john barron

Doomwatch – Waiting for a Knighthood

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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 – Flight into Yesterday

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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 – You Killed Toby Wren

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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 Plastic Eaters

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plastic

Kit Pedler and Gerry Davis use an old story-telling trick to introduce the audience to the Doomwatch team – we meet them through the eyes of a new recruit, Toby Wren (Robert Powell).  Wren, young, keen and eager, first meets Dr John Ridge (Simon Oates) and Pat Hunnisett (Wendy Hall).  Ridge is a non-conformist and something of a lady-killer, which is confirmed when he confides to Toby that Pat would have introduced them, but she’s still upset as he pinched her bottom earlier on!  The nattily dressed Ridge screams early seventies, and whilst his behaviour can be a little eyebrow raising at times, it’s usually rescued by Simon Oates’ spot-on comic timing.  And as we’ll see as the series progresses, he’s also no slouch when it comes to playing the dramatic scenes.

Pat has little to do except stand around and look attractive, which is pretty much par for the course for all the stories she appears in.  Colin Bradley (Joby Blanshard) is the technical expert, and comes across as somewhat blunt and absorbed in his work.  He’s also not very well developed here, mainly existing as a line-feed for Quist.

That just leaves the head of Doomwatch, Dr Spencer Quist (John Paul).  It’s made clear early on that he’s a celebrated scientist – a Nobel Prize winner, no less – but it’s also established that he’s battling demons from his past.  It was Quist’s mathematical genius that was, in part, responsible for the creation of the atomic bomb.  This is something that continues to haunt him (and Ridge, knowing this, can’t resist mildly taunting him about it).  The Quist/Ridge dynamic is key to the series.  Both respect the others abilities, but there’s often no love lost between them (and they rarely see eye to eye about how to achieve their goals).  The first law of decent drama is that you have to have conflict and Quist and Ridge will certainly deliver this.

If Quist sometimes has trouble from his subordinates, that’s nothing to the problems he encounters from the Minister (John Barron).  The Minister regards Quist and the Doomwatch organisation as a major irritation and aims to close them down at the first opportunity.

Toby is dispatched to investigate why a plane crashed, whilst the others work on the same problem at the office.  With the Minister so keen to clip Doomwatch’s wings, it’s rather a coincidence that the trail leads to his office, but there you go.  Ridge suggests that they burgle the Minister’s office to find the information they need and Quist, after a brief struggle with his conscience, agrees.  As a former intelligence operative, Ridge is happy to work outside of the law.  Quist prefers to play things by the book, but when he feels that information is being withheld (and lives could be at risk) he’s prepared to put his finer feelings to one side.

A top-secret formula which can break down plastic is found to be responsible for the destruction of the aircraft.  The increasing proliferation of plastic was a major concern at the time and whilst this formula could eventually be of immense use, it should never have been let out into the open.  This only happened due to carelessness at the Minister’s office (something which Quist can later use as a lever to guarantee the Minster’s cooperation).

Additional drama is generated when the plane that Toby’s travelling back on is infected by the same plastic virus – although to be honest the drama level is fairly low.  It would have been unusual (although not impossible) for Toby to be killed off in the first story, so we can be fairly sure that he’ll be safe.  And if he’s safe, then so are the rest of the passengers and crew, which makes the various attempts to generate tension slightly futile.

So although the ending is something of a damp squib (and the pre-credits sequence, showing the original plane crash is also less than effective, thanks to the too-obvious stock footage of crash-test dummies) The Plastic Eaters is still a decent opening episode thanks to the efficient way it introduces the main characters.