Doctor Who – Kinda. Episode Two

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Panna (Mary Morris) and Karuna (Sarah Prince) encounter Sanders in the forest.  They give him a box which somewhat alters his wordview ….

This has always been a slightly odd part of the story for me.  Panna and Karuna don’t wish the interlopers ill and clearly they intend that the box should be sufficient to explain why Sanders and the others should leave the Kinda in peace.  The only problem is that the box can only be understood by a women, which is unfortunate since Todd appears to be the sole female in the survey team.

Presumably this is the reason why several members of the expedition have mysteriously disappeared (driven out of their minds by what they’ve seen within the box?).  But if this is the case, why do Panna and Karuna insist that Sanders opens the box?  If they know he won’t be able to handle what he sees, it seems a very strange way of going about things.

There’s possibly an irony at work here as the concept of female superiority is one that hadn’t really been explored in the series to date (apart from fairly unsubtle examples such as Galaxy 4 and – given what we know about it – the thankfully unmade Prison in Space).  Apart from the later Mara-possessed Aris, Panna and Karuna are the only members of the Kinda tribe who can speak.  This could also be taken as a statement of female empowerment, although Panna only says that voice is a sign of wisdom – not that it’s exclusively a female trait.

And anyway, non-speaking extras are cheaper than speaking ones ….

Hindle’s madness is explored in more detail.  He now has a loathing of all life outside the dome (“Seeds. Spores. Particles of generation. Microscopic. Everywhere”) and proposes a fairly drastic solution. “I wish to announce the strategy for the defence of the dome, implementation immediate. We will raise to the ground and sterilise an area of forest some fifty miles radius. Objective, the creation of a cordon sanitaire around the dome. Method of implementation, fire and acid. Acid and fire”.

The return of Sanders should be the moment that normality returns, but his altered state – he now has the mind of a child – simply ensures that Hindle has one more person to dominate.  In a way, Sanders and Hindle are now a perfectly matched pair as Hindle has also regressed to childhood, although he’s done so without any help from the Kinda.  This point is hammered home when he spies Sanders returning to the dome.  “Go away! Somebody make him go away! Mummy! Mummy, make him go away!”

Whilst the main action has been taking place in the dome, Tegan’s remains a prisoner of Dukkha.  She’s offered a way out – he wants to borrow her body for a short while (“you would be suitably entertained by the experience”) – and eventually Tegan reluctantly agrees.  Doctor Who is no stranger to possession, but although many companions have been taken over in the past, no examples have been as overtly sexual as the Tegan/Mara hybrid.

And given that the sexual nature of Tegan’s possession was heavily toned down from the rehearsals, it’s intriguing to speculate just what it originally looked like.  Since the the story had space for two companions there was always the option that Nyssa (or god forbid, even Adric) could have been used by the Mara, although Tegan was the logical choice.  Nyssa would have been interesting, but since she’s written as younger than Tegan (in Black Orchid, Nyssa and Adric are referred to as children, presumably meaning mid teens) this no doubt would have been somewhat problematic.  Mind you, since both are aliens we don’t really know how old they are – just how they appear to human eyes.

So whilst the Mara in the form of Tegan is tempting its next victim (Aris) we leave the Doctor, Todd and Sanders with the Box of Jhana.  Hindle wants it to be opened, but the Doctor and Todd, having seen what happened to Sanders, are less than keen.  But open it they do, which leads to an ear-splitting scream from Todd.  Hmm, so even in the future it’s the women who screams.  Some things obviously never change …..

kinda 02-02

Doctor Who – Kinda. Episode One

kinda 01-01

It does seem astonishing that Kinda ended up bottom of the 1982 DWM Season Survey poll. Although it’s easy to argue that Kinda’s theme and subtexts wouldn’t have necessary engaged the (I assume) largely teenage readership of the magazine (no surprises that the straight-ahead thrills of Earthshock were much more to their tastes) it does appear that contemporary Doctor Who fandom also regarded Christopher Bailey’s story with less than open arms.

