: I’m very much afraid all the commerce from Burma for one year, sire.

This is lovely. Hartnell’s not really had the chance to play many comic scenes up to this point, so there’s the sense (even though we can’t see him) that he’s relishing this opportunity. There’s no doubt that later comic stories (like The Romans, The Myth Makers and The Gunfighters) really plays to his strengths. The Khan’s desire to prevent his wife (played by Clare Davenport) from learning that he’s been gambling is another nice touch. The Empress, although she has very few lines, certainly seems to be an imposing presence.

The Doctor’s skill at backgammon is another new fact we learn about him (he must be good, since it seems the Khan rarely loses). When the Doctor suggests one more game – with the prize being the TARDIS, the Khan reluctantly agrees. It seems clear that, given all he’s already won, it’s a foregone conclusion. Alas, the Doctor may be good, but he’s not unbeatable, and the Khan wins the game – meaning that the TARDIS seems lost forever.

It’s around now that Marco suddenly has a change of heart and decides that it was wrong of him to take the TARDIS. Since it’s already the Khan’s property it’s a pity he couldn’t have had this crisis of confidence beforehand!

Another plot-thread neatly tied up relates to Ping-Cho’s marriage. She’s informed by the Khan that “your beloved husband-to-be, so anxious to be worthy of your love, drank a potion of quicksilver and sulphur, the elixir of life and eternal youth, and expired.” Another delightful comic moment, delivered deadpan by Martin Miller.

This just leaves Tegana to be dealt with. The Doctor realises, rather belatedly, that his meeting with the Khan is for one reason only. “Kill the leader, and where are you? What happens? The whole army dissipates itself into chaos and utter confusion. It’s happened throughout your history time and time again!” If Tegana kills the Khan, then Noghai seems certain to succeed.

You do have to suspend disbelief a little that the Khan would meet Tegana without armed guards (only the poor Vizier seems to have been present – he sacrifices his life to prevent Tegana’s first attack). The lack of visuals means that it’s impossible to judge how effective the swordfight between Tegana and Marco was. But it was choreographed by Derek Ware, a key stunt-arranger during Doctor Who‘s first decade, so that’s a sign of quality. I’d also be fascinated to know just how graphic the moment was when the defeated Tegana committed suicide by throwing himself on a sword. Maybe one day the story will come back and we’ll find out ….

After all his intransigence during the story, it’s Marco who hands the key of the TARDIS back. The Khan, witnessing the departure of the ship, doesn’t seem particularly put-out that Marco’s just given away his flying caravan – although we never discover exactly what Marco’s fate will be. It could be that this action means he’ll never see his home again – but he obviously decided that the needs of the Doctor and his friends were more important than his own goals. Mark Eden was a solid presence throughout all the seven episodes. Although Marco was, at times, fairly unlikeable, Eden still managed to give him a sense of honour and nobility. And this final sacrifice speaks volumes about his character.

Even with just the soundtrack and a generous selection of photographs, this is a highly entertaining story. Yes, the fact that Tegana’s plans to kill Marco and steal the TARDIS are constantly scuppered do get a little annoying, but the scope of the journey allows all the cast plenty of time for character development. With just seven main characters (the four regulars, plus Marco, Tegana and Ping-Cho) and seven episodes to play with, there’s ample time to breathe and reflect.

Will the next story be of a similar standard, I wonder?

Doctor Who – Marco Polo. Episode Six – Mighty Kublai Khan

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Ian pleads with Tegana. “Let us all go, I appeal to you. What possible difference could it make to you? You hate Marco.” This is another indication that the emphasis in these early stories is very much centered around the TARDIS crew as they seem to care little about what Tegana might do to Marco and Ping-Cho once they leave. This is a hallmark of the early historical stories script-edited by David Whitaker (and is also a feature of his own serial The Crusade).

