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Book review – Deadly Dangerous Tomorrow edited by Michael Seely

April 22, 2023April 22, 2023 archivetvmusings BBC Drama - 1970's, Book Reviews deadly dangerous tomorrow, doomwatch

Doomwatch ran for three series between 1970 – 1972. Like many programmes of this era, not all of the episodes now exist (out of 38 made, 14 are currently absent from the archives). Most of the wiped episodes come from the third and final series (five are missing from series one, whilst the second series exists complete).

Since only three episodes remain from the third series (including the untransmitted Sex and Violence) it’s always been hard to get a feel for how the last run developed. So this second edition of Deadly Dangerous Tomorrow (originally published in 2010) is very welcome as it contains five S3 scripts – Fire and Brimstone, High Mountain (both draft and camera scripts), Say Knife Fat Man, Deadly Dangerous Tomorrow and Flood. There’s also a S1 episode (Spectre at the Feast) and – new to this edition – a script by Keith Dewhurst that was submitted for the second series but rejected by series producer Terence Dudley.

The production history of Doomwatch is something of a battleground, due to (in the blue corner) Terence Dudley and (in the red corner) series creators Kit Pedler and Gerry Davis. Pedler and Davis, naturally enough, had very strong opinions about how their creation should develop, but Dudley was equally forthright and by the third series he had wrested complete control and was able to fashion the show entirely in his image.

Dudley’s Spectre at the Feast is the first script in this book. It had a good guest cast (Richard Hurndall, William Lucas, George Pravda) so it’s possible to surmise we would have been on safe ground, acting wise, but how effective the overall production would have been (given some of the hallucinogenic sequences) is another matter.

The story reads well though, with Fielding (played by Lucas) coming across as the sort of strong opponent for Quist typical from this era of the programme. The reason for an outbreak of mass hallucinations (contaminated lobsters) is something you don’t see every day (it’s probably best if you suspend your disbelief when Quist proffers his explanation). John Ridge going undercover to a fancy hotel in order to steal a lobster from their tank is one reason why I really hope this episode turns up one day.

Remarkably (or sadly) so many Doomwatch episodes still seem relevant today – Spectre at the Feast (which pivots around the theme of river pollution) is no exception. Towards the end of the episode, Quist confronts Fielding.

Gentlemen, we have a lot to thank Mr Fielding for. He is pioneering in silicostyrenes. Soon, there will be no more cast-iron car engines – just cheap plastic cylinder blocks – and it won’t be one factory releasing effluent at the permitted level. Today he poisons the rich man’s lobster, tomorrow it’ll be the poor man’s fish and chips. He’s produced a cheaper engine. Do we want it at the price?

We then jump forward to the opening episode of series three – Fire and Brimstone. Another Dudley script, it heavily features John Ridge who, after stealing six deadly anthrax vials, attempts to hold the world’s governments to ransom.

Simon Oates (John Ridge) didn’t want to commit to the whole of series three (he would only appear in four episodes) so it’s understandable that Dudley would give Ridge a memorable lap of honour (he was hardly the sort of character to just meekly hand in his resignation). Doomwatch had already killed off a main character (Toby Wren) so possibly didn’t want to repeat that. Instead, John Ridge goes rogue in the most extreme way ….

By all accounts, this baffled and annoyed contemporary critics and viewers, who couldn’t understand why the previously affable (if highly strung) Ridge had suddenly become a fanatic – intent on wiping out millions of people if his demands aren’t met. An explanation – of sorts – is provided in 3.4 (Waiting for a Knighthood) the only existing John Ridge series three episode. Fire and Brimstone is an uncompromising and unsettling way to kick off S3, not least for the way it ends on the broken Ridge.

Two versions of Martin Worth’s High Mountain (episode 3.2) are included – firstly a draft script and then a re-written camera script. The main thrust of the plot remains the same, but the dangerous item under discussion – originally soap powder, later aerosol paint – changes as do some nips and tucks to the dialogue (which are always fascinating to pick up on).

A few lines swiftly dispose of two S2 regulars (Geoff Hardcastle, Dr Fay Chantry) who were deemed surplus to requirements by Terence Dudley. Neil Stafford (John Bown) now moves into view as Ridge’s replacement – albeit someone forced on Quist by the Minister to act as his eyes and ears (although Stafford quickly becomes a keen Doomwatch man).

Unlike the rather pallidly drawn Hardcastle and Chantry, there’s no doubt that Stafford makes his mark straight away (even more so in the draft script, where he dominates a subdued Quist). The notion of the Drummond Group offering Quist the money to set up a private Doomwatch, free from government interference, is an intriguing one (although inevitably strings are attached).

Next up (3.3) is another Martin Worth script – Say Knife Fat Man – which had quite the guest cast (Peter Halliday, Geoffrey Palmer, Leslie Schofield, Paul Seed, Elisabeth Sladen). The script is preceded by a letter from Worth to Terence Dudley, in which he wearingly describes how he had to undertake a hefty rewrite on the script.

Possibly this might explain why the story doesn’t quite grip. The main thrust of the episode (a group of disgruntled students steal some plutonium in order to make an atom bomb) – is decent enough, but both Quist and Stafford are rather passive throughout. It’s Chief Supt. Mallory (Geoffrey Palmer) who manages to put two and two together (indeed, it turns out to be a story where the Doomwatch team achieve very little). Possibly the most interesting part is the way that Barbara (by displaying sympathy for the alienated students) is allowed, for once, to be something more than just a line feed for the others.

There’s almost a Department S feel to the pre-credits sequence of Deadly Dangerous Tomorrow (3.7, written by Martin Worth). The mystery of how an Indian family – father, mother, children – dying of malaria and malnutrition end up in a tent pitched in Hyde Park is spun out for a little while.

It turns out that John Ridge (no longer a member of Doomwatch, but equally no longer a menace to society) is partly responsible for bringing them to London. The suffering of the third world is his latest cause, although Stafford cynically suggests that Ridge is motivated by self interest. “So that’s why you took up the cause of the innocents and martyrs. Because you think you’re one yourself. That’s what it’s really about – poor, hard done by Ridge, whom nobody loves, getting his own back.”

Whatever the reason, the sudden appearance of Ridge in the new Doomwatch office mid way through the story gives the episode a considerable boost. The main guest character – Senator Connell – seems to be a little bit of a cliché figure but it would have been nice to see what Cec Linder (a familiar face from the television Quatermass and the Pit and the Bond movie Goldfinger) did with the role.

The last series three script included (3.9, written by Ian Curteis) is Flood. It has a tense feel throughout as abnormally high tides threaten to flood London, potentially affecting millions of people. Luckily, at the last minute the wind changes and the panic is over (which was probably just as well, as Doomwatch’s budget wouldn’t have stretched to depicting a flood-ravaged London).

The reason for the tides isn’t environmental – it’s due to secret nuclear tests which occurred on the seabed just a few hundred miles off the coast of Europe. This is the cue for Quist and the Minister to lock horns, although it’s noticeable that since he was first introduced, the Minister has become less of a pantomime villain and more of a three-dimensional character. He now possesses an agenda that isn’t simply designed to provide Quist with an adversary, instead it’s possible to appreciate (if not always sympathise) with the Minister’s point of view.

New to this edition is the snappily titled Home Made Bomb Story by Keith Dewhurst. Surprisingly, it isn’t actually about a home made bomb ….

Doctor David Daviot, an old pupil of Quist’s, is the central character. He’s a scientist with a conscience, but he comes across as rather boorish and unsympathetic (so it’s difficult to feel too invested about his fate). He does share some good scenes with Quist though and Quist is given a remarkably lengthy monologue about the death of his wife that could have been a stand out moment for John Paul (although one that probably would have been a pain to learn).

Home Made Bomb Story is certainly a curio (it’s jarring to hear Daviot refer to Quist as ‘Doc’) but given a few more drafts maybe it would have made the grade, but alas it wasn’t to be.

Deadly Dangerous Tomorrow is edited by Michael Seely, who knows his Doomwatch (you’re well advised to track down Prophets of Doom, an excellent production history of the series written by Seely and Phil Ware) not to mention archive television in general. He provides a concise introduction to set the scene, and supplies informative footnotes throughout. Some of the footnotes are production related (cut dialogue, etc) whilst others provide detail about the various environmental issues tackled in the stories.

This book is an excellent companion to the Doomwatch DVD, as it helps to flesh out the neglected third series. It’s also made me keen to revisit Doomwatch from the start, which is never a bad idea.

Deadly Dangerous Tomorrow comes warmly recommended and can be ordered via this link.

Doomwatch – Sex and Violence

May 13, 2016May 13, 2016 archivetvmusings BBC Drama - 1970's BBC, doomwatch, elizabeth weaver, joby blanshard, john bown, john paul, viven sherrard

sex

There’s a clear irony in the fact that Sex & Violence, a story which concerned itself with the question of censorship, was pulled from the schedules and was never transmitted. Given the very depleted nature of season three Doomwatch episodes it’s odd, but welcome nonetheless, that an episode which didn’t even make it to the screen somehow managed to survive the archive purges (logic would have suggested it would have been the first to go).

One suggestion for the reason why the BBC got cold feet concerns the use of real-life Nigerian executions. It’s certainly shocking – but this footage had already been transmitted on several occasions prior to this, so it’s reasonable to assume that for viewers at the time the shock value wouldn’t have been too great. And had this really been a cause of concern it would have been easy to excise the section without damaging the narrative flow too greatly (we could have cut away from the clip before the shooting and simply shown the reaction of the watching committee).

It seems much more likely that the episode was pulled since several characters were thinly disguised caricatures of real people. Both Mrs Catchpole (June Brown) and Mrs Cressy (Noel Dyson) have more than a touch of Mary Whitehouse about them. This is made very obvious in the pre-credits sequence, which sees Mrs Catchpole holding forth at a public meeting – held in a church – and railing about the filth thrown at people like her (her audience is comprised of middle-aged, middle-class women) by the intellectual media elite.

Unlike Mrs Whitehouse, Mrs Catchpole isn’t a national figure, therefore she tends to exist around the fringes of the plot. So Mrs Cressy also acts as a Whitehouse substitute – she’s less of a rabble-rouser, but is equally vehement about stamping out sex and violence. Mrs Cressy is a member of the Purvis sub-committee, who have been charged with investigating all aspects of pornography and violence in the media. Quist is also asked to look into the same question, which he’s less than keen about.

Pollution in the air or the sea he can understand, but moral pollution? It’s not his thing at all. But as we’ve seen several times before, Quist starts off doubtful but eventually gets more interested as the story progresses. It’s just a pity that yet again he’s operating on the periphery of the plot. Dr Tarrant is seconded to the sub-committee, which means she’s as an active participant, leaving Quist as a fairly passive onlooker.

The other members are Professor Fairbairn (Brian Wilde) and Steven Grainger (Bernard Horsfall) who tend to lean towards the permissive end of the spectrum. Mrs Cressy and the Rev Charles Garrison (Llewellyn Reees) take the opposing view, which means that Dick Burns (Christopher Chittell) is a valuable floating voter, since he holds no firm opinions either way. Burns, a pop star, is another clear analogue to a real public figure (at the time Cliff Richard had been asked to sit on a very similar committee). Although Burns is a much less straight-laced figure than Richard, the parallel seems clear.