Although Kinda did have its supporters, some fanzine reviews at the time were also fairly negative and you do get a sense that those who praised the story were well aware they were ploughing a rather lonely furrow. The puppet snake was then and will probably forever be a source of irritation and embarrassment for a section of the audience, although it’s never bothered me (and for those who still haven’t learnt to forgive, forget and love the snake, they can always use the nice CGI option on the DVD).

Initially Kinda seems to be operating on fairly normal lines. The concept of a planet where the seemingly primitive indigenous population face unwelcome and seemingly technologically superior visitors is a familiar Sci-Fi trope whilst the fact that Sanders (Richard Todd) and Hindle (Simon Rouse) are decked out in vague military uniforms (and in Sanders case, a pith helmet as well) means that the parallels to the British Empire are as obvious as they’re unsubtle.

In their early scenes, the characters of Sanders and Hindle operate as familiar archetypes. Sanders is bluff and gruff (albeit with a faint sense of humour) whilst Hindle comes across as a humourless by-the-book martinet.  The third member of the team, Todd (Nerys Hughes) possesses a questioning nature, thereby providing her with an overview that the others (especially Hindle) lack.  Given her scientific background this isn’t surprising though (especially since the hand of Christopher H. Bidmead was on the tiller – at least initially).

So it’s clear that when the Doctor enters their world he’s going to have one ally (Todd) and one adversary (Hindle) with Sanders possibly wavering in-between these two positions. Numerous Doctor Who stories feature an authority figure who complicates the Doctor’s progress, but whilst Hindle certainly fulfils this standard role it’s his highly unstable nature which is strikingly original.

The first discordant note is struck after he demolishes Todd’s laboratory in a fit of pique. It’s a very childish act which nobody in their right mind would have carried out (so serves as an early pointer that all is far from well with him).  After Sanders heads out into the jungle, leaving the Doctor, Adric and Todd at his mercy, it’s not certain precisely what will happen next …

When Bailey was originally commissioned, Nyssa wasn’t part of the TARDIS crew, hence the reason why she’s written out (bar brief topping and tailing appearances). This is a shame, as with a spot of rewriting she could have taken on many of Todd’s responsibilities (both are questing scientists after all).  But Nerys Hughes formed such a good rapport with Davison that it’s impossible to complain about the way things turned out.

Kinda is often referred to as Tegan’s story, although it’s striking how minimal her involvement is. If you added up all her scenes during the first two episodes it’s doubtful they’d reach five minutes, she spends episode three asleep and only comes to life again during the final instalment where she returns to fulfilling her more traditional companion duties (and is consequentially less interesting than previously).

In this first episode she’s trapped in a strange netherworld, menaced by the mysterious Dukkha (Jeff Stewart). And even though Tegan only features in a handful of scenes, they’re all deeply unsettling.

TEGAN: Am I dreaming you, is that it?
DUKKHA: Are you?
TEGAN: Or imagining you?
DUKKHA: Possibly.
TEGAN: Then I can abolish you, can’t I?
(Tegan closes her eyes then opens them again.)
DUKKHA: Puzzling, isn’t it? And by the way, one thing. You will agree to believe in me sooner or later. This side of madness or the other.

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It’s stopped being fun. Doctor Who – Resurrection of the Daleks

tardis

Back in 1984, there was somewhat of a buzz about this one.  Apart from a cameo in The Five Doctors we hadn’t seen the Daleks in a new story for five years and their previous appearance, in Destiny of the Daleks, had been a disappointment to many.

Thirty years on, Destiny is probably better regarded today than it was back then whilst Resurrection has lost a little of its lustre.  But although Eric Saward’s script has its faults, there are some things it does do right and it’s a clear pointer to the style the series would take in S22.

It’s fair to say that Resurrection is a bleak tale.  This nihilistic view of the universe reflects the direction in which Eric Saward wanted to take Doctor Who and he wasn’t the only writer to favour this style.  Robert Holmes penned very much the same type of story with The Caves of Androzani, but it has to be said somewhat better.  Therefore it’s not difficult to see that Holmes would from now on strongly influence Saward’s writing (Revelation of the Daleks with its Holmesian double-acts is surely the sincerest form of flattery).