At times during these early historical stories (especially in Lucarotti’s next script, The Aztecs) the Doctor is a very passive character who is unwilling to get involved in local difficulties. This is possibly not because he shouldn’t, but because he can’t (the famous line in The Aztecs – “you can’t rewrite history, not one line!” – is something we’ll touch upon when we reach that story). Here, it might be more disinterest than a fear that he’ll somehow damage the delicate thread of space-time history.

Ian protects Ping-Cho by telling Marco that he stole the TARDIS key. We then have another scene where Ian pleads with Marco to hand back the TARDIS – and this time Ian tells him the truth (that the TARDIS can fly through time and space). Marco responds that he’s heard of many strange things, including a stone that burns (coal). “In Cathay, we call it the burning stone. And if a stone burns, why not a caravan that flies? Birds fly. I have even seen fish that fly. You are asking me to believe that your caravan can defy the passage of the sun? Move not merely from one place to another, but from today into tomorrow, today into yesterday? No, Ian. That I cannot accept.”

Although he can believe in a burning stone, a flying caravan and even flying fish, it seems that the concept of time-travel is a step too far. Marco then tells Ian that he knows he didn’t take the key and he only said it to shield Ping-Cho. It’s a clever piece of scripting as it demonstrates to Marco that Ian is capable of lying, which means that he can’t believe his tales of time-travel. If he did, then he would have handed the TARDIS key over (although given all he’s done so far, that seems a little improbable).

Ping-Cho, unwilling to marry a man old enough to be her grandfather, runs away – back to the Cheng-Ting Way Station. It’s a slight plot contrivance that of all the people she could meet, it’s Kuiju (the man commissioned by Tegana to steal the TARDIS). You’d have thought that the eyepatch and the monkey would have been strong indications that he was a wrong-‘un, but Ping-Cho, innocent girl that she is, mistakenly believes he’s an honest man and hands over all her money to pay for her passage back home.

That she should be robbed by the man who’s stolen the TARDIS is a bit of a coincidence – especially since it doesn’t really impact the plot. Ian has received Marco’s blessing to search for Ping-Cho and once he finds her and discovers that the TARDIS has been stolen the pair of them set off to find it.

The others finally get to meet the mighty Khan, who certainly receives an impressive buildup –

Silence! Those who dare to come before the sight of the great Kublai Khan, kow-tow. Kow-tow before the War Lord of War Lords. Mighty and fearful in his strength. Kow-tow before the Ruler of Asia, India, Cathay and other territories. Kow-tow before the Master of the World.

The eventual reveal that Kublai Khan (Martin Miller) is a little old man suffering from gout is amusing – but Marco is quick to tell the others that whilst the Khan is not the mightiest War Lord ever, he’s definitely a skilled administrator. And its his organisational skill, rather than his military might, that has seen his Empire grow – so it would be wise not to underestimate him.

His meeting with the Doctor has a nice touch of comedy – with both men suffering numerous aches and pains, plus the Doctor demonstrating his singular lack of respect for authority (a trait we’ll see time and time again over the years). The Khan, rather than expressing annoyance at the Doctor’s testiness, instead embraces him as a brother. Slightly implausible maybe, but it sets us up nicely for their interaction in the next episode.

Ian and Ping-Cho have found Kuiju and the TARDIS, but so has Tegana (who was given leave by Marco to track Ian down). At last it seems that Tegana has the upper hand – he can take the Doctor’s caravan and then dispatch Ian and Ping-Cho. What could possibly go wrong?

Doctor Who – Marco Polo. Episode Five – Rider from Shang-Tu

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The murder of the guard causes the four time-travellers to momentarily stop and reflect. It’s fascinating (and slightly disconcerting) that the Doctor asks Ian quite seriously whether he killed him – if Ian said he had it’s probable that the Doctor wouldn’t have been terribly put out. Another interesting character wrinkle is that although the camp seems to be under attack, the Doctor is still keen to escape (clearly the fates of Marco and Ping-Cho are of little interest to him).

