Today is another hard choice, but for different reasons. So many of Patrick Troughton stories are classics, to me. Though many are sadly missing from the archives, I’m proud to have heard or seen all of his stories. So from out of all the good stories, what do I go for.
Despite there being so many good stories, there is only one choice for me. The Web of Fear. You can imagine how happy I was to hear, earlier this year, that episodes, 2,4,5, and 6 had been discovered. The first time I watched episode two brought me to tears. It was great to see such a good story, nearly complete. It’s a shame that episode 3 is missing, but I hope that it’s out there, somewhere.
The reason why I love this story is because they get everything write. It’s telling that the London Underground wrote to the BBC, after this serial aired, asking how they managed to breaking into the underground. The BBC, of course hadn’t, and had made fantastic looking sets, that looked like the London Underground.
The director, Douglas Camfield, gets a great performance from all of his cast and the battle in the warehouse is fantastically shot, and played out. Nicholas Courtney, making his first appearance in the missing episode 3, appears as the Iconic Colonel Leftbridge Stewart. A legend is born in this story.
It’s even nice to hear the classic Space Museum music, which most notably appears in cybermen stories used during the warehouse battle.
I think praise must also go to the writers, who have created a thriller in this base under siege story. Trying to work out who the Great Intelligance’s man is a great part of the latter episodes and the reveal is well done.
If there is a down side to this story, it’s that episode 3 is missing.
So what other Troughton stories do I like. There is so many to name. However, I’m going to go with Invasion, with Cybermen in the sewers. Fury from the Deep, with it’s killer seaweed. Moonbase, just because it’s a great story and a perfect way of bringing back the Cybermen, so soon after their initial introduction in Hartnell’s swansong Tenth Planet.
See you all tomorrow for Day three and Jon Pertwee. Many of his stories, were successful because of this and the semi sequel, invasion.
Baggers.
Wednesday, 13 November 2013
Tuesday, 12 November 2013
First Doctor? It's all about the Dalek blockbuster...
I have to say, as someone with more than a passing mention in history, I love the William Hartnell era for its historicals. From Marco Polo to Reign of Terror, the Crusades to Aztecs etc I genuinely think the series justified its educational aim while at the same time offering well rounded characters in fun adventures.
Hartnell's Doctor also seems best suited to the well-informed grandfatherly role that the historicals allow albeit a grandfather with a chuckle and glint in his eye when meeting and interacting with Robespierre, Nero et al...
That said - all they're all worthy of honourable mention - my favourite 1st Doctor story is the Daleks' Master Plan.
It is such a shame that we're cruelly robbed of the chance to watch much of this story which, in my view was the shows biggest 'blockbuster' to date. Are you watching Moffat? Top this with The Day of The Doctor if you can...
Effectively 13 epiodes when counting the Doctor-lite (see, this wasn't invented by Russell T Davies) Mission To The Unknown it had plenty of action and drama as well as a smattering of humour. Yes, I even love the novelty value of the Feast of Steven.
Critics would probably point to the fact that there's a lot of running around and a pretty thin premise for the plot. They'd maybe have a point but consider:
*the viewer/listener is always on edge from when Katarina dies. Years before Adric we had a companion die - who knew who might else might go?! She might not be a hugely established chapter but it's still a shock
*the Machiavellian Mavic Chen is magnificent. Hats off to Kevin Stoney - the first of three excellent guest roles for him
*Nicholas Courtney debuts. Ok, not as the Brigadier but basically as the 'space Brigadier'.
*The Daleks are at their devious best, with political scheming to add to the usual shout-and-kill shtick. And if you think the 'time destructor' seems daft then come back to me when you've re-watched the 'reality bomb' in the Tennant/Tate finale
*The Monk is back and on top form
Add in the fact that the whole lot is held together by strong performances from Hartnell, Purves and Jean Marsh as Sara and you've got an epic classic.
Now all we need is someone to animate all this...any takers?!
11 Days to go
So the fifth anniversary is only 11 days away. The tension is high, and I can’t wait. I’ll be attending a cinema screening with my esteemed colleague. But before that, were going to give you our favourite stories. One Doctor a day, for 11 days.