But back with Resurrection, Saward wanted to tie up the loose ends from Destiny and resolve the Dalek/Movellan war.  He probably would have been better off ignoring this and starting afresh, as it does constrict the story (as do some of the other plot threads which go nowhere – such as the Daleks’ plan to duplicate the Doctor so he can go back to Gallifrey and assassinate the High Council).

The main part of the story revolves around the Daleks’ desire to find their creator, Davros, and use his skills to solve their current problems.  This is a re-tread from Destiny, but Saward does one important thing right here that didn’t happen in Destiny.  One of the clearest character traits of the Daleks is how single-minded they are, so it defied belief that they wouldn’t attempt to use Davros in Destiny for their own ends before discarding him.  But this never seemed to occur to Terry Nation.

In Resurrection, the Daleks are quick to realise that Davros is more trouble than he’s worth and they attempt to exterminate him.  But by then he’s already re-conditioned several Daleks, which establishes the general plot-thread of Dalek civil war which we see in Revelation and Remembrance.

As for the Daleks themselves, they do look a little worse for wear, it has to be said.  They’ve been given a fresh coat of paint, but since they’re a mixture of casings from the 1960’s and 1970’s they naturally do look like they’ve been around the block a few times.  For anybody who wants to delve further into the history of the Dalek casings, then Dalek 6388 is a fascinating website.

Michael Wisher was unable to reprise his role as Davros, so Terry Molloy stepped into the breach.  Molloy ended up playing the role three times and would go on to make it his own, managing to emerge from Wisher’s substantial shadow.  There’s less character for him to latch on here than he would enjoy in Revelation (which was much more of a Davros story than a Dalek one) but he still has some nice, ranting moments.

As for the humans, there’s an interesting ethnic mix on the space-station which is unusual for the series at the time.  There’s also signs of the increased gore that would appear during S22 (the Daleks’ disfiguring gas is pretty unpleasant and it’s debatable whether the close-ups should have been transmitted).

One problem with Saward’s scripts up to this point was that characters could often seem like cardboard cut-outs, existing just as long as they formed some plot function.  Once that ended, they would be quickly killed off (in order not to clutter up the screen).  Styles (Rula Lenska) and Mercer (Jim Findley) are good examples of this.  Rodney Bewes as Stein fares somewhat better and has the chance to play the hero at the end.

The Army bomb disposal squad, headed by Del Henney as Colonel Archer are also characters that don’t really go anywhere and it’s unfortunate that Tegan spends most of the story with them.  As a final story for Janet Fielding, Resurrection is a poor effort, as Tegan does little of consequence – but as is probably well known, the story was originally planned to close S20 (a BBC strike put paid to that) so her leaving scene had to be tagged onto the already-written story.

Turlough and the Doctor fare little better.  Turlough teams up with Styles and Mercer, although he does nothing to advance the plot.  The Doctor has one key scene (confronting Davros and proving that he’s unable to kill in cold blood) but apart from that there’s very few of the character traits that Davison so clearly enjoyed in Frontios.

Also skulking about is Lytton (Maurice Colbourne) who will return next season, although it’s worth pondering exactly how the Doctor in Attack of the Cybermen knows all about him, as here they only share one scene and never speak to each other.

After the mass slaughter, it’s difficult not to agree with Tegan that it’s all been a bit too much.  But it’s probably aged better than Earthshock and for better or worse, points clearly to the direction the series would take during S22.

The earth is hungry. It waits to eat. Doctor Who – Frontios

frontios

One of the most obvious things to note about Frontios is that Christopher H. Bidmead really knew how to write for Peter Davison’s Doctor.  Given this, it’s a pity that Bidmead didn’t contribute more scripts for the fifth Doctor (Frontios was his second and last).

I’ve touched on this before, but Peter Davison wasn’t a personality actor like, say, Tom Baker.  Baker could take an average script and by the sheer force of his personality make something unique out of it.  Davison didn’t have that skill, but provide him a well written script and he could certainly make the most out of what he was given.