Sex & Violence is a dense, talky episode – a great deal of it revolves around the committee’s debates – which really comes alive thanks to the first-rate guest cast. Brian Wilde and Bernard Horsfall are always a pleasure to watch, whilst June Brown (a decade or more away from achieving national fame in EastEnders) has some sharply written comic scenes. It’s fair to say that Mrs Catchpole isn’t a subtle character though, and it’s no doubt this less than veiled attack on Mrs Whitehouse which sealed the story’s fate. The Doctor Who fan in me was quietly delighted to see Llewellyn Rees and Bernard Horsfall in the same scene (a few years later they’d both appear in The Deadly Assassin).

There’s no stunning revelations here. For example, Anne is attacked by Mrs Hastings (Angela Crow) as she attempts to buy a ticket for an Oh Calcutta type play. Although Anne’s hurt and bruised, she’s much more interested why a law-abiding person like Mrs Hastings would be incited to violence. The answer seems to be that she’s always been fairly repressed about sex (since her parents didn’t talk about it at all) which it probably didn’t take a psychiatrist to work out! It’s also worth mentioning the décor of Mrs Hastings’ flat, which has the most garish early seventies wallpaper you could possibly imagine.

When Quist later wonders exactly why Doomwatch is involved, it’s easy to agree with him. It’s an interesting enough story, but it’s also yet another example of how far the series changed from the early Pedler/Davis ecological tub-thumping.

Possibly the most interesting part of the plot revolves around the character of Arthur Ballantyne (Nicholas Selby). He’s a political figure who’s made considerable capital out of the sex and violence debate (he’s revealed to have financed a number of pressure groups, including Mrs Catchpole’s). It’s easy enough to look around today and find politicians who have risen to prominence on the coat-tails of controversial debates – which is a final demonstration that Doomwatch, even forty years later, can continue to hold a mirror up to our society.

Doomwatch – Hair Trigger

May 12, 2016May 12, 2016 archivetvmusings BBC Drama - 1970's BBC, doomwatch, elizabeth weaver, john bown, john paul, viven sherrard

hair trigger

Anne is at Weatheroak Hall Maximum Security Medical Research Unit. She’s there to meet Doctor McEwan (Barry Jackson) and Professor Alec Hetherington (Morris Perry) who have developed a revolutionary process to deal with hardened and psychopathic criminals.

Behind a glass panel she observes Michael Beavis (Michael Hawkins) receiving treatment. Anne is horrified to learn that he’s essentially little more than a radio-controlled puppet – electrical impulses, controlled via a computer, damp down any negative or violent feelings he may have and McEwan is convinced this will enable him to be reintegrated into society (otherwise Beavis would remain a prisoner in Broadmoor and therefore a severe drain on the nation’s finances).

But for Anne, Beavis isn’t cured – his psychopathic tendencies are simply being suppressed. Apart from the ethical issues this raises for her, she’s also far from convinced that the treatment is foolproof. McEwan is happy for her to speak to Beavis on a one-to-one basis in order that her fears may be allayed, but by doing so she re-opens his long-buried trauma and after attacking her, he escapes ….

Hair Trigger was tapping into something of a zeitgeist about how technology could deal with violent criminals. This was a theme of A Clockwork Orange (both the original book and the later film) whilst the 1971 Doctor Who story The Mind of Evil also had its own method of removing evil impulses from the minds of criminals (an alien parasite). Although the Doctor Who story was much more fantastical than Hair Trigger, there are some similarities – not least Anne’s statement that by suppressing all the violent tendencies from any given subject they’ve basically been neutered and aren’t really human beings any more.

Director Quentin Lawrence creates a decent visual joke as the episode title and writer credit is displayed following the opening credits. They’ve overlaid over what appears to be a pastoral scene, but a few seconds later it’s revealed to be an album cover of classical music, which Anne puts onto the turntable as she attempts to convince Quist that McEwan’s process is fundamentally immoral.

Quist is slow to agree (although there’s the suggestion later that he was playing devil’s advocate). That Anne is the one who’s concerned whilst Quist remains a passive onlooker is another example of the way his role was downplayed during series three. He acts as a decent sounding board for Anne to develop her arguments, but apart from that Quist has little involvement in the main narrative.

The rest of the Doomwatch team are also pretty much surplus to requirements in this one. Bradley is absent, whilst Stafford and Barbara only have a couple of scenes. Although even in the limited screen time they both have, Barbara’s obvious dislike of Stafford is made quite clear.

Morris Perry and Barry Jackson both give characteristically solid performances, but the acting honours must go to Michael Hawkins as Beavis. When we first meet him, Beavis is desperately keen and eager to please, although when McEwan gently tells him that Anne will want to talk about his past life there’s a strong sense that his former crimes (he murdered his wife and children) still trouble him.

This is therefore something of a story weakness. We’re told that McEwan’s work has a zero failure rate – yet as soon as Anne starts to probe Beavis about his history he goes berserk. And the computer control isn’t able to stabilise him afterwards, as he escapes from the compound and takes a family hostage.

If the Doomwatch team aren’t terribly well used here (remember that Anne isn’t actually a member of Doomwatch) then Brian Hayle’s script is still a tautly written and well-acted affair. As I’ve said, acting kudos must go to Hawkins, especially in the final ten minutes as the hostage situation plays out to an inevitable but nonetheless powerful conclusion.

Doomwatch – Waiting for a Knighthood

May 11, 2016May 12, 2016 archivetvmusings BBC Drama - 1970's BBC, doomwatch, elizabeth weaver, joby blanshard, john barron, john bown, john paul, simon oates, viven sherrard

waiting

Although Waiting for a Knighthood was only the fourth episode of series three, there had already been a number of key developments during the first three (all now sadly wiped) episodes.

The series opener, Fire and Brimstone, had seen John Ridge steal a number of anthrax phials in order to hold the government to ransom. This plotline had been developed to lessen Simon Oates’ involvement in the show, as he’d disliked the way the second series had developed and didn’t wish to remain a regular for the third run. Waiting for a Knighthood, which sees Ridge ensconced in a secure nursing home following his breakdown, is the last existing episode which features him.

Ridge’s removal from Doomwatch meant that a replacement had to be found – hence the introduction of Commander Neil Stafford (John Bown). Stafford isn’t a scientist, he’s a security man, which meant he could take over the security and clandestine aspects of Ridge’s role whilst remaining a distinct character. He’s certainly no womanizer and the fact that he reports to the Minster means that it’s not always easy to know where his loyalties lie. Given the small number of series three episodes existing, he looked to be an interesting character and it’s a pity that we don’t have the opportunity to see more of him in action.

Perhaps the most jarring aspect of this episode is that we see Quist relaxing at home (or as it turns out, Anne Tarrant’s home) – the picture of perfect domestic contentment. Up until the end of series two, Quist had been an emotionally isolated figure – living only for his work – so it’s something of surprise to find that he’s now deep into a relationship (and also that Anne calls him “Spence”! which is something nobody else has done).

Given that when Dr Fay Chantry was introduced in series two Ridge mentioned casually in passing that she might be a decent match for Quist, it’s intriguing to wonder whether any thought had been given to matching them up. It’s just as likely a coupling as the one-off character of Dr Tarrant (who had appeared in You Killed Toby Wren) linking up with him I guess.

Waiting for a Knighthood opens with Anne attending a church service. Along with the other parishioners, she’s perturbed to see the vicar suffer a breakdown and it’s later revealed that he’s suffering from lead poisoning (he’s a keen mechanic and had ingested a dangerous level of fumes). A similar thing seems to have happened to Ridge, which provides an explanation for his behaviour in Fire and Brimstone.

These incidents, and increasing concerns about the levels of lead in petrol, indicate that there should be tighter controls – but Richard Massingham (Frederick Jaeger), after enjoying a decent dinner with the Minister, Sir George Holroyd (John Barron), tells him he’s not convinced. Massingham is an oil man and doesn’t see why a few high profile cases should mean swingeing restrictions. After all, he says, it’s not as if people are dropping down dead all over the place.

The debate about harmful levels of lead both here and at the Doomwatch office keep the story ticking along, but the main part of the plot concerns the kidnapping of Massingham’s young child (played by Stephen Dudley). Dudley, the son of producer Terence Dudley, would be a regular a few years later in Survivors (and already had another Doomwatch credit – Tomorrow the Rat – to his name). Dudley the younger is rather irritating in this one, so I’m thankful his screentime was fairly limited.

Coincidence is the name of the game here. The boy was kidnapped by Mrs Sylvester (Glenm Watford) who happened to be passing Ridge’s garage at just the right moment to hear Bradley and Stafford discussing the possibility that Ridge had suffered from lead poisoning. Her own son had died from something similar and so she decides to kidnap Massingham’s boy in revenge. And Massingham has direct links with the Minister, which means that Doomwatch are involved straight away.

If the plot seems a little messy and rather open-ended, then there’s still some useful food for thought about the dangers of lead in petrol. Bradley gets decent share of the action (as does Barbara, who becomes more of a central character during series three – just a pity that we can’t see most of it). Frederick Jaeger as Massinghm is suitably solid. Massingham isn’t a cartoon villain – knowingly polluting the air – he’s a realist who knows that the only way for the government to take action is if they raise petrol prices substantially, which of course they won’t do.

A pity that Quist’s rather sidelined though, but that tends to be par for the course with series three.

Doomwatch – Public Enemy

May 10, 2016March 15, 2018 archivetvmusings BBC Drama - 1970's BBC, doomwatch, jean trend, joby blanshard, john nolan, john paul, simon oates, viven sherrard

public enemy

After a young boy retrieves his football from the roof of Carlingham Alloys he collapses and later dies. His death shocks the local community, not least Arnold Payne (Derek Benfield). Payne’s family had previously owned the factory but sold it some time back to a major multi-national concern (and he now views it with a very jaundiced eye).

Carlingham are developing a new process to produce a low-cost substitute for carbon fibre. If they succeed before the Americans then the profits will be immense – which explains why lead scientist Dr Anthony Lewis (Trevor Bannister) spares little thought for the fate of a child who had been trespassing. But the later death of a factory worker confirms there is a major problem and Quist and the others are on hand to suggest a series of measures which will tighten up safety procedures to ensure such tragedies never happen again.

But the story doesn’t end there …..

Public Enemy is a Doomwatch tale of two halves. It begins very much in the mould of a series one episode – a mysterious unexplained death which the team investigate. The show had also covered the conflict between big-business and the environment before (for example in Train and De-Train). Indeed, it’s interesting to directly compare this episode with Train and De-Train. In Train and De-Train, Mitchell, the head of Alminster Chemicals, is only concerned with Alminster’s profit margin. If they’re responsible for environmental damage along the way then that’s regrettable, but to him it’s just a fact of life (his chief scientist is the one shown to have scruples).

In Public Enemy the position is totally reversed. The managing director of Carlingham Alloys, Gerald Marlow (Glyn Houston), totally takes on board all of Quist’s safety recommendations and promises to ensure they’re put into practice. It’s Dr Lewis who’s shown to be dismissive and obstructive – he feels that as the boy shouldn’t have been on the roof it’s not really their fault that he died. His attitude appalls Quist – Lewis is the sort of scientist who, in his opinion, cuts corners and is therefore dangerous – which leads to a major confrontation between Quist and Geoff.