So favourite first Doctor story. That’s a hard one. I enjoy William Hartnell’s tenure as the Doctor. He’s just not my favourite. If I want to watch a Who story, he’s not the Doctor I would head to. So what is my favourite story?
It would have to be the Keys of Marnius. One of the first Doctor Who stories, but not one that is near the top of many people’s list. So why do I like it. I enjoy the adventure aspect to the plot. The plot is simple. The Doctor, with his three companions, Ian, Barbara and Susan, arrive on a shoreline made of glass.
They are soon involved in an adventure to save the planet Marnius, from the evil Vrood. The heroes are sent to different locations, around the planet, to rescue the keys, that will resolve the threat. With the Doctor sent to the last set, allowing William Hartnell to have a holiday, we see Ian, Barbara and Susan rise up and be centre stage.
I think the designer, Ray Cusick, has produced some good look sets and the actor do a fine job of interpreting Terry Nation' script. All in all, I enjoy this story, a lot and that is why I’ve chosen this as my favourite 1st Doctor.
Then again, come back to me next week, and I’ll probably tell you another story, I’m that fickle. To that end, we’ll give you a few extra stories that we enjoy. For me I also enjoy the first truly historical story, Marco Polo. The first encounter with the Daleks, and for a final story, I like is the Dalek’s Masterplan.
Baggers.
See you all tomorrow for my top Patrick Troughton story.
So favourite first Doctor story. That’s a hard one. I enjoy William Hartnell’s tenure as the Doctor. He’s just not my favourite. If I want to watch a Who story, he’s not the Doctor I would head to. So what is my favourite story?
It would have to be the Keys of Marnius. One of the first Doctor Who stories, but not one that is near the top of many people’s list. So why do I like it. I enjoy the adventure aspect to the plot. The plot is simple. The Doctor, with his three companions, Ian, Barbara and Susan, arrive on a shoreline made of glass.
They are soon involved in an adventure to save the planet Marnius, from the evil Vrood. The heroes are sent to different locations, around the planet, to rescue the keys, that will resolve the threat. With the Doctor sent to the last set, allowing William Hartnell to have a holiday, we see Ian, Barbara and Susan rise up and be centre stage.
I think the designer, Ray Cusick, has produced some good look sets and the actor do a fine job of interpreting Terry Nation' script. All in all, I enjoy this story, a lot and that is why I’ve chosen this as my favourite 1st Doctor.
Then again, come back to me next week, and I’ll probably tell you another story, I’m that fickle. To that end, we’ll give you a few extra stories that we enjoy. For me I also enjoy the first truly historical story, Marco Polo. The first encounter with the Daleks, and for a final story, I like is the Dalek’s Masterplan.
Baggers.
See you all tomorrow for my top Patrick Troughton story.
Saturday, 22 September 2012
Wibbly wobbly timey wimey, hang on, that's her isn't it?
Well we've both been a bit slack on the blog front when it comes to the return of Doctor Who but here goes with the first series 'seven' instalment from me. I'll return to the end of series six at a later date in wibbly wobbly timey wimey fashion. I'm sure 'The Moff' would approve.
And speaking of wibbly wobbly timey wimey, that was certainly my experience of the series opener - Asylum of the Daleks - as I saw the last two thirds before the first third.
Still that didn't take away from my enjoyment of a serial that was possibly the strongest opener since Who's Russell T Davies reboot. A bold claim perhaps, but I certainly enjoyed Asylum.
It's hard not to start a review without speaking about the shock of seeing new companion Jenna Louise Coleman turn up as Oswin. We'd all expected Jenna to turn up at Christmas, post Pond farewell, and I certainly had something of a double take when she appeared. It was something that perhaps meant more for the diehards than the casual viewer but even if you didn't know who Jenna was and that she'd be joining the show at a later juncture I think her character probably still worked. It's also nice the series can still keep surprises in the gossip hungry Twitter era. I mean it wasn't up there with how Earthshock must've been but still, not bad at all.