Frontios is a wonderful vehicle for Davison and so many of his lines zing.  Picking some favourite Davison dialogue from this story is difficult, since there are so many examples, but I do love this –

DOCTOR: Look, I’m not really here at all, officially. And as soon as I’ve helped Mister Range with the arrangements, I’ll be on my way.
PLANTAGENET: Do you feel free to come and go as you please?
DOCTOR: Going, yes, coming, no. We were forced down.
PLANTAGENET: I see. You landed during the bombardment and yet you appear unharmed.
DOCTOR: I’m sorry, we didn’t know there was a war on. At first we thought it was some sort of meteorite storm.
PLANTAGENET: And what do you think now?
DOCTOR: I think your shelters are totally inadequate and your warning system does nothing but create panic.
PLANTAGENET: I did not ask
DOCTOR: Your population has already fallen below critical value required for guaranteed growth and you’re regularly losing new lives. I think, and you did ask what I think, I think your colony of Earth people is in grave danger of extinction.

There’s a bite and attack to Davison’s performance of these lines, which we haven’t seen nearly enough of during his time on the show.  Elsewhere, he has a lovely line in vagueness, somewhat Troughtoneque in style, like this –

DOCTOR: Well, that’s it. Now, this should either sort out this whole Tractator problem and repair the TARDIS.
TEGAN: Or?
DOCTOR: Or it won’t

The Gravis is going to have problems operating the controls with his little flappy arms
The Gravis is going to have problems operating the controls with his flappy little arms

Sadly, one of the best moments of the story was rather curtailed due to episode four overrunning.  We see the Doctor attempt to convince the Gravis that Tegan is an android that he picked up cheap –

TEGAN: Doctor, you can’t let them do this to me.
DOCTOR: I’m terribly embarrassed about all this.
GRAVIS: Not at all, Doctor.
DOCTOR: It must be the humidity causing the malfunction. These serving machines are perfectly reliable on Gallifrey.
GRAVIS: The guard Tractator here will restrain it while I show you more of our work here. It is certainly a very convincing replica of the humanoid life form.
DOCTOR: Oh, you think so? I got it cheap because the walk’s not quite right. And then there’s the accent, of course. But, when it’s working well, it’s very reliable. Keeping track of appointments, financial planning, word processing, that sort of thing.

What was cut was more detail as to why the Doctor undertook this ruse – if the Gravis realised that Tegan was human he might have decided to add her to his excavating machine.  The excised material is part of the special features on the DVD thankfully, including the moment where the Doctor puts a screwdriver into Tegan’s ear!

Mark Strickson (after largely sitting out the last few stories) gets to froth at the mouth and drive part of the plot, whilst Janet Fielding is teamed up with Davison for the last few episodes, which is great fun.  Just as Bidmead was spot on with Davison’s Doctor, so he was able to get the best out of the Doctor/Tegan relationship.  They do spend most of episode three not achieving very much, simply walking round the tunnels.  But it’s so entertaining, you don’t really notice that the plot isn’t advancing very much.

On Frontios itself, there’s a decent collection of guest stars.  Peter Gilmore is the bluff Brazen, not a subtle performance maybe, but there’s the odd glimpse of hidden depths.  Jeff Rawle is good as the out-of-his-depth Plantagenet, whilst William Lucas as Range has a nice line in weary resignation.  Norna, played by Lesley Dunlop, isn’t a very developed part – existing mainly to elicit information from other characters – but Dunlop is very appealing and makes the character worth watching.

The rather appealing Lesley Dunlpp, as Norna
The rather appealing Lesley Dunlop, as Norna

The odd structural flaw and plot-hole apart, this is an entertaining story that puts the Doctor right in the centre of the action.  True, the Tractators (particularly their flapping arms) look a little silly, but the story is hardly unique for having slightly duff monsters.

If you want an example of Davison’s Doctor at his best, then this must rank somewhere at the top, along with Kinda and The Caves of Androzani.

Something is coming to our village. Something very wonderful and strange. Doctor Who – The Awakening

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Although The Awakening, like the other Davison two-parters, feels a little disposable, it’s still an decent enough story, helped no end by a larger-than-life performance from Denis Lil (Sir George Hutchinson).

Sir George has somehow (and like a lot of the story we’re somewhat vague on specifics) found himself under the thrall of the Malus, a malevolent alien entity who has lain dormant since the 17th century.  The Malus feeds on violent emotions and therefore has had little to feast on since the English Civil War came to this part of the world in 1643.