Tegana’s appearance puts paid to their plans, so Ian decides to wake Marco and warn him. I’ve previously touched upon how Tegana’s numerous attempts to kill Marco end up being scuppered (sometimes in a slightly contrived way) and this sequence is one of the less convincing ones. Acromat (Philip Voss) and the other Mongols are waiting for Tegana’s signal to attack. After Ian’s warning, Marco asks Tegana to rouse the guard – but why didn’t he tackle Marco in single combat there and then? It’s difficult to believe that Tegana seriously considered the TARDIS crew to be a threat to his ambitions.

Instead, he obeys Marco and the small group organise themselves into a fighting force. Marco gives the Doctor a sword, commenting that “if you’re half as aggressive with this as you are with your tongue, Doctor, we can’t lose.” Although the Doctor is sometimes painted as a pacifist who abhors weapons of any type, that’s not really borne out by the evidence of the series – although it’s still unusual to seem him bear arms quite so keenly. The loss of the episode means that we’ve no way of telling how active he was in the brief skirmish – however, just before the fighting begins he delightfully tells Marco that “we’re not going to get very far with this overgrown bread knife!” which indicates he was keen for a scrap!

Eventually Acromat and the others grow tired of waiting for Tegana’s signal and attack anyway. This presented Tegana with another golden opportunity to kill Marco (as the Mongols were keeping the others busy). Instead, he kills Acromat before he had a chance to reveal his connection to Tegana. Again, it’s another moment that feels a little false – just how many chances does Tegana need?

The arrival of the caravans at the Cheng-Ting Way Station introduces us to Wang-Lo (Gábor Baraker). From the soundtrack and the photographs it sounds like a larger-than-life performance, this is another of those times when I’d love to see the visuals in order to complete the picture. Also lurking about is Kuiju (Tutte Lemkow). Lemkow had a lengthy career (popping up in films like Raiders of the Lost Ark) and an interesting private life (at one time he was married to Mai Zetterling). Lemkow’s Doctor Who career is rather unlucky – he appeared in three different stories (but all his episodes no longer exist). It seems that anything with an appearance by Tutte Lemkow was earmarked for destruction …

When Ping-Cho realises that Susan will never see her home again without the TARDIS, she takes the key from Marco’s room. This is when the never-ending feel of the early seasons works well – back then, unless you had a copy of next week’s Radio Times it wouldn’t always be obvious whether a story was concluding or not. But this one now seems to have run its course, as the Doctor, Ian and Barbara are all in the TARDIS – but somewhat belatedly they realise that Susan isn’t there.

She’s gone back to say goodbye to Ping-Cho, something which the Doctor finds inexplicable. Despite the months they’ve been journeying together, he’s clearly failed to notice the growing friendship between his granddaughter and Ping-Cho. It’s another character moment which highlights that recently the Doctor has been, at best, totally absorbed with repairing the TARDIS and, at worst, totally self-centered. His irritation with Susan sees him utter an oath (“Great Olympus”!) which is a little unusual.

No real surprise that the Doctor’s plan of escape is scuppered again – this time it’s because Tegana has caught Susan …..

Doctor Who – Marco Polo. Episode Four – The Wall of Lies

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Barbara is rescued from the clutches of the Mongols after Ian realises that Susan was right – the eyes in the cave did move (behind the wall was a secret room where Barbara was being held). Once again, the Doctor is shown not to posses all the answers – he was dismissive of Susan’s claim, seemingly treating it as nothing more than a hysterical outburst – so it fell to Ian and Marco to put two and two together.

Tegana continues to chip away at Marco’s trust in the Doctor and his friends. “Only a fool defends his enemies. Be warned, Marco. They will set us at each others throats by lies and deceit, and then, when they have divided us, then they will destroy us one by one.”

Barbara insists that she followed Tegana to the cave – something he strongly denies. As Marco tells Ian. “Tegana is a special emissary of Noghai, on his way to talk peace with Kublai Khan. He’s a very important man. You are mysterious travellers from some far off land I know nothing about. Now, if you were in my position, a servant of Kublai Khan, whose word would you take?”