Jenna's performance as Oswin was a pretty impressive Who debut, displaying a quick thinking wittiness that proves she might be more than a match for Matt Smith's Doctor when the two renew acquaintances at Christmas.
The revelation that the funny and brainy Oswin was in fact a Dalek was a neat twist and more than a little macabre. In typical Moffat fashion the 'souffle gag' turned out to be the important clue to the grisly truth and gave Smith some well-played drama as the show hurtled towards a rapid resolution.
I also enjoyed the setting for Asylum. From the impressive Skaro scenes (another tick for the fanboys) to the vast parliament (what do they claim in expenses?) to the icy asylum surface and creepy broken Dalek filled corridors - it all looked superb. The sets made excellent use of the budget now available to Who while still somehow evoking Revelation, Renaissance etc. I do wonder what the original plan was for the planet scenes though - with the production team seemingly striking lucky in Spain?
On the planet itself the 'eye stalk people' added another evil creation to Dalek folklore in the vein of Robomen and Ogrons in another chilling twist easily recreatable/reimagined on a school playground near you.
The fully formed Daleks worked well here too. They we art their best as a creepy menace never more than a corridor turn away from the time travelling trio. In the past they've felt a little like a predictable headline act wheeled out unimaginatively like Paul McCartney at the end of the Olympic ceremony, this time they felt much more than that. Some have felt that the bold claims that 'every type of Dalek will appear' fell flat, I didn't really care. The Daleks here were used sparingly and well, making this not only the best series opener for some time but also the best Dalek story since Remembrance. It would have even worked as a classic Dalek 4/6 parter too with the Doctor being captured in the first episode, the planet and asylum bits in episode two, the big revelation that Oswin was a Dalek at the end of episode three and the resolution in the final part. Still, unlike other stories last year that would've been, in my opinion, four-partable, this didn't feel too rushed or condensed.
What about the not-so-good bits? Well, for me the weakest part for me was the matrimonial disharmony of the Ponds. Amy and Rory's relationship veered towards a not-too-believable divorce and then back to the status quo before Asylum was out and while that served to create the half-decent 'love and hate' scene between the pair when Amy was about to be 'eye stalked' it didn't quite work for me. There was seemingly no build up to their break-up (apart from a small Pond Life snippet) or indeed any follow-up as they son slipped back into their usual relationship dynamic.
The story ended with the Doctor continuing along the 'making himself anonymous' trajectory that was introduced at the end of series six (and ignored by a pretty average Christmas outing...) and paves the way for some intriguing adventures to come next year. There are also, of course, questions galore about how the seemingly dead Oswin might be able to return as the Doctor's companion, if indeed Oswin is even the character the confident Coleman eventually portrays. This is Moffat after all, who knows what might happen?!
Overall, a very good start. 8/10
And speaking of wibbly wobbly timey wimey, that was certainly my experience of the series opener - Asylum of the Daleks - as I saw the last two thirds before the first third.
Still that didn't take away from my enjoyment of a serial that was possibly the strongest opener since Who's Russell T Davies reboot. A bold claim perhaps, but I certainly enjoyed Asylum.
It's hard not to start a review without speaking about the shock of seeing new companion Jenna Louise Coleman turn up as Oswin. We'd all expected Jenna to turn up at Christmas, post Pond farewell, and I certainly had something of a double take when she appeared. It was something that perhaps meant more for the diehards than the casual viewer but even if you didn't know who Jenna was and that she'd be joining the show at a later juncture I think her character probably still worked. It's also nice the series can still keep surprises in the gossip hungry Twitter era. I mean it wasn't up there with how Earthshock must've been but still, not bad at all.
Jenna's performance as Oswin was a pretty impressive Who debut, displaying a quick thinking wittiness that proves she might be more than a match for Matt Smith's Doctor when the two renew acquaintances at Christmas.
The revelation that the funny and brainy Oswin was in fact a Dalek was a neat twist and more than a little macabre. In typical Moffat fashion the 'souffle gag' turned out to be the important clue to the grisly truth and gave Smith some well-played drama as the show hurtled towards a rapid resolution.