The ever dependable Denis Lil gives his all
The ever dependable Denis Lil gives his all

So, Sir George decides that a Civil War re-enactment would be just the thing to restore the Malus to full strength.  The concept of a whole village under the thrall of an alien being is a good concept, but it’s not really followed through in the story as he seems to be the only one who is actually under the Malus’ control.

True, Willow (Jack Galloway) is happy to carry out Sir George’s bidding, but that may be because he’s a bit of a bully anyway and there’s nothing to support the claim from Jane that the final battle will be fought for real.  The problem with this lack of development could be due to the two part format, which doesn’t allow too much time to develop the various story threads.

If Sir George (and maybe Willow) are on the side of chaos, then the voices of reason are provided by Jane Hampton (Polly James) and Ben Wosley (Glyn Houston).  Following the somewhat wooden turns of Warriors of the Deep, their more naturalistic performances are very welcome.

The TARDIS has landed in Little Hodcombe so that Tegan can visit her grandfather, Andrew Verney.  This is another part of the plot that doesn’t really go anywhere since Verney is totally redundant to the plot.  There’s no reason why the TARDIS couldn’t have simply turned up at random, with the Doctor being naturally drawn into the mystery of the closed village and the strange happenings in the church.

"The toast of Little Hodcombe"
“The toast of Little Hodcombe”

With the concept of two periods connected in time and psychic projections from the past appearing in the present, there’s something of a Sapphire and Steel vibe about this story, which is no bad thing.  A refugee from the past, Will Chandler (Keith Jayne) teams up with Davison for part of the story and it’s possible to understand why he was briefly considered as companion material.

The Malus, who has been resident in the local church for three hundred years or so looks very impressive, but it’s somewhat limited, action wise.  Once you’ve heard it go “rooooooooaaaaaaarrrrrrrr” a few times then it’s not got much more to offer, with the genuine scares coming from the various projections it can conjure up – particularly the ghostly Roundheads who behead an unfortunate extra.

The location of the Malus does lead one to suppose that the church was built around it, which is an interesting thought.  If so, then presumably it was felt that the sanctity of the church would nullify the Malus’ baleful influence.  Or maybe they didn’t notice its big head?  Who can say?

One other notable point about The Awakening is that it was Barry Newbery’s final Doctor Who story as a designer and also his last work for the BBC (he took early retirement almost immediately afterwards).  His most active period on the programme was during the Hartnell era, where to begin with he alternated with Raymond Cusick on each serial.  Both Cusick and Newbery performed miracles with the non-existent budgets of the early 1960’s and whilst the success of Doctor Who is due to many people, both of them must take some of the credit as without good visuals, the stories would have foundered.  And The Awakening was a decent story to bow out on as it featured some impressive sets – particularly the ruined church.

Although somewhat rushed and with the odd loose end, this is an enjoyable story boasting decent location filming, some good performances and a few scares along the way.

These human beings will die as they have lived, in a sea of their own blood. Doctor Who – Warriors of the Deep

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Warriors of the Deep seems to be based on a false premise – namely that the Silurians and the Sea Devils were the chief attraction of Malcolm Hulke’s two Jon Pertwee scripts.  This is something that I’d strong disagree with.  Doctor Who and The Silurians drew its strength from pitching the Doctor, Liz and the Brigadier against the likes of Baker, Quinn, Lawrence and Masters.  It was the confrontations between those characters that kept the story bubbling along in the early episodes and by the time the Silurians take centre-stage, it starts to flag a little.  The Sea Devils is mainly about the Doctor/Master rivalry and the Sea Devils are pretty incidental to the plot.

In order to succeed then, Warriors of the Deep needed strong human characters but although the story had some good actors, the script tended to let them down.  It isn’t all bad though and with just a little tweaking here and there it could have been rather good.  But, as has happened before, a lack of time and money was to prove very costly.

Let’s start positively though, Tony Burrough’s Seabase set is incredibly impressive.  It’s tended to come in for criticism in the past for being too brightly lit, but I can’t see this at all.  The command centre is brighter than the rest of the base, which seems logical, but the corridors have a low level of lighting and also ceilings (a familiar trait of Tony Burrough’s design work, see also Four To Doomsday). This creates shadows and helps to hide a multitude of sins – even the Myrka looks halfway decent in some of the corridor shots.