It’s a lovely moment which helps to flesh out Geoff’s character in what turned out to be his final appearance (it was Fay’s last story too). After the pair spend a few seconds staring at each other following Geoff’s outburst, the atmosphere is lightened by Ridge who asks Quist if he’d like him to throw Geoff against the wall to see if he bounces!

Both Glyn Houston and Trevor Bannister (best known for his later role in Are You Being Served?) offer first-rate performances. Houston plays Marlow as the sort of caring, considerate employer who seems almost too good to be true whilst Bannister’s Lewis spends most of the episode simmering with barely concealed rage at the nosy do-gooders from Doomwatch. When Marlow first tells him that Doomwatch have been called in, he reacts by calling them “failed boffins”. Marlow then counters by replying that Quist can hardly be called a failed boffin, but Lewis doesn’t reply, he simply smiles faintly.

After Doomwatch have identified the problem, that seems to be an end of it. But Carlingham are not prepared to pay the hundred thousand pounds needed to implement the safety procedures recommended by Quist – instead they decide to close the factory and move production up to Leicester. All the workers’ jobs are secure, but few are keen to up sticks and move.

This is where the second part of the story kicks in. Up until now both the works committee and Payne have been fully behind Quist’s recommendations. But Payne (a noted local businessman with several shops) knows that once the factory closes he’ll lose most of his trade, so his former virulent criticisms of the factory’s safety record now undergoes an ironic adjustment. If it means keeping the workers here, then surely a little pollution is a small price to pay? The works committee also accepted Quist’s recommendations and indeed welcomed them, but if it’s a choice between a move to Leicester and staying at the old factory (even if, as Quist says, they could face serious lung problems in as little as five years time) many would prefer to stay put and take their chances.

The shift in emphasis helps to spin the story off in a very different direction. Had this been a series one episode then it’s highly likely that the creative team of Pedler and Davis would have chosen to highlight the heartlessness of profit-driven modern corporate business (as happened in both The Red Sky and Train and De-Train). But that doesn’t happen here, which is a good example of how Doomwatch changed direction once Terence Dudley wrested creative control of the series from Pedler and Davis.

The episode culminates in a blistering final scene, excellently performed by John Paul, as Quist addresses the various vested interests who have most to lose if the factory closes. As Quist finishes his impassioned speech, the camera zooms into his face as he stares directly down the lens. Breaking the fourth wall like this was unusual and it can be taken as a clear hint that Quist’s message was meant for the watching millions at home as well. The speech isn’t subtle, but it’s powerfully delivered and closes series two very memorably.

Raise production, raise consumption, raise wages, advance the standard of living. But is anyone any happier? All that happens is that the debris that must inevitable accumulate in the process, slowly builds up until one day it must choke us.

Now we all want a clean, healthy world to live in, don’t we? We’re all against pollution in any form? But only when the cost of fighting it is borne by someone else. When our own pocket’s hit, a shilling on the rates, six weeks on the dole, a capital investment which makes a company merely viable, then no thanks, let’s forget it. Well, I’m warning you, forget it and you’re dead.

Not just this community, but the whole of industrial civilisation. The way we’re carrying on, the way we’re polluting, over-crowding, chemicals, noise, we’ve got thirty years. Thirty years of, dirty, slow, dirty dying. Or it’s thirty years for us to clear up the mess. That’s the choice! That’s your only choice! Pay up or pack up! Not only you, or you, or you, but every single one of us, every living one of us, all of us.

It’s a pity that both Jean Trend and John Nolan were written out of the series following this episode. Nolan spent most of the second series doing very little, but that’s no criticism of him as an actor – simply that Geoff Hardcastle was such an undeveloped character. When he was given a role to play – his double act with Ridge in Invasion or indeed in this episode – he was very watchable. Trend will also be missed. As she was replaced by the rather similar character of Dr Anne Tarrant during series three (who had first appeared in You Killed Toby Wren) I do find the change a little baffling.

Other major changes would occur during the third and final series, but with only three episodes existing from the transmitted twelve, sadly most of the stories now are only accessible via scripts or synopsis.

Doomwatch – The Logicians

May 8, 2016May 3, 2016 archivetvmusings BBC Drama - 1970's BBC, doomwatch, jean trend, joby blanshard, john nolan, john paul, simon oates

logicians

Fay and Ridge are at Beresfords, a major pharmaceutical company. Beresfords have been been developing a powerful new antibiotic, K27, which Doomwatch have been closely monitoring – due to concerns over possible side-effects.

But since all the potential problems now seem to have been ironed out there seems no reason why K27 shouldn’t go into production. However the next day, Beresfords’ managing director, Priestland (Noel Johnson), discovers that the formula has been stolen.

Although Ridge briefly becomes a suspect, he’s intrigued that a party of boys from a nearby private school called Elsedene were at Beresfords on the day of the robbery. He and Geoff visit the school and Ridge is perturbed to see how dominant both computers and logical teaching methods are. Could this be a breeding ground for emotionless, logical criminals?

Based on a story outline by Kit Pedler, it explored themes that he’d already developed in several Doctor Who stories, notably The Tomb of the Cybermen and The Wheel in Space. Tomb introduced us to Klieg and Kaftan, members of the Brotherhood of Logicians. Pure logic was clearly something that perturbed Pedler – as it allowed Kleig to ally himself with the Cybermen with no thoughts given as to the consequences of his actions. The Wheel in Space has even closer links to The Logicians, thanks to the appearance of Zoe. Zoe, like the boys in this story, is a product of computer teaching and is shown to be emotionally deficient (“all brain and no heart”).

The scenes in the school, with the boys working at computer terminals, is clearly meant to be disturbing – although to a modern audience it probably seems perfectly normal. Geoff isn’t happy with what he finds. “It looked more like a space shell than a classroom to me. All the kids in headphones, wired up to a computer being fed questions and feeding back answers.” This would have been a science fiction concept in 1971, but in 2016 it’s nothing out of the ordinary.

Quist approves of logical teaching for the young. “Youth without an adult’s emotional stresses can absorb an enormous amount of this symbolic training. The ability to think straight, a cool appraisal of any situation, uncluttered by emotion or bias, that’s what the modern world needs today.” But there are inherit dangers to this type of schooling. Ridge tells Quist that the boys appeared to be display a type of mental arrogance (likening them to the Hitler Youth).

One slight flaw with the story is the notion that the boys are potentially dangerous because they’ve been computer taught – i.e. without the input of human teachers. But when Ridge and Geoff observe them, the class is clearly being run by a teacher and the computers are only used as a aid to the lesson, they aren’t in control. Elsedene is also the sort of public school where the only type of discipline is self-discipline, so even had the pupils not had access to these type of logical computer lessons they still might have developed along similar lines.

Although they’re criminals, it’s later revealed that the boys only stole the formula in order to extort a ransom (£25,000) from Beresfords so they could anonymously donate the money to Elsedene (which has been suffering from extreme financial difficulties). But the unanswered question is what will happen when they leave school? Will logic once again triumph over universally held notions of right and wrong?

Although the idea of a school dominated by computers may carry little resonance in the twenty first century (it’s a fact of life today) there’s plenty to enjoy in Dennis Spooner’s script. Spooner was always the sort of writer who liked to inject humour whenever he could and this is reflected here.

Ridge is the recipient of many of Spooner’s funniest lines and Simon Oates delivers them perfectly. Ridge and Geoff have some nice bantering scenes – Ridge turning his nose up at Geoff’s new coat and Geoff being theatrically disappointed at being forgotten when Ridge lists all the other members of the Doomwatch team. Ridge is also on hand to pour cold water on Priestland’s gallant attempts to chat up Fay and he’s also entertaining when tangling with the police. When Ridge later makes a clandestine call to the Doomwatch office from Elsedene and calls Fay “mother” you know that Spooner is enjoying himself!

Noel Johnson (Radio’s original Dick Barton) is suitably solid and dignified as Priestland, he’s a major plus point throughout the story. Amongst the schoolboys is a young Peter Duncan, who’d turn up later in the Terence Dudley produced Survivors, as would Michael Gover (here playing Priesland’s number two, Kelsey).

If The Logicians is another Doomwatch story which feels a little underdeveloped (is there enough evidence to suggest that computer and logical teaching alone is responsible for turning the boys into criminals, or would that have happened anyway in the rarefied atmosphere of an unsupervised public school?) Dennis Spooner’s script clips along at a decent enough pace to cover any lapses in, well, logic.

Doomwatch – The Inquest

May 7, 2016May 3, 2016 archivetvmusings BBC Drama - 1970's BBC, doomwatch, joby blanshard, john nolan, john paul

inquest

Geoff heads down to the country as Doomwatch’s representative at an inquest due to be held into the death of Marion Duffy, a ten year old girl who died from rabies. John McAlister (Robert Cawdron) from the Min. of Ag. and Fish believes that this rabies infection was due to contact with an infected dog, but Mary Lincoln (Judith Furse) has another theory.

Ms Lincoln is a local resident who is bitterly opposed to the laboratory run by Dr Henry Fane (Frederick Treves). Dr Fane’s lab is licenced to carry out experiments on animals – something which Ms Lincoln is horrified about – but he also conducts research on insects. Ms Lincoln is convinced that an infected tsetse fly escaped from the lab and bit Marion, thereby causing her death.

The smooth running of Geoff’s preparation for his appearance at the inquest is rather derailed after shots are fired at Dr Fane’s lab and Geoff finds himself laid up in hospital, with Bradley called on to deputise for him.

The Inquest is another Doomwatch episode with a strong hook in the pre-credits sequence. After a couple of shots are fired, Dr Fane finds Geoff senseless on the floor – although since he was clutching his shoulder it’s clearly not a fatal wound. The post-credits meeting between Quist and Bradley is also memorable, as Quist casually mentions that Geoff’s been shot and he therefore needs to hop on a train and take over his work. Quist’s seemingly unfeeling and cold nature is again highlighted here – although it appears to be more that he knew that Geoff was fine (with only a superficial scratch) and had therefore had mentally moved onto more pressing matters.

With both Simon Oates and Jean Trend absent, this is that rarest of beasts – a Bradley-centric episode. Joby Blanshard naturally seems to relish having more to do then simply react to the others. Bradley’s a key participant at the inquest, although when he expresses the opinion that all dogs within a five mile radius should be shot he doesn’t find many supporters amongst the villagers!

It’s an interesting twist that for once there’s no twist. Since we’ve become so used to seeing Doomwatch stories where a death that appears to have been caused by x was actually caused by y, it’s a neat trick when it’s revealed that a rabid dog was responsible after all.

This follows lengthy and passionate arguments from Ms Lincoln at the inquest, who remained insistent that Dr Fane’s tsetse flies were responsible – to the growing exasperation of the coroner (very well played by Edward Evans). The revelation that it was just a dog does take the wind out of her sails, but Dr Fane is still culpable (the infected dog had been released from his lab) but he’s not the only one.

It was the landlord of the local pub who obtained the dogs for Fane – and with the money that Fane was offering he wasn’t too choosy about where they came from. The long arm of coincidence comes into play when it’s established that the landlord’s son Harry was responsible for tending to the released animals (and also was the one who took a pot-shot at Geoff). Like Marion, Harry’s been bitten, and the episode ends with the boy taken to hospital and it’s left open as to whether he’ll live or die.