I also enjoyed the setting for Asylum. From the impressive Skaro scenes (another tick for the fanboys) to the vast parliament (what do they claim in expenses?) to the icy asylum surface and creepy broken Dalek filled corridors - it all looked superb. The sets made excellent use of the budget now available to Who while still somehow evoking Revelation, Renaissance etc. I do wonder what the original plan was for the planet scenes though - with the production team seemingly striking lucky in Spain?
On the planet itself the 'eye stalk people' added another evil creation to Dalek folklore in the vein of Robomen and Ogrons in another chilling twist easily recreatable/reimagined on a school playground near you.
The fully formed Daleks worked well here too. They we art their best as a creepy menace never more than a corridor turn away from the time travelling trio. In the past they've felt a little like a predictable headline act wheeled out unimaginatively like Paul McCartney at the end of the Olympic ceremony, this time they felt much more than that. Some have felt that the bold claims that 'every type of Dalek will appear' fell flat, I didn't really care. The Daleks here were used sparingly and well, making this not only the best series opener for some time but also the best Dalek story since Remembrance. It would have even worked as a classic Dalek 4/6 parter too with the Doctor being captured in the first episode, the planet and asylum bits in episode two, the big revelation that Oswin was a Dalek at the end of episode three and the resolution in the final part. Still, unlike other stories last year that would've been, in my opinion, four-partable, this didn't feel too rushed or condensed.
What about the not-so-good bits? Well, for me the weakest part for me was the matrimonial disharmony of the Ponds. Amy and Rory's relationship veered towards a not-too-believable divorce and then back to the status quo before Asylum was out and while that served to create the half-decent 'love and hate' scene between the pair when Amy was about to be 'eye stalked' it didn't quite work for me. There was seemingly no build up to their break-up (apart from a small Pond Life snippet) or indeed any follow-up as they son slipped back into their usual relationship dynamic.
The story ended with the Doctor continuing along the 'making himself anonymous' trajectory that was introduced at the end of series six (and ignored by a pretty average Christmas outing...) and paves the way for some intriguing adventures to come next year. There are also, of course, questions galore about how the seemingly dead Oswin might be able to return as the Doctor's companion, if indeed Oswin is even the character the confident Coleman eventually portrays. This is Moffat after all, who knows what might happen?!
Overall, a very good start. 8/10
Tuesday, 27 September 2011
Who's that in the changing rooms
Closing Time is an interesting episodes that has caused sides to be thought between fans. Gareth Roberts script is, in my opinion, a mixed bag. He has portrayed the Doctor, approaching his death, with brilliance. I get the same feeling watching Matt Smith’s performance as I did when David Tennant muttered those words. I don’t want to go. Before bursting into a baize of regeneration energy.
Matt Smith performance can not be faulted and I would put this as one of his best. Here we see the doctor with a few hours to live, having already accepted his fate, get involved with something he shouldn’t.
That something is the Cybermen. This is where the fans have been split. The Cybermen are, in this story, a monster of the week, and I honestly thinks that belittles their menace. I had the great pleasure of watching this episode with two Dr Who newbies. They had never had the pleasure of watching the Cybermen erupt from their tombs or the sewers behind St Paul’s cathedral.
I can not think of a worst death, in Dr Who, than becoming a Cybermen and to see James Corden’s character of Craig Owen become a cyber leader will be an enduring image. I will pause here to congratulate James Corden on another decent performance. However this is somewhat ruined by the fact that the emotional inhibitor is wiped by a baby’s cry. It sort of ruins the menace of becoming a Cybermen.
This is the biggest let down in the story and I think it mars the story. I think the script is well done. I love the idea that the Doctor would visit old friends before his death. He’s done it once before in the sickening ending to the End of Time.
Both Matt Smith and James Cordon have produced a fine display of acting. There is something about this episode that is lacking. And I am not sure what. It may be the way the Cybermen were treated or something else. I will watch it again and have a think.
As the episode concludes we are teased with a brief foray into next week and we find out who was in the astronaught costume. I think this was slightly unnecessary and a little over long. My two new converts to Dr Who (and they did enjoy it) were left baffled by this. I have no complaints as it’s a good scene and I can’t wait to find out what happens next. But I can see people arguments that this season has been a little deep and intellectual for some.