We’re barely a minute into the story when we’re introduced to the Silurians.  It’s annoying that they refer to themselves as Silurians and Sea Devils (human coined nicknames, of course) and it’s even more annoying that the Silurian’s third eye now flashes every time they speak.  And the annoyance factor is increased another notch whenever Icthar says “Excellent”.

The Seabase personnel tend to be split between two camps.  There are some – Vorshak (Tom Adams), Bulic (Nigel Humpreys) and Preston (Tara Ward) – who have thinly drawn characters but are watchable since the actors are making the best of a bad job.

"You'll get no help from me, Silurian"
“You’ll get no help from me, Silurian!”

For the rest, if I was drawing up a list of shame then Ingrid Pitt as Solow and Ian McCulloch as Nilson would be top of it.  Pitt was famously wooden in The Time Monster so it’s no great surprise that twelve years on she’s no better here.  But it pains me to see McCulloch’s poor performance, as he’s a much better actor than this (Greg in Survivors, for example).

The central plot is quite sound.  It’s a base-under-seige!  A staple of the Troughton era, we haven’t had a story like this (Horror of Fang Rock) for a good few years.  But it does tend to be scuppered by the fact that the Silurians and Sea Devils are, shall we say, not very dynamic.

They move incredibly slowly (and in the case of the Sea Devils, rather oddly at times).  There’s also the Myrka to further slow things down of course.  And while I have praised the design work, the amazing foam bulkhead door at the end of episode two is a sight to behold.

Eventually, as with most base-under-seige stories, virtually everybody dies.  The Doctor’s final words are well known and yes, there probably should have been another way. It’s interesting that about twenty years earlier virtually the same words were spoken after the Thals and Daleks fought, but then it was Ganatus who had the line, whilst the Doctor seemed unmoved by the wholesale slaughter on Skaro.  He’d got his fluid link back, which was the only thing he seemed concerned about.

In retrospect, this marks the start of the harder-edged style of Eric Saward.  Resurrection of the Daleks, The Caves of Androzani and the majority of Season 22 would follow a similar path of heavy body-counts and violence.

Warriors of the Deep is not a total disaster, nor is it unwatchable, but a combination of factors proved to be pretty damaging.  Johnny Byrne had provided a similarly limp season opener the previous year with Arc of Infinity so it’s maybe not surprising that this was his final script for the series.

A cosmos without the Doctor scarcely bears thinking about. Doctor Who – The Five Doctors

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For me, The Five Doctors defies critical analysis as to watch it is to be twelve again, when it seemed like the best programme ever.  Time may have slightly tempered that enthusiasm, but I still find it’s impossible to rewatch it without a silly grin appearing on my face from time to time.

Is it perfect?  Of course not.  The Five Doctors was a party where many invitations were handed out, but several people (and one very important guest) were unable to attend.  Possibly in a parallel universe they had a story where the 2nd Doctor was partnered with Jamie and Zoe, the 3rd teamed up with Jo and the Brig and the 4th and Sarah were reunited.  Also in that parallel universe, maybe Roger Delgado decided not to travel to Turkey in 1973 to film Bell of Tibet so that he was able to return to the role of the Master for the first time in a decade.  It’s a nice dream.

But what we have is still very decent fare.  Richard Hurndall isn’t attempting to impersonate William Hartnell, Hurndall is playing the first Doctor, which is an important distinction.  The only Hartnell story to be repeated in the UK was An Unearthly Child in 1981, so for many of us Hurndall’s was a perfectly acceptable performance.  And it still is.  He captures the essence of the Hartnell Doctor, there’s certainly the hard edge Hartnell could show from time to time, for example.

Troughton’s back! He may look older, but he’s the major highlight of this story and it’s hardly surprising that they offered him another one shortly after.  He has a wonderful partnership with Courtney and all of their scenes fizzle with memorable dialogue.  Frankly, I could have watched a story with just these two and been very content.