The nature of the story means that this is a static, wordy episode. The scientific content is pretty low – although Bradley goes into considerable detail about why he believes tsetse flies couldn’t be responsible for carrying the rabies virus, since that whole part of the plot was a red herring it doesn’t really matter either way.

Judith Furse is excellent as the animal loving Ms Lincoln and the ever-reliable Frederick Treves is equally as good as her implacable enemy Dr Fane. Given that Fane has a licence for animal experiments, it’s never made clear why he should have gone to such extreme measures to obtain potentially dangerous dogs (unless he needed infected animals for his experiments?) It’s also never explicitly stated, but it seems probable that Ms Lincoln released the dogs, if so then she must take part of the blame for the child’s death.

Quist keeps a fairly low profile, although he pops up at the end of the inquest (rather stealing Bradley’s thunder!) And even though he gets shot, Geoff is still something of a third wheel, although the absence of both Ridge and Fay means that he does get a few more lines than usual.

Scripted by Robert Holmes, The Inquest is a well-written character piece.

Doomwatch – The Human Time Bomb

May 6, 2016May 8, 2016 archivetvmusings BBC Drama - 1970's BBC, doomwatch, jean trend, john paul, simon oates

time bomb

Doomwatch have been asked to investigate the Amblethorpe project. The brainchild of Sir Billy Langly (Kevin Brennan) it aims to solve the problem of population overcrowding. Langly paints a nightmarish vision of the future to Quist. “By the year 2000 there’ll be over eighty million people living in this country. They’ll want cars and places to park them. They’ll want clothing and feeding and educating and work to do, to say nothing of housing…”

Langly’s solution is to build more and more high rise flats. With a booming population, he sees no other solution – but concerns have been raised about the dehumanising effect such places have on their occupants. Fay has been assigned to do research at a typical block of flats – the Langly estate – living and working there for an extended period. There certainly seems to be a malaise affecting some of the people and Fay herself also begins to crumble under the pressure …..

The Human Time Bomb has a social, rather than a scientific, problem to deal with. Although tower blocks were still a fairly modern concept at the time, it’s plain from the tone of Louis Marks’ script that their inherent dangers were already clearly understood. We open with the unfortunate Mr Hetherington (Talfryn Thomas). As he joins his neighbours waiting for the lift, he gives them a cheery greeting – only to receive blank contempt from them. As the lift descends, his anxiety at being jammed in like a sardine begins to tell. Once he gets outside he rushes straight into the path of an oncoming car – still observed with dispassion by his neighbours.

When it’s later revealed that Hetherington worked for the planning office, it’s possible to wonder whether Langly is targeting people who might be a threat to him. Fay has begun to receive crank calls and also has to deal with innuendo and abuse from some of her neighbours, whilst another member of the planning team, Scobie (Roddy McMillan) also has a breakdown. This turns out not to be the case though as it simply all seems to be a coincidence, which is slightly hard to swallow.

The Human Time Bomb is an excellent vehicle for Jean Trend. Fay, seemingly by the nature of the work she’s doing at the Langly estate, becomes isolated and paranoid. This is demonstrated best when she asks the odd-job man Donovan (Ray Armstrong) to come to her flat to repair her lights. He does so, but Fay interprets his attitude as hostile and attempts to attack him with a hammer. Armstrong cleverly plays the scene in a fairly neutral way, so although his line about her promise to make his visit worth his while could be taken several ways, it does seem that Fay jumped to the wrong conclusion.

Quist is fairly dense throughout. He seems to regard Fay’s concerns as the ravings of an unbalanced woman (surprising, since he’s supposed to consider her a first class scientist) and it’s only at the eleventh hour that he realises she could well be right and rushes back to her flat – just in time to save her from attacking Donovan. Earlier, he failed to acknowledge that she saved him from being attacked by a young boy with a hammer – which confirms that by not living in the Langly estate like Fay he’s been unable to pick up on the atmosphere of fear and alienation.

If the vision of urban, inner-city life we see here isn’t terribly oppressive in a visual way (later productions would do it much better – in The Human Time Bomb everything still seems a little too neat and tidy) then Louis Marks’ script still manages to pile on the misery. There’s few moments of light relief – even Ridge doesn’t really crack any decent gags – so the overall impression is quite relentless, which I presume was the tone Marks was aiming for.

The main flaw with the story is that it’s debatable just how much the tower block environment is responsible for the behaviour we see. Quist is convinced – but there’s little of the rigorous, methodical research he usually champions to back this up (instead, his conclusions seem to be derived more from hunches and guesswork). Fay’s bouts of hysteria do give Jean Trend something decent to work with, but it also has the unfortunate side effect of making her character seem rather neurotic.

So whilst this isn’t the strongest that series two has to offer, thanks to placing Fay front and centre it’s certainly of interest.

Doomwatch – In the Dark

May 5, 2016January 21, 2018 archivetvmusings BBC Drama - 1970's BBC, doomwatch, jean trend, joby blanshard, john nolan, john paul, patrick troughton

dark

A swimmer dies off the Scottish coast. Quist doesn’t consider this to be much of a mystery – after all, people have been known to drown before. But he begins to show a little interest when Ridge reveals that the man died of mustard gas poisoning. Some twenty five years earlier, a ship commanded by Lionel McArthur (Patrick Troughton) sank nearby. Since it carried mustard gas it therefore seems likely that somehow this deadly cargo has started to pollute the area.

Although McArthur is an old friend of Quist, he elects instead to send Ridge along to investigate. But Ridge finds McArthur to be a very elusive man and even when he tracks him down he finds his answers to be rather vague. Eventually the truth is revealed – the man posing as the public face of Lionel McArthur is actually his cousin, Alan. The real Lionel McArthur exists in a vegetative state – kept alive by machines. But he doesn’t regard this in a negative way, for him it’s a positive triumph. His body became diseased, so he replaced it with machines …..

Although In The Dark has a striking pre-credits sequence showing the hapless swimmer’s death (and following the credits there’s another memorable shot of the man’s dead face in the water, overlaid with the story title) this part of the story is little more than a MacGuffin – designed to get the Doomwatch team interacting with McArthur. It’s not the first time this sort of plot device has been used, but it still feels a little clumsy.

But no matter. Once we get past the first twenty minutes the story proper can begin. Immobile in a hospital bad, with only his head visible, Patrick Troughton still manages to dominate the screen. It’s interesting that given the subject matter of the story you might have expected it to be scripted by Kit Pedler and Gerry Davis, rather than John Gould. McArthur is basically a Cyberman – his body fell ill, so he cheated death by replacing it. The only part of him that remains human is his head, and he has plans to do something with that as well. He tells a horrified Quist that he wishes to remove emotions – “anger, fear, love, hate” – in order to make him function more efficiently. Anybody familiar with the first Cyberman story, The Tenth Planet, will instantly see the parallel.

The question of what existence actually means is at the heart of the story. Both Ridge and Quist regard McArthur’s half life as no real life at all. Quist asks McArthur some probing questions. “We have no bodies, no needs, no desires. What’s the purpose of existing at all?” McArthur responds he wishes “to become pure. To achieve that state that all the mystics have tried to achieve in their little futile, frustrated ways. I may not look it to you Quist, but I am perfect. I am perfect man, because I am only brain.”

Alethea Charlton, as McArthur’s daughter Flora, has a small, but telling role. She loves her father dearly, but implores Quist to try and persuade him to turn off the machines. Unlike him, she’s realised that he’s now barely human and that although he’s gained a version of immortality it’s been achieved at a terrible cost. Her husband, Andrew Seaton (Simon Lack) doesn’t share her concerns. Somewhat coincidentally he’s in charge of McArthur’s treatment, telling Fay that “we virtually abolished death for him” and clearly regarding this to be a positive thing.

As for the Doomwatch team, Geoff and Bradley once more get the short end of the stick with just a few lines apiece. It’s clear again that Quist, Ridge and Fay are the main characters and Gould’s script is tailored to all three of them. Quist faces a moral dilemma – McArthur is a leading scientist and an old friend, so he feels an obligation to stay and do what he can to help.

Ridge has a wonderful monologue directed at Quist. “You absorb all life into your own, did you know that? Everything that ever happens becomes a part of you. When you’re pre-occupied sometimes, I watch you walking. You don’t walk down ordinary, mundane streets, jostled by ordinary, mundane people. You pace the streets of a deserted village, or you tread the shattered planks of a seaside pier.” Fay now occupies the same place in the narrative that Toby did during series one – acting as something of a buffer between Quist and Ridge.

The conclusion of the story doesn’t come as a surprise, but it’s still a powerful conclusion to a tale that poses difficult questions about how technology and medical care should co-exist.

Doomwatch – The Web of Fear

April 21, 2016April 18, 2016 archivetvmusings BBC Drama - 1970's BBC, doomwatch, glyn owen, jean trend, joby blanshard, john nolan, john paul, john savident, simon oates

web

The Minister of Health (John Savident) and Duncan are ensconced on a health farm, located on a remote island. Quist is anxious to speak to the Minister as he needs an answer about the urgent flood problem, so isn’t best pleased to learn that the island has been placed in strict quarantine due to a suspected case of yellow fever.

Quist isn’t particularly interested in the yellow fever case, but it provides him with an excuse to travel over to the island with Fay to discuss the flood issue. The Minister’s a wily old bird though and he agrees to read Quist’s paper – as long as he helps the island’s doctors with the yellow fever outbreak. And it’s maybe just as well, as things aren’t as straightforward as they seem at first ….

Since this is a Gerry Davis script, it’s no surprise that it feels a little more like series one Doomwatch episode. Something happens for which there seems to be an obvious solution, but scientific detective work is able to prove otherwise.

En-route to the island, Quist and Fay bump into the scientist Griffiths (Glyn Owen) and his wife Janine (Stephanie Bidmead). Quist knows Griffiths very well (as we’ll discuss in a minute) but Fay has never heard of him. Griffiths is keen to get to the island but is refused permission (although that doesn’t stop him, as both he and his wife charter a boat). One major weakness with the script is that Quist never seems to stop and wonder why a notable scientist like Griffiths is so keen to get to the island . Therefore it becomes clear to the audience much earlier than it does to Quist and the others that Griffiths unwittingly holds the key to the mystery.

Griffiths is a fascinating character, played with typical bluffness and spiky humour by Owen. Quist explains to Fay a little about his history. “He presented a paper at 2.00 pm at the Stockholm conference in ’65. By five o’clock it had been completely demolished. An elegant, almost perfect concept, ruined by inattention to detail.” Three scientists were responsible for pointing out several flaws which invalidated his paper (which had taken him fifteen years to prepare) and one of them was Quist. It’s a remarkable coincidence that they should now bump into each other again, but that’s television for you.

Although his life’s work was destroyed over the course of a few hours, Griffiths still doesn’t accept his research was flawed in any way, instead he still blames Quist and the others. This is why he’s kept his latest work under wraps and this secrecy will be the death of him (and others). It’s another sign that his researches are flawed – Quist tells Fay that a good scientist welcomes challenges to their theories (it helps them to refine and redraft) but the trauma of 1965 proved too much for Griffiths.