A slight weakness of the story is that since Tegana has been presented as such a powerful presence it slightly diminishes him every time his plans to kill Marco and the others are scuppered. But there’s a sense in this episode that we’re now entering the endgame. I particularly like the way he displays his true feeling for Marco (telling his associate Acromat that Marco should be killed like an old woman in her bed). And the Doctor’s death holds no fear for him, a stake through the heart should deal with the magician.

The relationship between Marco and the others comes to a head when he realises that the Doctor has been working on the TARDIS in secret.

POLO: I’m sorry I doubted your word, Tegana. Give me the key, Doctor.
DOCTOR: No.
POLO: You’re an old man and I do not wish to use force.
DOCTOR: That is what you’ll precisely have to do, Polo.
(Tegana wrenches the key from the Doctor)
TEGANA: Did I not say he had another key?
DOCTOR: Put that key in the lock, Polo, and you will destroy the ship. Then where will your precious Khan be, hmmm? You need more than a key to enter my ship. You need knowledge. Knowledge you will never possess.
POLO: Tell me.
DOCTOR: No, understand? No! I’d let you wreck it first!

This results in the Doctor and the others being kept as virtual prisoners. Ian chafes against this and decides that they need to take action. They resolve to capture Marco and force him to hand over the TARDIS key. The Doctor’s statement that “I think by the time I’ve finished with that gentleman, he’ll only be too glad to let us go” is intriguing. Exactly what does the Doctor plan to do to?

Sadly, we never learn what the Doctor’s special brand of persuasion might be, as Ian discovers that the guard outside is dead. With Marco’s encampment under attack they have the perfect cover to escape, but can they really just cut and run?

Doctor Who – Marco Polo. Episode Three – Five Hundred Eyes

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With Marco and the others lacking enough water to make the journey to the oasis, it falls to the Doctor to save the day. He notices that moisture has formed on the inside of the TARDIS overnight and saves every last drop. We then have another quick science lesson as the concept is explained to Marco (and the viewers at home).

IAN: Marco, you remember, last night it was cold. Bitterly cold, Marco. The outside of the caravan cooled, but the inside stayed warm, and so moisture formed on the inside. It’s condensation, we just call it that. It’s just a name.
SUSAN: That’s true, Messer Marco. It was running down the walls, and from the ceiling. We, we took it in this, look, we squeezed it in here. You see?

These precious drops of water are enough to aid their journey to the oasis, where they find Tegana. He tells them he was unable to travel back with water as the oasis was surrounded by bandits during the night. As so often in the early stories it’s not the Doctor who exposes the fallacies in his statement (if bandits were there, why didn’t they light a fire since it was a cold night?) but one of the others – in this case Barbara. Her suspicions against Tegana only harden as the episode continues, culminating in her capture when she ventures into the Cave of Five Hundred Eyes.

One noteworthy aspect of these early scenes is that Tristram Cary’s music has an electronic feel (similar to his score for The Daleks). This fits the mood well as Marco and the others face death under the unforgiving sun. Once they are rescued, it changes back to traditional instruments (as it is for the majority of the story). It’s a pity that Marco Polo is the only of his Doctor Who scores not to exist, although we should be grateful that his other music does.

Having reached the Tun-Huang Way Station, Marco mentions the nearby Cave of Five Hundred Eyes, a place once frequented by the Hashashins. Although Ping-Cho has never heard of the cave, she does know a story about Hulagu and the Hashashins and promises to tell it to them later. This is an extraordinary sequence – the story stops for several minutes for a spot of local colour. Like the chat about condensation, it’s probable to view its insertion as another educational box-ticking exercise. But it’s charmingly performed by Zienia Merton, who delivers the lengthy monologue with aplomb. It’s easy to imagine that the air would have turned blue had it been given to William Hartnell!

Gracious maidens, gentle lords, pray attend me while I tell my tale of Alaeddin, the Old Man of the Mountains, who by devious schemes, evil designs and foul murders ruled the land.