Pertwee’s back! Although his hair’s a little whiter, he’s still recognisably the same Doctor that we last saw nine years previously.  But his sequences don’t quite have the same appeal as the Troughton ones and it’s difficult to put my finger on why this is.  Terrance Dicks had, of course, been script editor for the whole of the Pertwee era so he should have had no problem in recreating the 3rd Doctor’s characterisation.  But he does has some nice moments whilst traversing the Death Zone though, insulting the Master and finding an appropriately heroic way to enter the Tower, for example.

Pertwee benefits from being matched up again with Elisabath Sladen.  We’d seen Sarah two years previously in K9 and Company which was lovely, but to see her back with Pertwee’s Doctor is something else altogether.  Like everyone else, her lines are rationed so she has to make the most of everything she’s given, and this she certainly does.  The fact that her mittens are sewn onto her jacket is incredibly adorable as well.

"Jehosaphat!"
“Jehoshaphat!”

Tom’s not back! The reason for his non-appearance is well known and it does leave a hole, but we still have a very good story without him.  For many people, Tom Baker was the series, so it’s possibly not a bad thing that he wasn’t here – that way it’s possible to see that there can be a decent tale told without him.

Davison’s still here!  Terrance Dicks said that he was keen to ensure that Davison got the best of the action and he does have some good scenes, although the Gallifrey section is a bit limp and it’s a pity that he wasn’t teamed up with Troughton and Pertwee a little earlier on.  The Doctors were kept apart since there were concerns that egos would clash.  I don’t think that Davision would have been a problem, but Jon Pertwee and Tom Baker certainly would have been an explosive combination.

One slight problem I have with The Three Doctors is the way that Troughton is sometimes written down in order to make Pertwee the dominant figure.  Since Pertwee was the current incumbent it’s sort of understandable, but I doubt that Pertwee would have been happy to play second fiddle to Davison.  And the prospect of Pertwee and Baker together is even harder to imagine.  Pertwee never made any secret of his dislike of the way the series progressed after he left (those cynical souls put this down to the fact that Tom Baker was more popular with both the fans and the general audience than Pertwee ever was) so Tom’s non-appearance was possibly a blessing in that respect.

As for the monsters, we have a rather tatty looking Dalek but we finally get to see that the Pertwee Doctor was right when he said that: “inside each of those shells is a living, bubbling lump of hate”.  Given that it stays in the shadows, presumably the Yeti was rather shabby, but it gives Troughton another lovely comedy moment when he’s rummaging through his pockets in a desperate search for something to sort it out with.

Since they only appeared eighteen months previously, it’s a little disappointing that the Cybermen are so prominent here but it makes both economic sense (the costumes were in stock) and also practical sense (it’s difficult to imagine the likes of the Daleks trundling through the Death Zone).

Mention of the Death Zone brings us to one of the major plus points of this story – the locations.  NuWho has exhaustively mined Wales for locations but as the original series was based in London, trips to Wales were much rarer.  Various locations in Gwynedd were used in March 1983 and they help to give The Five Doctors an expansive, epic feeling.

If Leonard Sachs in Arc of Infinity wasn’t the best Borusa ever, then neither is Philip Latham here. It’s hard to understand how the Borusa of The Deadly Assassin and The Invasion of Time could have ended up as the lunatic obsessed with ruling forever that we see here.  So that makes his corruption (which should be shocking) something of a damp squib.

And if the Old-King-Cole Rassilon is another odd move, we do get to see the Doctors together at the end of the story, which is something to be treasured.  The rarity is why it’s so special, if it had happened more often then the shine would have been taken off it.

"I know what it says, but what does it mean?"
“I know what it says, but what does it mean?”

As it was, it’s Pertwee’s final bow as the Doctor (sorry, Dimensions in Time isn’t canon, and isn’t even a story) whilst Troughton was to have one more appearance to come.  Therefore, while The Five Doctors is a celebration of the first twenty years, it also marks something of an end as over the following years we would start to bid farewell to some of the actors who had done so much to ensure that the series had reached 20 not out.  And while they may be gone, thanks to the magic of DVD their adventures live on forever.  So for me, that’s the best way to approach this story, as an appreciation and celebration of some of the people that made this programme so special.