And what of Janine? Stephanie Bidmead and Glyn Owen share several well-crafted scenes that do nothing to advance the plot, but help enormously to bring their characters into focus. Janine shared Griffiths’ disappointment in 1965, but she’s been able to see that his paper was at fault and now she mourns less for him as she’s more concerned about the family they never had or the various other opportunities that passed them by, all because he was driven to chase something that always remained just out of his grasp.

The Web of Fear is a fairly bleak story although there are a few lighter moments. Ridge’s description of Janine always seems to move chestwards (“and she has a nice pair of …..”) whilst John Savident has a couple of comic moments. But the Minister, once he understands the gravity of the situation, is all business and is happy to back Quist once a solution is found.

What seems obvious from very early on is eventually confirmed. Griffiths’ latest work (a man-made virus designed to combat the moths which attack the island’s apple crops) is proved to be responsible for the apparent yellow fever attacks. Although the virus prepared by Griffiths only attacks moths, it can also trigger another virus in a new host. So the moth is ingested by a spider and the spider then becomes deadly. The attentive viewer would probably also have twigged this, as several times we hear different people commenting on how many spiders there seem to be – a good indication that this is an important plot point for later.

Griffiths is stuck down a tunnel and faces danger from both the spiders and their webs. Ridge elects to get him out and this forms the climax of the story, although it’s a little too drawn out for my tastes. Plus the over dramatic stock music saps the tension a little.

Another problem with this scene is that Griffiths dies off camera a few minutes later, which makes all the effort to rescue him something of a waste of time. But his death does allow Quist to give him a good eulogy. After Janine sadly reflects that her husband wasted twenty five years of his life and ended up with nothing – not even a decent reputation, Quist begs to differ. “He was a brilliant, intuitive scientist of the stamp of Pasteur, Einstein. The measure of the man is not that he failed, but that he so nearly brought it off. Twice.”

Although the story somewhat runs out of steam during the last twenty minutes or so, it’s still not a total write-off. Glyn Owen and Stephanie Bidmead both have well-written parts and the core team of Quist, Ridge and Fay work well together.

Doomwatch – Flight into Yesterday

April 19, 2016April 18, 2016 archivetvmusings BBC Drama - 1970's BBC, doomwatch, jean trend, joby blanshard, john barron, john nolan, john paul, simon oates, viven sherrard

flight

Flight into Yesterday has an arresting pre-credits sequence – the Minister (John Barron) and his assistant Duncan (Michael Elwyn) are at Number 10, anxiously awaiting the arrival of Quist. Quist has just stepped off a flight from Los Angeles and has been rushed in a ministerial car to an urgent meeting with the prime minister.

But when he enters the room he appears to be disorientated – his speech is slurred and he staggers against the wall. “He’s drunk” says the Minister, shocked. But it only takes a second before he realises this is just the excuse he needs to get rid of Quist once and for all ….

This was John Barron’s third Doomwatch appearance and it’s an episode that puts him front and centre. There’s so much to enjoy in his performance – the Minister’s initial shock at Quist’s appearance followed by his delight just a few beats later for example, or his wordless horror when Ridge enters his office for a meeting, dressed in his usual unconventional attire!

Martin Worth’s script centres around the Whitehall intrigue we’d previously seen in You Killed Toby Wren. With the Minister having placed Quist on sick leave, he’s keen to groom Ridge as Doomwatch’s next boss (as was hinted in the series two opener). The meeting between the Minister and Ridge is a fascinating one, played very well by both Barron and Oates. Quist was in Los Angeles to deliver a speech about a proposed American Doomwatch. The Minister is convinced that Quist planned to say that all the major threats to the environment could be laid at the door of governments. He then casually admits that Quist is right of course, but it’s not the sort of thing you can say in public. It gives us a brief but fascinating glimpse into the Minister’s true opinions – political expediency means that he has to be circumspect when making on the record remarks. The clear inference is that if Ridge is prepared to be malleable then he’ll have a promising future. It’s ironic that Quist’s speech said no such thing, but that almost becomes an irrelevance.

You Killed Toby Wren presented us with a Ridge whose motives and loyalties weren’t always clear and here that ambiguity has affected his colleagues. It’s jarring to see Ridge sitting in Quist’s office, neatly dressed and issuing orders and Geoff seems certain that Ridge is only looking out for number one. “The Minister’s out to nail Quist. And if you ask me, Ridge has agreed to be the hammer.”

Fay believes that both Quist and Barbara (who was also on the flight) are suffering from nothing worse than a bad case of jet lag, but the Minister is disdainful. So Ridge is able to manipulate him into travelling to Los Angeles to deliver Quist’s speech and if the Minister is at all disorientated when he arrives he’ll have no choice but to reinstate Quist. But Quist is keen to protect the Minister’s reputation – he tells Ridge in no uncertain terms to ensure that the Minister rests for twenty four hours if he seems at all unwell when the plane touches down.

But there was more than just jet lag at play. Jim Ainsile (Robert Urquhart) is a charming Scottish PR man working for an American firm. He entertained both Quist and Barbara, but he also took advantage of the long flight to use brainwashing techniques to manipulate Quist. It didn’t quite work on him, but the Minister is a more susceptible candidate.

Also on the same flight as the Minister are Fay, Ridge and the Minister’s press secretary Thompson (Desmond Llewellyn). Fay becomes increasingly anxious as Ainsile encourages the Minister to eat and drink heavily, whilst it’s notable that Ridge does nothing. All of Fay’s entreaties to the Minister to take some rest before they arrive fall on deaf ears, so it seems inevitable there’s a disaster in the offing.

A totally studio-bound story, America is presented via stock footage and music. This just about works, although the shot of Fay CSO’d into film of an American airport isn’t terribly convincing (although luckily it’s quite brief). There’s more CSO later, as the Minister is badgered by American journalists into commenting on the usefulness of Doomwatch. During this scene there’s also an interesting use of incidental music. The music continues up to the point where the Minister collapses (presumably from a heart attack) and then it cuts out. It’s a slightly unusual moment, but a memorable one.

Right at the end there’s a faint rekindling of the Quist/Ridge battles of old. Ridge tells him that he was well aware what Ainsile was doing to the Minister, but was content to let him continue as Doomwatch could only be strengthened if the Minister was removed (although there’s no suggestion that he was cold-hearted enough to know he would collapse). Quist takes the opposite view – Doomwatch’s best chance of survival would be if the current Minister remains (better the devil you know maybe?)

If Ainsile’s brainwashing tricks seem both a little far-fetched and overplayed, it doesn’t detract too much from another tightly written and well acted script. John Barron is excellent throughout and even Vivien Sherrard (in that most thankless of roles – Doomwatch’s secretary) has a few nice scenes. Science may take a back seat in this one, but the character dynamics are strong enough to ensure that’s it’s not a problem.

Doomwatch – The Iron Doctor

April 15, 2016August 21, 2020 archivetvmusings BBC Drama - 1970's BBC, doomwatch, jean trend, joby blanshard, john nolan, john paul, simon oates

iron doctor.jpg

Quist is amongst a group of interested observers who have come to view a pilot scheme at Parkway hospital. Dr Whittaker (James Maxwell) proudly shows them around a geriatric ward where the patients have been linked up to a powerful computer, designed to monitor every aspect of their treatment. In all cases, their life expectancy has been extended well beyond normal estimates and Whittaker is fulsome in his praise for the computer. “Utterly efficient, never tiring, absolutely impartial, the iron doctor.”

But Dr Carson (Barry Foster) isn’t quite so sure and when several patients die in mysterious circumstances he becomes convinced that the computer independently decided to cease treatment. This shouldn’t be able to happen – the computer is programmed only to make suggestions and the final decision always rests with the doctors. However, there is evidence to suggest that the computer has begun to think for itself …..

In some ways The Iron Doctor is a development of themes expressed in the series one story Project Sahara. Both look at the way that computers might begin to supplant human beings in the decision making process, but in The Iron Doctor it’s literally a matter of life and death, whereas in Project Sahara the computer was only concerned with people’s suitability for employment.

The fear that computers would come to dominate human beings was a common one during the sixties and seventies. There’s several key examples in Doctor Who (which also have direct links to Doomwatch). The War Machines saw an all-powerful computer called WOTAN attempt to take over the world’s computer infrastructure (this was the first Doctor Who story to feature input from Kit Pedler).

In The Ice Warriors, we see a Britain in the far future which is menaced by another ice age. Leader Clent is a man who’s abdicated his personal responsibility to the computer and won’t admit that it could ever be wrong, whilst a member of his team, Penley, regards the computer as no substitute for human actions and intelligence.

Both The Ice Warriors and The Iron Doctor were written by Brian Hayles, so it’s possibly not a surprise to find there’s certain parallels in the stories. Whittaker, like Clent, remains totally convinced about the computers infallibility, although in Whittaker’s case it’s a little harder to understand why. He dismisses Carson’s fears very airly, telling him that he’d no doubt be happier returning to the days of the leeches.

Whittaker is presented as the sort of misguided scientist who’s become so blinded to the possibilities of future gains (although it’s all purely for the benefit of mankind – there’s no suggestion that he’s interested in personal glory or financial rewards) that he’s not prepared to listen to any suggestions that his current research could be flawed. It’s a tricky part to play, but James Maxwell does so with aplomb – especially at the end, when he’s forced to admit his mistake and elects to take full responsibility.

Equally good is Barry Foster as Carson. Later to become a familiar television face thanks to Van Der Valk, Foster is a key figure in the story, since he’s responsible for bringing the deaths to the attention of Doomwatch. Carson is – despite Whittaker’s claims – no luddite, he knows that the computer can be a valuable tool but the evidence suggests that it’s somehow begun to think for itself. The first man to die, George Mason (Harold Blewitt), was very ill and would have died shortly anyway, but Carson’s fear is that the computer realised this and decided independently that it was useless to carry on treatment.

Events then take a slight science fiction turn (although still just within the bounds of possibility) when Carson decides to take a closer look at the computer. It detects Carson’s presence and electrocutes him. Later, when a critically ill Carson is hooked up to the computer’s life support systems, it suddenly cuts off. The computer was developed from a war games machine and like those models it has a built in defence mechanism as well as a capacity to learn. Although it’s a bit of a stretch to swallow that the computer was able to record a conversation where Carson stated that it was dangerous and then take steps to remove this threat.

The story’s a good one for most of the Doomwatch team (except Barbara, who only pops up briefly with a cup of tea). Quist is, as usual, Doomwatch’s moral centre – stating his belief that computers shouldn’t be able to act independently as well as being the one who’s finally able to convince Whittaker that the computer is flawed.

Ridge goes undercover at the hospital – complete with rolled umbrella and posh accent. It gives Simon Oates a chance to inject a little bit of humour into the story (and naturally enough he gets to ogle a nurse or two!) Fay has a very decent scene with Whittaker early on, where she casts doubt over his research and even Bradley gets something to do for once – venturing out of the office to take a look at the computer. Geoff probably gets the short end of the stick again, but with an expanded regular cast it’s inevitable that not everybody will have a great deal to do.

If the story has no mystery (the computer has to be acting by itself – if the patients had simply died of natural causes then it would have been a rather uninspiring fifty minutes) The Iron Doctor is still a very watchable episode, thanks to the guest stars and the thought-provoking topic.