No host of arms, no vast array of banners served this wicked lord. They were but few, ruthless, reckless men who obeyed his cruel commands.

Thus did he persuade them. Promising paradise, he gave his followers a potent draught and whilst they slept transported them to a vale where streams of milk and honey, wine and water, flowed.

Here were gardens and flowers of every hue and essence. Here, too Golden pavilions outshone the sun and even the stars of heaven envied the bejewelled interiors strewn with incomparable silks, tapestries, and treasures.

Hand-maidens, dulcet-voiced, soft of face, attended them, and thus bemused did they dwell in this man-made paradise until Alaeddin intent upon some evil deed, proffered again the hashish draught and brought them sleeping to his castle.

“What lord, are we cast out of paradise?” awakening, they cried.

“Not so. Go abroad, seek out my enemies and strike them down. But care not for your lives. Paradise is eternal.”

So terror stalked the land for many years. Then one day, came mighty Hulagu to stand before Alaeddin’s lair for three long years in siege. Thus fell Alaeddin and his men.

Now honest hands reap harvests of life from the soil where death and evil reigned. And those who journey through the vale are heard to say ’tis truly paradise today.

When Barbara notices Tegana leave the room after Ping-Cho’s tale, she follows him as he heads up to the Cave of Five Hundred Eyes. She doesn’t hear Tegana plot Marco’s destruction and the theft of the TARDIS, but finds herself captured by a group of Mongols who hold her in the cave whilst they play dice. In the next episode she tells Ian that they were playing dice to decide which of them would kill her, but it’s no stretch to imagine that they were also keeping her alive so that they could take turns to rape her. Otherwise it would have made more sense to quickly kill her and leave. Barbara becomes the object of male interest several times – in the very next story The Keys of Marinus and also during season two. Sometimes played for comic effect (The Romans) and other times played dead straight (The Crusade).

An intriguing part of the episode revolves around Tegana’s attempts to sow discord between Marco and the TARDIS crew. Why is Tegana doing this? He clearly doesn’t have Marco’s interests at heart, since he plans to kill him very soon, so is it possible that he fears the Doctor’s magic? Or it could be that he simply enjoys stirring up trouble amongst his enemies?

Doctor Who – Marco Polo. Episode Two – The Singing Sands

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Ian and Marco enjoy a game of chess. Tegana is a keen student of the game, as he explains –

TEGANA: I find it a fascinating game of strategy of war. Two equally balanced armies deployed upon a field of battle, and each commander determined to be the one who cries shah mat.
IAN: Shah mat? Check mate?
TEGANA: It means the king is dead.

It’s a lovely character beat that illuminates his personality a little more. Indeed, since the level of threat in this episode is fairly low (apart from the Singing Sands) several other characters also benefit from Lucorotti’s dialogue. Susan is one, as she poetically tells Barbara that “one day we’ll know all the mysteries of the skies, and we’ll stop our wandering.” Although it’s rather strange that he also elected to put various 1960’s slang words (“I dig it”, “crazy”) into her mouth since she didn’t adopt this mode of speech in any other story.

The Doctor is absent until the end of the episode – either this was a last minute rewrite to cover a bout of ill-health from Hartnell or it was just decided to give him an easy week – but the rest of the cast are so strong that he’s not really missed.

Susan and Ping-Cho’s adventure, adrift in the Singing Sands, is one of the most intriguing parts of the episode. Just how good did it look? We’ll never know the answer, unless the story ever turns up, but it certainly sounds impressive.

In terms of creating dramatic tension it’s a bit of a damp squib though – Barbara is hysterical with the thought that the girls are out in the desert unprotected, but then they turn up unharmed shortly afterwards.

Last time Tegana had a very decent scheme – poison the water gourds and then return to Lop. But for some unknown reason he’s changed his mind and elects to slash all but one of the water gourds and wait for the others to die from lack of water. Was this change of plan down to the misadventures in the Singing Sands? Afterwards, Marco tightened security and that might explain why Tegana decided he wasn’t able to leave the camp. Although it’s difficult to believe that he couldn’t have snuck away if he really wanted to.