So for this episode.
7.5/10
Matt Smith performance can not be faulted and I would put this as one of his best. Here we see the doctor with a few hours to live, having already accepted his fate, get involved with something he shouldn’t.
That something is the Cybermen. This is where the fans have been split. The Cybermen are, in this story, a monster of the week, and I honestly thinks that belittles their menace. I had the great pleasure of watching this episode with two Dr Who newbies. They had never had the pleasure of watching the Cybermen erupt from their tombs or the sewers behind St Paul’s cathedral.
I can not think of a worst death, in Dr Who, than becoming a Cybermen and to see James Corden’s character of Craig Owen become a cyber leader will be an enduring image. I will pause here to congratulate James Corden on another decent performance. However this is somewhat ruined by the fact that the emotional inhibitor is wiped by a baby’s cry. It sort of ruins the menace of becoming a Cybermen.
This is the biggest let down in the story and I think it mars the story. I think the script is well done. I love the idea that the Doctor would visit old friends before his death. He’s done it once before in the sickening ending to the End of Time.
Both Matt Smith and James Cordon have produced a fine display of acting. There is something about this episode that is lacking. And I am not sure what. It may be the way the Cybermen were treated or something else. I will watch it again and have a think.
As the episode concludes we are teased with a brief foray into next week and we find out who was in the astronaught costume. I think this was slightly unnecessary and a little over long. My two new converts to Dr Who (and they did enjoy it) were left baffled by this. I have no complaints as it’s a good scene and I can’t wait to find out what happens next. But I can see people arguments that this season has been a little deep and intellectual for some.
So for this episode.
7.5/10
A scary hotel
Toby Whithouse's The God Complex is an episode of Doctor Who at its very best. The idea is simple, a group of strangers, plus the Doctor and his companions, are chased around a hotel by a monster. It takes me back to the sixties with regular stories of bases being under siege. Then he adds to it.
The crux of this episode, in my opinion, is what the Minotaur does to you. It breaks your faith. This is why it was refreshing to see a non-Christian in the Muslim character of Rita, who even makes a quip about how we see all Muslims as terrorists.
This is what Doctor Who does best. It takes a simple things and makes it scary. To lose your faith is a big, life changing deal, and to have it taken away in this manner, in my opinion is a great idea. Toby Whithouse has produced the best script of his three. The ideas of the story are great and now it takes the talented production team at upper boat to fulfill his vision.
Thankfully they did not let down. The Sets were and design was fantastic. The Hotel is a depressing place and would not be a place I would want to stay. The casting is spot on. I was worried when they announced David Walliams was to be in this episode that he would not be up to the role.
However his acting ability easily outstrips his comedic abilitly. His character was so beautifully written and acted. I was at times if this seemingly innocent and meager character was not in fact charge of the hotel. I will also want to praise Arthur Darvill comedic acting he did. He got some funny lines and brought them alive in away that is not deliberately funny, but a way to lighten the load.
Finally we get to Matt Smith and Karen Gillan. A lot of this episode’s burden was laid at their feet. If it went wrong it would because of them. However, they didn’t. Matt Smith slow realization that he hurts the people closest to him. They way Amy and the Doctor leave (and that was a shock ) was so well done, it was hard not to have a tear in the eye.
This episode was a bold move, someway more daring that the Doctor’s Wife, with a script with little action and more thinking required. I think they have done it well and with the last scene chaning the game I look forward to seeing how it pays off.
8/10
The crux of this episode, in my opinion, is what the Minotaur does to you. It breaks your faith. This is why it was refreshing to see a non-Christian in the Muslim character of Rita, who even makes a quip about how we see all Muslims as terrorists.
This is what Doctor Who does best. It takes a simple things and makes it scary. To lose your faith is a big, life changing deal, and to have it taken away in this manner, in my opinion is a great idea. Toby Whithouse has produced the best script of his three. The ideas of the story are great and now it takes the talented production team at upper boat to fulfill his vision.