Doomwatch – By The Pricking of my Thumbs

April 13, 2016April 16, 2016 archivetvmusings BBC Drama - 1970's BBC, doomwatch, jean trend, john nolan, john paul, simon oates

pricking

Professor Ensor (Olaf Pooley) has been granted time and space at Doomwatch to conduct experiments into the extra Y chromosome, much to Quist’s disdain, who doesn’t believe a word of it. “Only yesterday I was reading an article by a colleague of yours, Ensor, in The Lancet. Once again he cast grave and honest doubt on the theory that the extra Y chromosome predisposes one to criminal behaviour.”

Ensor has been conducting tests at a local school, asking the pupils to fill out questionnaires, as well as taking blood samples (hence the pun in the episode’s title). This is an early indication that Ensor’s methods are suspect in the extreme – Fay has been assigned to work with him and she’s under the impression that the samples they’re studying have been taken from criminals (totally unaware that later samples have come from the school).

If this is an example of the casual way he treats his scientific research, then worse is to come. The school’s headmaster, Botting (Colin Jeavons) has a problem – a boy was badly injured in the chemistry lab after three other pupils (MacPherson, Jenkins and Franklin) tampered with his experiment. Botting is convinced that one of them must be the ringleader, but which one? He discusses the matter with Ensor and, after learning that Stephen Franklin (Barry Stokes) is taller than normal for a boy of his age (he’s seventeen), the Professor decides he must be guilty. Carriers of the extra Y chromosome are known to be taller than average, Stephen is taller than average, QED.

It’s an astonishingly thin amount of evidence, but Botting is convinced and expels Stephen, which leaves us unsure as to who’s the most culpable – Botting or Ensor. It’s plain that Botting lacks judgement, as whilst he’s portrayed as a progressive headmaster – keen to encourage his pupils to express themselves – he’s blinded by Ensor’s apparent scientific credibility (allowing the true culprits, MacPherson and Jenkins to get off scot free). Ensor’s reasons for picking Stephen seem very vague. Apart from his height, the other major factor seems to be that he was adopted. Bad blood …..

Stephen’s father, Oscar (Bernard Hepton), is appalled by the way his son’s been treated and after he gets nowhere with Botting he heads off to speak to Quist. They know each other, but Quist can barely tolerate the man. Oscar is a freelance journalist, working in the science field, and Quist has a poor opinion of his skills as a writer. The always watchable Hepton gives a fine performance. Oscar is full of bluff and bluster, but he’s a fundamentally decent man who obviously cares for his son, which makes the way Quist treats him even harder to take. He’s curt and dismissive and it’s only after Oscar leaves, and Ridge piques Quist’s interest with information about Ensor’s school experiments, that he begins to get interested.

Stephen attempts to kill himself in a rather unexpected way (by walking onto the runway at Gatwick). He’s obviously in a confused state as before this he was heading for a plane which was flying to Jersey. Geoff Hardcastle pops up again briefly to talk the boy down and luckily he comes away unscathed.

Everything’s built up for the big confrontation between Quist and Ensor. It’s been stated on several occasions that Quist can’t stand him and also has little respect for him as a scientist. Ensor attempts to defend his knowledge, but Quist simply steamrollers on. “Your knowledge that condemns a child unheard, that drives him to risk death on an airport runway at night.” It’s possibly not as powerful a diatribe as it could have been (it’s interesting that Quist seemed more angry at Oscar than he does at Ensor) but it’s still a nicely played scene by John Paul.

After a couple of indifferent episodes, By The Pricking of My Thumbs gets Doomwatch back on track. Bernard Hepton and Olaf Pooley are both excellent, although Ensor isn’t as central to the plot as you might expect. In many ways he’s more of a catalyst for the drama that’s triggered once he makes his disastrous prognosis. Patsy Byrne, Sally Thomsett and Colin Jeavons are more familiar faces who help to enliven the story. Byrne is good value as Stephen’s mother whilst a young Thomsett is his (slightly irritating) younger sister.

This was Robin Chapman’s sole Doomwatch script. He was the creator and/or writer of a number of popular series made by ITV during the mid to late sixties (The Man in Room 17, The Fellows, Spindoe, Big Breadwinner Hog) so he would have been something of a “name” writer at the time. It’s a pity he didn’t write more for the series as this is a sharply defined character piece.

Doomwatch – No Room for Error

April 12, 2016January 21, 2018 archivetvmusings BBC Drama - 1970's BBC, doomwatch, jean trend, john paul, simon oates

no room for error.jpg

Dr Fay Chanty (Jean Trend) is Doomwatch’s latest recruit, although initally she tells Quist she’s now not sure now whether she wants the job. But her arrival is a timely one. She formerly worked at BAP (British Associated Pharmaceuticals) helping to develop Stellamycin, a drug which can be used to combat typhoid.

A recent typhoid outbreak has seen a score of children hospitalised and fighting for their lives. Stellamycin could be the answer – but despite Doomwatch’s cautiously favourable report the government has yet to give their approval. So whilst Quist heads off to do battle with the ministry he sends Fay to BAP to liaise with her former colleagues.

The government grudgingly agrees to allow Stellamycin to be used, but when a child dies it sets them into a panic. Only one group of children shows such an adverse reaction though and it’s later discovered that they all went to the same school. A working hypothesis would be that somehow they had already been exposed to a very low level dose of the drug over an extended period. But since it’s only just been released, how could this be so?

Like Toby Wren, the arrival of Fay Chantry allows the viewer to observe Doomwatch from the outside. Who are these small group of scientists and what exactly do they do? No Room for Error implies that they’re not highly regarded amongst certain parts of the scientific community. One of Fay’s former colleagues at BAP, Nigel Waring (John Wood), has a particularly jaundiced view of them, wondering why she’d want to give up a decent job at BAP for civil service pay and a role as a government snooper …..

Although Fay Chantry was created in order introduce a woman into the Doomwatch team who wasn’t a secretary, it’s ironic that her initial storyline is somewhat sexist. She spends most of her time rekindling her relationship with Nigel, who’s such an irritating drip that it’s therefore hard to have a great deal of respect for her judgement!

Their brief affair had been one of the factors in his recent divorce and he now suggests they marry and she returns to work at BAP. Nigel’s boss, Professor Lewin (Angus MacKay) doesn’t think this is a good idea, telling him that the pair of them living and working together would be too much of as strain (so much better if she just became a nice little housewife). Ridge takes the biscuit though, when he later tells Quist that because Fay’s a woman she’s likely to react emotionally. Yes, John Ridge, a man who tends to act first and then think later (when he does think) said this!

The Nigel/Fay relationship has a soap-opera feel about it, which is reinforced when Nigel’s daughter falls ill with typhoid and he has to face an urgent dilemma – should she be treated with Stellamycin when might it prove fatal?

After extensive tests by Doomwatch, Nigel is proved to be culpable – a canister of the drug was left at a nearby farm, which in turn infected the milk at a local school. It’s possibly an ironic touch (although maybe not) that Nigel reacts with resentment and a complete lack of personal accountability when Fay gently mentions this to him. Earlier he was scathing about Doomwatch, not regarding them as true scientists, but when it’s revealed he was responsible for a child’s death, he turns his anger on Fay and brings their relationship to an end (a lucky escape for her, I think). He doesn’t stop to think that if it hadn’t been for those “busybodies” at Doomwatch there might have been more deaths.

After being largely anonymous during the last episode, Simon Oates has a little more to do here. When we first see him he’s in a slightly battered state and is being attended to by Barbara Mason. She places a plaster on a cut over his eye and is then encouraged by him to kiss it better! Clearly some time has passed since we saw her in You Killed Toby Wren as she’s now very comfortable around him. Possibly this was a little ad-lib worked out in rehearsals, it’s a nice moment anyway as it helps to give a touch of humour and humanity to both their characters.

Angus MacKay (a man who seemed to make a career out of playing headmasters, bank managers and the like) is suitably imposing as Professor Lewin. It’s not much of a role but MacKay’s clipped diction is always worth listening to. Anthony Sharp as Dr Ian Phelps (the Medical Officer of Health) is another solid performer and Anthony Ainley (as the Senior House Officer) has a couple of key scenes. Several points off though for Norman Scase as Mr Elliott, the headmaster at the infected school. He gives an extraordinary mannered performance which has to be seen to be believed.

Although the Nigel/Fay subplot is rather tedious (will she choose him or her career at Doomwatch? Umm, fairly obvious really) there’s a decent mystery at the heart of the story and both Quist and Ridge are used well. But this story is another sign that the series is changing – as character relationships are moving into the foreground whilst the science takes a little bit of a back seat.

Doomwatch – The Islanders

April 11, 2016January 21, 2018 archivetvmusings BBC Drama - 1970's BBC, doomwatch, john paul, simon oates

islanders

Six months ago, the two hundred inhabitants of the tiny Pacific island of St Simon were evacuated back to the UK (the British government believed that they were at risk from heavy earth tremors). Because they’ve been a totally closed community for some 150 years Quist sees them as an excellent source of research material. By studying them and contrasting (both physically and genetically) with a group of volunteers drawn from towns and cities, Quist and the others will be able to evaluate how the environment and the presence of other people affects human evolution.

Although The Islanders was an early series two entry, it clearly points ahead to the direction Doomwatch would take during its third and final series (after producer Terence Dudley had wrested creative control from creators Kit Pedler and Gerry Davis). Louis Marks’ script is a human drama first, with the environmental problem (mercury poisoning) somewhat secondary.

The social impact of the islanders reintegration into society concerns Quist. They’re currently living in a camp, which looks uncomfortably like the sort of place used to house prisoners of war during WW2. The man from the government, Mullery (Geoffrey Chater), doesn’t seem at all concerned and he tells Quist that they’re free to leave and go anywhere they want at any time. Since they come from a British protectorate they have the same rights and freedoms as any other British citizen.

But Quist knows they’re not the same. “They come from a place where there’s no cars, no telephones, no televisions.” The islanders lack the necessary tools and knowledge to live in a modern, technological world – in time they can learn, but it appears Mullery is keen to pass the buck. Chater is perfect casting as the dispassionate, disinterested official (he’d later pop up as a semi-regular in Callan playing a not dissimilar figure)

When the islanders lived on St Simon, they formed a perfect unit – everybody knew their place and were content to work hard – but exposure to wider civilisation has begun to fracture this unity. This is demonstrated by the differing viewpoints of Thomas Prentice (a strong performance from George A. Cooper) and his son Isaac (David Buck). Thomas, the headman of the community, wants to keep everybody together, but this seems impossible when there’s no work for them. A few people have already begun to seek employment elsewhere and one of them is Isaac. He’s found a job at Craxton’s Bakeries and is keen to press ahead. He’s not surprised when Quist tells him that the ministry have no plans for them and he’s not bothered either – he believes they need to make their own way.

Thomas falls ill and dies from what appears to be a bad case of flu. The observant viewer should have picked up very early on that John Ridge, who’s been working closely with the islanders for some time, has had the sniffles. Although the eventual reveal is somewhat laboured, Quist eventually confirms that as none of the islanders have ever had flu they have no resistance and therefore it could be fatal to them.

Isaac’s brave new world at Craxton’s quickly turns into a nightmare. Director Jonathan Alwyn creates an interesting, albeit brief, sequence on the factory floor – shots of the cake making machines (which had previously filled Isaac with wonder) now take on a sinister and disorientating air. After he angrily resigns, he emerges into a busy London street and is confronted by the noise and traffic. Alwyn then closes up on Buck’s anguished face.