With only a small amount of water left, they have to strictly ration it as they make their way to the nearest oasis. Will they get there in time? Mmm, I think it’s possible they just might.

Doctor Who – Marco Polo. Episode One – The Roof of the World

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With Marco Polo we’ve reached the first of the missing stories, although back in 2013 it seemed very possible that it had been recovered and we’d be enjoying it on DVD within a matter of months. The MEW rumour had been bouncing around various Doctor Who forums for a while (basically stating that three stories – Marco Polo, Enemy of the World & Web of Fear had been found). And when all of Enemy and most of Web did resurface shortly afterwards you could have laid a guinea to a gooseberry that Marco wouldn’t be far behind them.

Four and a bit years later there’s still no sign of it, so it seems that this rumour was only 66% right (although there are still some who cling to the belief that Marco Polo is out there somewhere). I’ve love to think that it was and that some day I’d be able to watch it on DVD (no download for me, thank you!) but if it isn’t, and no other missing episodes are ever found, then we should really just count our blessings.

All ninety seven missing episodes exist as good quality audio recordings (which have been further improved by the work of Mark Ayres during the last decade or so). We may sometimes take the audios for granted, and grumble about how annoying it is that we can’t see the pictures, but it’s worth taking a moment to stop and consider how some other popular series of the time have fared.

There’s reputed to be one poor quality audio of an Avengers episode existing in private hands, some muffled audios of Public Eye exist (several found their way onto the early DVD releases) whilst a handful of audios from Out of the Unknown were made (and are included on the BFI’s DVD release. Not bought it yet? You really should, it’s an excellent package! If you need further convincing I’ve written about it at length here).

These fairly slim pickings demonstrate just how fortunate Doctor Who is. This is particularly noteworthy when it comes to Marco Polo. The show had only been running for three months, so it’s a little surprising (but very welcome) that there were people who even this early on were dedicated enough to record every episode.

Although The Roof of the World is generally held to be the point where the Doctor starts to act more like the Doctor we come to know, he’s still remarkably bad-tempered at the start. This may be because he’s concerned for their safety (the TARDIS has broken down in the Alps and with no heat their prospect of survival looks slim) but he’s still incredibly dismissive when Ian offers to look for fuel. “Oh well, I wish you luck.”

The telesnaps offer us an insight into how these early scenes look. It’s no surprise that the Roof of the World looks rather stagey and there also appears to be a wrinkled backdrop behind the time-travellers (always a hazzard in these early stories – see The Aztecs for another example). The subtle wind effect helps to sell the illusion of cold though.

Our heroes run into the warlord Tegana (Derren Nesbitt). From his first words his character is made clear. “Hear me, Mongols. In these parts live evil spirits, who take our likeness to deceive us and then lead us to our deaths. Let us therefore destroy these evil spirits before they destroy us.” Whilst we can’t see him, it seems clear that Nesbitt relishes the dialogue he’s been given and he’s wonderfully entertaining throughout the story.

Their execution is stopped by Marco Polo (Mark Eden). If Tegana is presented as superstitious and menacing then Marco appears to be enlightened and affable. But both have their own agendas and Marco, whilst he’s friendly, quickly demonstrates that he’s equally as ruthless as Tegana. He appropriates the TARDIS and tells the Doctor that he wishes to present it to Kublai Khan as a gift – he then hopes that the Khan will then grant him leave to travel home to Venice.

This is the plot device that ensures that the Doctor remains – otherwise he would have left at the first available opportunity. Variations to make the TARDIS inaccessible are used throughout the first season (the missing fluid link in The Daleks, a forcefield in The Keys of Marinus, etc) as the Doctor is not yet written as a character who’ll stay and help people simply because it’s the right thing to do.

There are a few examples of Doctor Who‘s early educational remit. Early on, Susan finds a giant footprint – although Ian ponders that it may be just a normal sized print which looks bigger because the snow around it has melted. And later on, the science teacher in him can’t help but give Marco a quick lesson.

