sir_guinglain

Slightly stretched ramblings about a Doctor Who guest star, for The Tides of Time.

I have a book out, in Obverse's series of Doctor Who monographs The Black Archive. For more details and a link to download a sample, see the publisher's website.

I've posted one of my ventures into fan fiction to AO3:

Umbrella (3191 words) by SirGuinglain
Chapters: 1/1
Fandom: Doctor Who, Giles cartoons
Rating: General Audiences
Warnings: No Archive Warnings Apply
Characters: Third Doctor, Zoe Heriot
Summary:

In an alternative timeline where Zoe was exiled to Earth with the Doctor (as was intended at one point), Zoe has difficulty blending in to twentieth-century London - and it looks as if twentieth-century London might have its own ideas. First published in issue 20 of 'The Terrible Zodin', Fall 2017.

More musings on Doctor Who and national identity from me have been published at John Connors's Time Lines blog. I've written an introduction with more ideas at The Event Library, and the posts themselves are available at part two and part three.

For reasons clear to anyone who studies his Twitter feed and interactions, veteran Doctor Who fan Ian Levine is keen to make it known that this short series of articles published in DWB in 1992 is available to read online. It's been supplemented and superseded by other work, such as Richard Molesworth's DWM articles and the two editions of his book Wiped published by Telos, and by the ongoing work by the BroaDWcast site, but it's still readable and tells Levine's side of the story as well as convey how horrified first-generation Doctor Who fandom was when they learned that episodes which they often remembered from childhood and which they imagined survived at some BBC vault no longer existed, with anecdotes of early fandom and the dawn of home video.

It may not be the most thrilling Doctor Who story, but The Monster of Peladon deserves some credit for being so brazen about its limitations. Where else to imprison your lead characters but a communications room? They can find that radio contact with the outside worlds is jammed, but can watch the action elsewhere on black and white television monitors (a primitive planet, Peladon, though in real life there were sound practical reasons for their use) and receive messages from gloating villains. Unable to manage forced perspective in the studio? Just get the actors to behave as if you can and the audience will believe that the model citadel a foot or so away from them is half a mile off... Ice Warrior costumes looking worn? Just paint them even more green than usual and give their commander a glittery cape. Azaxyr is definitely from the glam rock faction on Mars. As for politics, solve the miners' strike by making their leader the head of the government and maybe give him a peerage... Some good development for Alpha Centauri, though it and Sarah Jane do an awful lot of standing around and talking while watching the aforementioned monitors.

Today's Doctor Who DVD catch-up exercise was Death to the Daleks. I realise that I had never recognised John Abineri as Railton until now, perhaps because of his wig and also that he is unceremoniously dispatched by an Exxilon arrow early in part two. The casting of Duncan Lamont, the original Victor Caroon in The Quatermass Experiment, is appropriate as well as occasioning some frisson from the juxtaposition of a symbol of early British television science fiction with the Daleks. (ETA: my own historical perspective is of someone who has always viewed Quatermass as 'past' and the Daleks as 'current', but this was not the case for those who were making Death to the Daleks just a little over twenty years after The Quatermass Experiment.)

The production subtitles benefit from our knowing more about the development of Sarah Jane Smith and the subsitution of the (excellent and deservedly legendary) Elisabeth Sladen for the (taller, more 'womanly') April Walker. For all he says in interviews nowadays about the place of women in adventure stories, ropes and railway tracks, the Terrance Dicks of 1973 emerges as someone keen to enhance the role of women in Doctor Who, unsuccessfully urging Terry Nation to make Jill Tarrant second-in-command of the expedition, and emphasising Sarah's resourcefulness.

Lesser-known personalities are given coverage too - Arnold Yarrow, one of the acting profession's sprightly nonagenarians, is a cogent presence on the DVD's making-of documentary and the subtitles emphasise the breadth of his career. While Yarrow was glued into grey latex as the subterranean Exxilon Bellal, another studio in Television Centre was recording an episode of Softly Softly: Task Force quite possibly commissioned by Yarrow in his just-former capacity as that programme's script editor.

I'd come across a newspaper cutting from 1974 publicizing the London Saxophone Quartet's involvement with Death to the Daleks, and here they are on the soundtrack, performing the music of Carey Blyton. Blyton was in the process of leaving his long tenure as music editor at Faber, where he had been Benjamin Britten's editor, seeing his compositions through the press. Production subtitler Martin Wiggins draws attention to the quotations from music hall and nursery rhyme which pepper this score. His contributions to this period are understandably overshadowed by those of Dudley Simpson, but his determination to avoid electronic music (on the grounds that synthesizers were depriving musicians of income) was rewarded in a memorable score which arguably set a precedent for the rest of the 1970s as Dudley Simpson was steered away from close collaboration with the Radiophonic Workshop and back towards conventional music.

Visually Death to the Daleks supports my argument that it is in this, the last Pertwee/Letts/Dicks season, that the programme begins its Gothic phase, with Sarah finding her way through a temple set lit with flickering candles before being trussed up by priests ready to sacrifice her for bringing the latent past of the intelligent living city into the present of fear and ignorance. The execution of the scene is far more steeped in threat than the near-sacrifice of Jo at the end of The Daemons.