The doctor’s report confirms that Thomas died of liver failure – the flu just finished him off. Quist and Isaac, together with a small survey team, return to St Simon where Quist is able to confirm that the islanders have been slowly suffering from mercury poisoning for decades – a case of the flu would simply have speed up the process. Isaac is appalled. “Why did this have to happen to us? Never had any wars, never had any quarrel with anyone. Just wanted to live our own lives.”

Although there’s quite a community of islanders, there’s essentially only four speaking roles – Thomas, Thomas’ wife Joan (Shelagh Fraser), Isaac and Alice (Geraldine Sherman). George A. Cooper is excellent, but his role is fairly small since Thomas quickly succumbs to the mysterious illness. Shelagh Fraser and Geraldine Sherman are both fairly peripheral characters, which leaves David Buck as the main voice of the islanders.

We follow his journey as he changes his opinion about the benefits of modern society from positive to negative. Although part of the issue I have with Louis Marks’ script is that since Isaac’s point of view changes so rapidly (and it’s also problematic that he’s only islander we follow in any detail) it doesn’t really convince. He’s portrayed as something of an innocent – easily manipulated by the factory owner – but the script doesn’t really serve him that well. And what of the others? What do they think of this brave new world? We never really find out, which reduces them from an active, living community to nothing more than a collection of colourful extras.

In the end, Isaac is content to return to St Simon (as do the others). Quist can’t recommend this, since the poison there will shorten all their lives, but Joan counters that there are just as many hazards here. “They judged us and found us wanting” mutters Quist.

The Islanders never quite seems to come together. The themes are interesting, but in the end it’s slightly unsatisfying. We’re told that several other islanders, in addition to Thomas, have fallen ill, but since we never know them, the question of whether they live or die doesn’t have any impact. The concept of a group of people totally unsuited to life in a modern technological society is a good one, but apart from a few scenes isn’t developed in any great detail.

John Paul has some decent moments (especially playing opposite the cold-hearted government official expertly portrayed by Geoffrey Chater) but Simon Oates is pretty poorly served by the script and barely contributes. It’s not a disaster, but it’s fairly unmemorable stuff.

Prophets of Doom – The Unauthorised History of Doomwatch to be reprinted

April 10, 2016April 10, 2016 archivetvmusings Book Reviews doomwatch, miwk publishing

doom

Originally published in 2012, Prophets of Doom by Michael Seely is an invaluable guide to Doomwatch. It contains new interviews with surviving cast and crew members as well as an episode by episode guide (with a wealth of production information and background detail on each story).

The book drifted out of print a while back, but the recent DVD release has prompted a reprint which should be ready by the end of May. It can be ordered directly from the publishers, Miwk, here.

Because Miwk are something of a niche publisher, their books don’t tend to have especially large print runs, so it wouldn’t be a surprise to see this book go out of print again in the future. Therefore I’d recommend putting an order in sooner rather than later. Below is the book’s blurb –

In February 1970, one of the most important television drama programmes from the 1970s was broadcast on BBC1. Not only did it introduce a new word to the English language, it also brought to a mainstream audience of ten million viewers each week the new, emerging idea of the scientists’ moral and ethical responsibility in society. This was Doomwatch, a visionary science fiction series which took scientific research and technological advances and imagined where they could go disastrously wrong if greed, politics or simple ambition won over caution. This was drama with a message. And it was heard. The fears of the Sixties: over-population, test-tube babies, super-sonic aircraft, DDT, the Bomb, all found expression in Doomwatch.

Launching the career of actor Robert Powell, Doomwatch entertained and thrilled its audience with concepts such as a plastic eating virus, animal hearts transplanted into children, toxic chemical dumps, cannibal rats, the surveillance state, noise that can kill, food poisoned by drugs and chemicals, and by the end of its first successful series, the ultimate horror: a nuclear bomb washed up underneath a seaside pier, its countdown ticking down to claim the life of one of the celebrated Doomwatch team.

It was conceived by a research scientist and a television dramatist, Dr. Kit Pedler and Gerry Davis, who had previously devised the Cybermen for Doctor Who. With Doomwatch, they soon became famous for creating seemingly prophetic storylines in which the media eagerly found parallels in real life. Were the writers of Doomwatch prophets of doom or simply scaremongering popularists?

The programme divided the scientific and political establishment into those who thought the programme was a much needed and timely warning and tried to do something about it, and those who thought it was a naive, reactionary piece of trivial, and ignorant television. Dr. Kit Pedler actively tried to create a real-life Doomwatch, and was at the beginnings of the alternative technology movement in Britain and did his own experiments on creating ecologically sound housing and develop a new way of living in a modern society without destroying the habitat or regressing back to the stone age.

With contributions from the family of Dr. Kit Pedler, Darrol Blake, Jean Trend, Glyn Edwards, Martin Worth, Adele Winston, Eric Hills, and others, this book will tell the proper story of Doomwatch both on and off the screen, how it was made, the true story behind the stories, the controversies, the back stage bust-ups, and how the programme inspired those who looked around the world in which they had been conditioned to accept, and begin to question.

Doomwatch – Invasion

April 10, 2016January 21, 2018 archivetvmusings BBC Drama - 1970's BBC, doomwatch, john nolan, john paul, simon oates

Ridge and Geoff Hardcastle (who now seems to have become a member of the Doomwatch team) are in the Yorkshire Dales, testing the nitrate levels in the local water, which is reported to be higher than average.

They’ve hired two young potholers, Reggie and Dave, to go down into the cave system and obtain the samples they need. But when they don’t return, a major search is launched. A map of the caves suggests they might have surfaced close to Wensdale Grange, a country house which has been in government hands since WW2. The building is surrounded by an electrified fence and patrolled by armed soldiers, which instantly piques Ridge’s interest.

They’re able to get inside for a brief meeting with Major Sims (Geoffrey Palmer) but he’s unwilling to explain exactly what goes on there. So it’s no surprise that Ridge decides to return later and break in.

Ridge’s attempt at a clandestine entry didn’t get him very far, but he’s not held captive for long. After he’s released, he tells Geoff that he was stripped and sprayed with disinfectant and then goes on to explain that nothing is happening at the house now. “But they did do something once, something that went bad on them. And it’s still in there. Waiting to get out.”

The mystery is soon revealed – the house was the location for germ warfare experiments. Although all research was concluded five years ago the house remains totally off-limits and will remain so for decades. Although Duncan, the Minister’s secretary, tells Quist that the bug was developed purely for defence purposes, Quist treats this statement with an ironic retort. Exactly what’s defensive about a bug that can wipe out a city like London within six weeks? Germ warfare appalls Quist, not only the research itself but also that it leaves an area “where no one can live for the next half century because of a wartime government experiment. Do they have any idea in the Dales what they have in their midst?”

The way the story will develop seems pretty clear. Major Sims is adamant that there’s no danger – nobody ever goes into the house and if any animals ever break into the grounds they’re shot (which explains the armed soldiers) and examined straightaway. Quist makes it clear that it’ll only take one slip – an infected animal, contaminated water – to bring down a catastrophe on everyone. And when Reggie and Dave turn up, seemingly none the worse for wear, it doesn’t take long before it’s established they were at the Grange and are now carriers.

It goes without saying that the fact Reggie and Dave were able to enter the Grange, pinch some antique pistols and leave again without anybody noticing doesn’t reflect very well on Major Sims. Geoffrey Palmer is characteristically excellent as Sims, arrogant and superior. It’s only a shame that he doesn’t feature more and we never really see his reaction to the news that his security measures have been well and truly breached.

Invasion has a major location shoot, which has (presumably) the locals acting as extras. Because there’s so many people milling about at the end it does help to create the sense of scale that the story demands. Quist has bad news for the villagers – although they’ve been inoculated and should be fine, they have to leave the village. When the landlord of the local pub asks when they’ll be able to return, Quist doesn’t answer – an unspoken confirmation that it won’t be within any of their lifetimes.

After the buses pull away there’s a brief moment of silence, which is broken when a number of army vehicles pull up to the village square. The soldiers, wearing protective gear, get to work – spraying the houses and shooting any animals they find. There’s an eerie juxtaposition at work here – the faceless armed soldiers and the English village – which creates a powerful, unsettling image. And the final shot of the episode – a Ministry of Defence sign reading “Extreme Danger Keep Out” – provides the episode with a stark conclusion.

Doomwatch – You Killed Toby Wren

April 9, 2016April 10, 2016 archivetvmusings BBC Drama - 1970's BBC, doomwatch, joby blanshard, john barron, john paul, simon oates

you killed toby wren

Whilst it’s more than a little irritating that the final episode of series one – Survival Code – is missing, it’s some consolation that the last few minutes do exist (it was recycled as the pre-credits sequence for this episode). If you want more info about Survival Code, then Doomwatch.org has a detailed synopsis here. There’s also a fan-made audio reconstruction which can be found here.

Back in the VHS days of course, we just had to get on with it – as the second tape jumped from The Red Sky to this episode. But it’s quite possible to watch You Killed Toby Wren without having detailed knowledge of the previous story – the pre-credits tell us that Toby was killed attempting to diffuse a bomb and that Quist looks to be culpable (which is essentially what this episode is about).

The Minster (John Baron) is absolutely delighted. “Not only did he interfere, he obstructed the police.” It’s his chance to nail Quist once and for all and he’s going to relish every moment. The Minister claims to have respect for Doomwatch, but he also regards it as a dog that needs to come to heel, which he’s convinced will happen once Quist is removed. Incidentally, it’s never stated where the Minister we saw in The Battery People has gone and why Barron’s character (not seen since the debut episode The Plastic Eaters) has returned. Unless there were several snap general elections? Given the events of 1974 that’s not impossible.

Barbara Mason (Vivien Sherrard) has a baptism of fire as Doomwatch’s new secretary. She first meets Colin, who’s pleasant enough, ironically referring to himself as Doomwatch’s chief cook and bottle washer! Ridge of course, is his usual charming self. “Hello darling, may I help?” When she introduces herself as the temp, his reply is classic. “I’m John Ridge, tempt me”!

Although Ridge is jocular with Barbara he’s still in a foul mood and it’s all directed at Quist. He’s got a large photograph of Toby which he pins on the noticeboard – and is clearly waiting for Quist’s reaction when he sees it. When Quist enters he doesn’t say a word, but John Paul is still able to express considerable pain and suffering non-verbally. It’s interesting that Quist soaks up Ridge’s early scornful attacks and doesn’t respond – at this point Quist looks like a broken, weary man.

Geoff Hardcastle (John Nolan) is something of a Toby Wren substitute (like Toby he finds it difficult to get through to Quist to begin with). Although there’s a slight wrinkle in that Geoff isn’t looking to join Doomwatch – he just wants Quist’s help. His tale – the first animal/human hybrid has been created by Professor Eric Hayland (Graham Leaman) – is an eye-raiser, which he relates to Ridge over a drink at the pub. A chicken with a human head …….