POLO: I’m afraid the liquid is not too warm, but the cold here is so intense, it even robs a flame of its heat.
IAN: The cold can’t affect the heat of the flame, sir. The liquid boils at a lower temperature, because there’s so little air up here.
POLO: You mean the air is responsible?
IAN: Well, the lack of it. Just as the lack of it is responsible for the Doctor’s mountain sickness.

Susan makes friends with Ping-Cho (Zienia Merton). Having someone in the cast around Susan’s age allows her to have some decent character moments and she opens up to Ping-Cho in a way we haven’t seen before.

Doctor Who – The Edge of Destruction. Episode Two – The Brink of Disaster

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The previous episode ended with the Doctor being attacked by a mysterious assailant.  It’s therefore something of a letdown to learn that it was only Ian – trying to warn the Doctor not to touch the controls, as they would have given him an electric shock.

Ian had two choices of course.  Choice number one would have seen him tell the Doctor not to touch the controls whilst choice number two is to throttle the Doctor into submission.  Yes, he goes for choice number two.

But why Ian would think the controls would be dangerous (and how he managed to awake from his drugged sleep) is a bit of a mystery.  Yes, Susan was attacked by the console in the previous episode, but we saw the Doctor touch the controls later on with no ill effects.

For a few minutes, the Doctor is still convinced that Ian and Barbara are the cause of his problems, but eventually the penny drops that something is wrong with the ship.  Barbara decides that the TARDIS has been trying to warn them.  “We had time taken away from us and now it’s being given back to us because it’s running out” is just one of her baffling utterances which make no sense at all.

And the reason why the TARDIS acting so oddly? The Fast Return Switch was broken (a faulty spring!) and is hurtling the ship towards destruction. But rather than issue a conventional warning, the TARDIS decided that a series of oblique and bizarre moments would be just the ticket.  Also, it’s impossible not to love the fact that somebody has written “fast return switch” in felt-tip on the console!

Hartnell has quite a long monologue which is designed to wrap the mystery up.  Even at this early stage he was never keen on lengthy speeches – due to the worries he had with remembering lines.  He is a bit wobbly in this story from time to time, but he’s pretty much perfect when it comes to this sequence.  Although his reaction when receiving the script (“Christ! It’s bloody Hamlet!”) strongly implies that he needed some persuading to learn it!

I know. I know. I said it would take the force of a total solar system to attract the power away from my ship. We’re at the very beginning, the new start of a solar system. Outside, the atoms are rushing towards each other. Fusing, coagulating, until minute little collections of matter are created. And so the process goes on, and on until dust is formed. Dust then becomes solid entity. A new birth, of a sun and its planets.

It was very possible that this would have been the final episode of Doctor Who.  If so, then it would have ended with a more mellow Doctor finally beginning to appreciate his two new companions.

DOCTOR: I’d like to talk to you, if I may. We’ve landed on a planet and the air is good, but it’s rather cold outside.
BARBARA: Susan told me.
DOCTOR: Yes, you haven’t forgiven me, have you.
BARBARA: You said terrible things to us.
DOCTOR: Yes, I suppose it’s the injustice that’s upsetting you, and when I made a threat to put you off the ship it must have affected you very deeply.
BARBARA: What do you care what I think or feel?
DOCTOR: As we learn about each other, so we learn about ourselves.
BARBARA: Perhaps.
DOCTOR: Oh, yes. Because I accused you unjustly, you were determined to prove me wrong. So, you put your mind to the problem and, luckily, you solved it.

It also reinforces the notion that all four members of the TARDIS crew have something to contribute.  It was Barbara who solved the mystery in this story, Susan returned to the TARDIS to fetch the anti-radiation drugs in The Daleks, Ian made fire in An Unearthly Child, etc.

This might be something of a ramshackle story, but at only two episodes it doesn’t outstay its welcome and apart from a few decent character moments it’s mainly memorable for the subtle reshaping of the Doctor’s character.