Thankfully they did not let down. The Sets were and design was fantastic. The Hotel is a depressing place and would not be a place I would want to stay. The casting is spot on. I was worried when they announced David Walliams was to be in this episode that he would not be up to the role.
However his acting ability easily outstrips his comedic abilitly. His character was so beautifully written and acted. I was at times if this seemingly innocent and meager character was not in fact charge of the hotel. I will also want to praise Arthur Darvill comedic acting he did. He got some funny lines and brought them alive in away that is not deliberately funny, but a way to lighten the load.
Finally we get to Matt Smith and Karen Gillan. A lot of this episode’s burden was laid at their feet. If it went wrong it would because of them. However, they didn’t. Matt Smith slow realization that he hurts the people closest to him. They way Amy and the Doctor leave (and that was a shock ) was so well done, it was hard not to have a tear in the eye.
This episode was a bold move, someway more daring that the Doctor’s Wife, with a script with little action and more thinking required. I think they have done it well and with the last scene chaning the game I look forward to seeing how it pays off.
8/10
Sunday, 25 September 2011
Hotel, Minotaur, Holiday Inn....say what?!
A Minotaur who stalks the corridors of a nondescript hotel, seemingly feeding on the fears of the visitors whose worst nightmares lie behind a door somewhere.....yep I'm in.
I've craved a bit of base-under-siege action and I suppose, in the current climate, this is the nearest we get to just that. The creepy hotel is one of those ideas that seems so right for Doctor Who that it's a wonder it hasn't been done before.
The key to any claustrophobic Doctor Who drama is a small cast of decent one-off characters - and to a varying degree Toby Whithouse's The God Complex gives us that - especially with Rita and Gibbis. The latter played pretty well by David Walliams, easing any fears of an over the top Little Britain performance that this reviewer held.
As the show wears on we begin to realise that the God Complex is less about the Minotaur's 'praise him' brainwashing of his victims and much more about the Doctor's pressure to save everyone from every situation he finds himself in. Matt Smith continues to add a weary depth to the Timelord as he heads towards his death at Lake Silencio and is strong again here.
The revelation that the monster feeds on faith rather than fear strayed a little down the 'emotional resolution' line once again (see my review of Night Terrors) and was perhaps a little disappointing. Still it's good that the minotaur didn't turn about to be a generic villain.
The Doctor then drops his companions off at their dream marital home (the one they're in when they get the blue envelope?) and bids them farewell (althought they will surely be back in a couple of weeks?)
The Doctor's sad but subtle realisation that he can't always win gives this episode a strong theme and the minotaur, hotel setting and strong guest characters meant this was a much more satisfying outing than the past two weeks for me.
7.5/10
I've craved a bit of base-under-siege action and I suppose, in the current climate, this is the nearest we get to just that. The creepy hotel is one of those ideas that seems so right for Doctor Who that it's a wonder it hasn't been done before.
The key to any claustrophobic Doctor Who drama is a small cast of decent one-off characters - and to a varying degree Toby Whithouse's The God Complex gives us that - especially with Rita and Gibbis. The latter played pretty well by David Walliams, easing any fears of an over the top Little Britain performance that this reviewer held.
As the show wears on we begin to realise that the God Complex is less about the Minotaur's 'praise him' brainwashing of his victims and much more about the Doctor's pressure to save everyone from every situation he finds himself in. Matt Smith continues to add a weary depth to the Timelord as he heads towards his death at Lake Silencio and is strong again here.
The revelation that the monster feeds on faith rather than fear strayed a little down the 'emotional resolution' line once again (see my review of Night Terrors) and was perhaps a little disappointing. Still it's good that the minotaur didn't turn about to be a generic villain.
The Doctor then drops his companions off at their dream marital home (the one they're in when they get the blue envelope?) and bids them farewell (althought they will surely be back in a couple of weeks?)
The Doctor's sad but subtle realisation that he can't always win gives this episode a strong theme and the minotaur, hotel setting and strong guest characters meant this was a much more satisfying outing than the past two weeks for me.
7.5/10
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