This was the last 'season opener' to be broadcast before I was born. I watched it tonight as part of a group born, for the most part, over twenty years later. Thus this viewing was received consciously in the shadow of Davies and Moffat. Liz's line about a man who travels through time and space in a police box was, in the context of Spearhead's original broadcast, a mocking farewell to the programme's old format; now it is a self-aware championing of what has endured (despite the plans of Derrick Sherwin and Peter Bryant), the triumphant transformation of what common prejudice tells us should be ridiculous into heroic epic, while retaining street-corner proportions. Some of Spearhead's oddness now looks prescient - the Doctor's shower won't be repeated until 'The Lodger' forty years later, for example. While Matt Smith's Doctor had no alternative but to get on with Craig and fit into his life, Jon Pertwee's Doctor is by comparison featherbedded by the fantasy-adventure force of UNIT, though they are still rather austere and yet to enjoy 'Action by HAVOC' or become the family-ensemble which flattered Pertwee's comfort zone. That being said, he's more a disjointed Eccleston-like Doctor here than he later became, even the soon-dropped waddling gait being a symbol of a Time Lord on edge and caught out.

Despite my best intentions, I didn't leave my flat today until early evening, and even then that was only a shopping trip to a different town and a different supermarket to the ones I normally buy from. This was not only a consequence of the weather, but that the splitting headache I'd developed on Friday had not gone away. Exactly why I decided one of the most notorious Doctor Who stories of the third Doctor's tenure might have a medicinal purpose is lost to time and the unfathomable workings of my mind.

Invasion of the Dinosaurs is the only story of Jon Pertwee's last season where UNIT play a consistent and substantial role in the action; they are also returned to the streets of London for the first time in several years, since (I think) The Mind of Evil in 1971. This return to quasi-realistic spectacle shakes some of the cosiness out of the UNIT set-up, but in doing so it shows how much Doctor Who had changed within Jon Pertwee's tenure as the Doctor. The hard-edged near-future of most of his first season could not be returned to, and instead the deserted London under martial law is a self-consciously allegorical landscape, where order is maintained under emergency powers. Looters are detained in the expectation of a revival of old norms, but those norms didn't include prehistoric monsters roaming the streets, nor allow that authority figures are actively working to erase the very society which authenticates their power and status.

The DVD's picture quality is remarkable, and the colour restoration on part one (the videotape of which was mislaid, presumed destroyed, probably not long after transmission in 1974, leaving only a black and white film print presumably made with the intention of being exported to non-colour markets outside the UK) impressive even if it's of variable quality; the colours of the location scenes on part one bring out the dry grass of a hot summer evening in mid-1970s England when the sun is low in the sky, and is fitting for this London forced into a twilight existence. Throughout the story the film exterior sequences have more vibrant colours than 1970s telecine often manages, and the model shots of the foam rubber puppet dinosaurs are well served. The dinosaurs are not that bad, with the apatosaurus in particular well-realised; but then, large, placid and stupid is probably easier to achieve than fierce and terrifying. It's to be regretted that too much is demanded of the weakest of the models, the tyrannosaurus rex, and that some of the angles chosen during the model sequences expose the artificiality of monsters and their miniature sets.

Matthew Sweet's visual essay puts the contributions of the production team in context and points out just how hard the political allegory is made. The films in the 'Reminder Room' on the 'spaceship' on which the self-deluded colonists believe they are travelling to New Earth (though no cat-nuns will they there find) represent the selective, alarmist hand-wringing of sometime bien-pensants who have given up on the vast majority of their fellow human beings. Matthew Sweet observes that writer Malcolm Hulke was a longstanding member of the Communist Party of Great Britain, and in the 1960s many on the established left looked on askance as ecologist politics previously associated with fascism became adopted by their comrades. There's definitely something of the crisis of the social democratic state in Invasion of the Dinosaurs, from the political new directions offered by Charles Grover to the misguided idealism of Mike Yates and the drive for efficiency of General Finch, to the petty grandiose dreams of Professor Whitaker, a salutary tale of what can happen when the grant application of an Oxford don is rejected. This isn't so frivolous an observation as it might seem - Oxford has had a reputation as a more political university than its fellow ancient university Cambridge, educating several shapers of the so-called post-war consensus. Malcolm Hulke and script editor Terrance Dicks were perhaps inclined to reflect wryly on this, as they were Cambridge men.

Jon Pertwee might have resolved to leave the role of the Doctor, but he was still the consummate showman at this stage, seizing the opportunity for comedy when arrested as a looter, deploying a couple of variants of his Cockney accent, and convincing as a man of action through sheer authority despite - as David Brunt's production notes remind us - suffering from a long-term back injury that meant most of his falls were performed by Terry Walsh. Elisabeth Sladen observes in a 2003 interview included in the set that on this, her second story, she found herself playing a gentler, less assertive character than she did in her debut, The Time Warrior. Even there, Sarah was perhaps less dominating than she would have been had she been played by April Walker, whose casting, and sacking following objections from Jon Pertwee, was revealed in David Brunt's infotext in this set and is perhaps the greatest coup of the production notes. Lis Sladen describes her resolve to keep putting her all into the part despite its becoming a more passive companion role than expected with her usual smiling, positive demeanour, and it was not really a surprise that it was while watching this interview that my headache disappeared.