This is very much a subplot, as the main thrust of the story revolves around Quist’s crisis of confidence and the political maneuvering in the corridors of power. The discussion of the hybrid does lead to a classic confrontation between Quist and Ridge though – Quist believes the hybrid is an inevitable development whilst Ridge finds it disgusting and abhorrent. We can tell that Ridge is at breaking point when he pushes over a chair in Quist’s office (yes it’s a fairly low-key display of anger). Quist fires him but Ridge isn’t prepared to go quietly.

Quist’s relationship with the atomic bomb has been touched on before. Ridge tells him that he enjoys wallowing in guilt about it. “You haven’t got an honest feeling in your body. You’re an emotional hypocrite. You’re a self-indulgent bloody murderer. What’s more you’re finished, bust, kaput!” It’s brilliant stuff and both John Paul and Simon Oates clearly relish these highly dramatic scenes.

John Paul is in impressive form throughout. He has several key monologues, including this one. “It was a long time ago that I realised the most important thing in life is life. Not science, not technology, politics, religion, riches, power, none of these were sacred. Only life. Sum total of man’s knowledge written down for all to read. What is it amount to? Better to be a live idiot than a dead genius.”

Quist is packed off to speak to a psychiatrist, Dr Anne Tarrant (Elizabeth Weaver). She begins by enquiring about his sex life (he doesn’t have one) and later asks him if they can talk about the bomb. Which one? he replies. The Manhattan Project is the one that’s remained on his mind for the last twenty five years. He tells Anne that he never believed it would be used. All one hundred and thirty scientists who worked on its development wrote to the White House, requesting that it be tested in the ocean – that, he believed, would be enough to convince Japan to surrender. But instead, two bombs were dropped on Japan and Quist has lived with the guilt ever since.

If Quist is going through the wringer then so is Ridge. He’s romanced Dr Judith Lennox (Shirley Dixon) in order to gain access to Professor Hayland’s lab. Once there, he’s disgusted at what he finds (not the most impressive animal mock-ups, it must be said, but never mind) and lashes out at the nearest person – breaking the jaw of one of Hayland’s assistants. Dr Lennox is equally disguisted with him. “You’re not only a narcissistic, nasty thug, you’re a hypocrite. A sick hypocrite. I don’t think you’re capable of any genuine feeling. You came here knowing exactly what you find and yet you’re shocked, aren’t you? But you enjoy it, don’t you? You enjoy it. You’re wallowing in morbidity up to here. You make me sick.” Like Quist earlier on, Ridge has no answer – he just stands there and has to take it.

The evidence given to the enquiry seems stacked against Quist, with the Air Commodore (Donald Morley) especially vociferous in his criticisms of his handling of the crisis. But then Ridge is called and unexpectedly backs his ex-boss. “He has the sharpest, most elegant mind I know, he is also the most morally courageous. Without him there would be no Doomwatch. So if you want Doomwatch, you’re stuck with him.” It’s quite a reversal from his previous position, presumably brought about by his confrontation with Dr Lennox. Quist is impressive when he presents his evidence. His earlier hesitancy has gone and it becomes clear that he will be totally exonerated. The Minister’s insincere delight when he meets Quist afterwards is a lovely moment!

Human drama was always key to Terence Dudley’s scripts and You Killed Toby Wren has it in spades. John Paul and Simon Oates dominate and it’s just a pity that when Quist and Ridge reconcile at the end it signals that from now on they’ll enjoy a more settled working relationship. This is understandable – there’s no way they could have gone on sniping at each other – and the story does work well as a cathartic experience for both of them, but it’s a shame that we never see them so combative again.

Doomwatch – The Battery People

April 4, 2016July 3, 2016 archivetvmusings BBC Drama - 1970's BBC, doomwatch, joby blanshard, john paul, robert powell, simon oates

battery

Quist is called to a meeting with the new Minister (David Davies). Although the Minister is full of Welsh bonhomie, he makes it clear that he finds both Quist and Doomwatch to be something of a problem. He’d much prefer it if they didn’t do anything controversial – but Doomwatch exists to stir up controversy and Quist isn’t prepared to sacrifice their independence.

Returning to the office, Quist is intrigued to learn of some interesting statistics from a small Welsh village that forms part of the Minister’s constituency. The divorce rate is much higher than the national average, the ex-miners prefer to drink gin rather than beer and there’s been several reports of cock fighting. All of this is enough to make him send Ridge down unofficially (posting as a journalist) to do some digging.

The decline of the coal industry in the 1970’s and 1980’s hit the Welsh valleys hard – whole communities who had relied on the mines for employment found it difficult to find alternative employment. The Battery People takes this as a starting point and depicts a typical Welsh village where the ex-miners have been fortunate enough to find new jobs – in the battery farm run by Colonel Archibald Smithson (Emrys Jones).

It’s undeniable that the Welsh here feel a little stereotyped, boyo – which might have something to do with the fact that several of the actors, such as Jeremy Young (born in Liverpool) and Ray Mort (born in Lancashire), had to put on Welsh accents. With a fairly small cast it’s surprising that they didn’t try and recruit more Welsh actors, presumably the likes of Talfryn Thomas were busy that week!

But although Young might not be Welsh-born, he’s still very good as Vincent Llewellyn, the foreman at the Colonel’s farm. Llewellyn has recently broken up with his wife and although it’s not explicitly stated, his impotence was the main reason. Eliza Ward, as his wife Elizabeth, also gives a powerful performance – she sounds like she was Welsh-born, although with only two acting credits to her name it’s difficult to be sure.

The Battery People was one of Emrys Jones’ final television appearances. In the few years prior to this he’d had several notable credits, including the Master (not that one) in the Doctor Who story The Mind Robber and Dr Roger Full in the Out of the Unknown episode The Little Black Bag. He’s equally as good here – Colonel Smithson appears to be a generous benefactor, bringing wealth and prosperity to what would otherwise be a deprived area, but there’s naturally a catch.

His battery farming methods cause sterility and impotence among his workers. This is one of the reasons why he insists that the majority of them are over forty (although he claimed this was because he wanted a stable labour force). That nobody’s put two and two together before Doomwatch start poking around seems slightly remarkable, as the high breakup of marriages would indicate that Llewellyn isn’t the only one to have suffered from performance issues. And the reason why the ex-miners now favour gin over beer remains unexplained!

The Colonel seems to be a totally ruthless man, who knew (but didn’t care) about the problems he was inflicting on his workforce, but there is room for a slightly different reading. At the start of the story we hear him ask Llewellyn to make sure all the men wear gloves when handling the fish (it’s the fluid in the fishtank which is the major problem). Llewellyn and the others put the gloves on, but take them off again when the Colonel leaves. It’s difficult to handle the fish when wearing gloves and Llewellyn seems to believe that the Colonel knows this and is simply going through the motions by asking them to wear gloves at all times.

Was this the case? Or was the Colonel simply slack in ensuring that his orders were carried out? At another point in the story it’s strongly implied that he rarely ventures onto the factory floor, so it’s not quite cut and dried. But whether he’s incompetent or uncaring, he suffers a fairly grisly fate, which Quist seems to regard as poetic justice.

A thought provoking tale (the stock footage of battery chickens is enough to turn anyone vegetarian) The Battery People, the last surviving series one episode, is another strong story.

Doomwatch – Train and De-Train

April 3, 2016July 13, 2016 archivetvmusings BBC Drama - 1970's BBC, doomwatch, george baker, joby blanshard, john paul, robert powell, simon oates, wendy hall

train

Train and De-Train opens with John Ridge investigating several hundred wildlife deaths in Somerset. The evidence suggests that some form of pesticide has been used, so Quist asks Toby to contact all pesticide manufacturers in the area and obtain samples.

Rather conveniently a container is found near the dead animals marked “AC” which suggests that Alminster Chemicals are involved (that’ll save Toby a lot of running about). It’s also a coincidence that the chief chemist at Alminster is Mr Ellis (David Markham) who was Toby’s old tutor.

One of the main themes of the story concerns Toby’s rashness and way he acts without considering the consequences. This sets him apart from the others, even Ridge, who all favour a more rigid, analytical approach. In science, you have to be sure of your facts – something which Toby has trouble with (although it’s ironic that his information is what finally saves the day).

It seems likely that Alminster are responsible for the animal deaths. They’re developing a new pesticide called AC3051, for export use in counties which have seen vast areas devastated by locusts, and it’s probable that they’ve tested it in Somerset, hence the animal deaths, but there’s no proof. Toby’s first mistake occurs when he meets Alminster’s managing director John Mitchell (George Baker).

Toby’s delight in meeting his old tutor is tempered when he realises how badly he’s being treated by Alminster. Ellis has been the victim of a creeping campaign by Mitchell which is designed to break his morale and force him to resign. First Ellis’ carpet from his office went, then his parking space was reassigned, next his phone was taken away and the ultimate insult is when he finds somebody else in his office. After demanding an explanation from Mitchell, he receives a blunt answer. “Oh for god’s sake, do you not see that you’re no use to us anymore?”

Ellis is fifty one and therefore is regarded as over the hill. As Ridge later explains, it’s the American way of business – if you can’t force the person to resign with these sort of methods then you “de-train” them – make them take a more lowly position in the company.

Mitchell is quite clear – they have to export and it has to be in considerable numbers. If not, the company has no future. This touches upon a similar argument to the one expressed in The Red Sky, where commercial interests are seen to be (in some people’s eyes) the most important thing. George Baker is splendidly controlled and arrogant as Mitchell, which makes his eventual comeuppance at the end of the episode (his mishandling of matters sees him replaced) even more satisfying.

So Toby’s not only appalled at Mitchell’s off-hand manner, he’s also angry at the way Ellis has been treated. This eventually makes him launch into a tirade against Mitchell, which is tape-recorded and forwarded onto Quist. Quist has no compunction in (temporarily) firing Toby because, irrespective of the rights and wrongs, he’s proved not to have the objectivity that a scientist requires.

Although Train and De-Train revolves as much around office politics at Alminster as it does about the pesticide issue, it’s still another strong series one entry. With Quist largely absent, it’s Toby who’s the focus of the story, meaning that for once Ridge has to play the voice of reason. David Markham seems a little distracted as Ellis, but that may be as scripted. Ellis is portrayed as the sort of compromised scientist that any of the Doomwatch team may become – if they let their standards slip.

Ellis knew that 3051 was dangerous, but went ahead with the tests in Somerset anyway. Following his resignation he commits suicide, but beforehand he writes a letter to Mitchell. Mitchell treats the letter with contempt – using it to light a cigar – but a copy was sent to Toby and it’s this piece of evidence that sinks Alminster, as it links them to the pesticide tests.

Given that 3051 was designed for use against locusts I’ve never really understood why they decided to test it in Somerset (not many locusts about there). Mitchell does make the very good point to Quist that although 3051 could be dangerous in an environment with varied wildlife, that won’t be an issue in the places where it’ll be used. So the tests only serve to draw attention to Alminster.

Mitchell also mentions that the locusts are responsible for deaths now – so they have to press the pesticide into service straight away. Yes, there may be some ecological side-effects, but they can be worked on in due course (to delay would be to cause more deaths). Mitchell’s undeniably motivated by the profit margin, but there’s a certain logic in what he says.

The shades of grey that make up Don Shaw’s script are fascinating. It would have been easier to make Alminster and Mitchell “evil”, but although George Baker relishes the ruthless side of Mitchell’s character things are not as straightforward as they seem at first.