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Showing posts with label Verity Lambert. Show all posts
Showing posts with label Verity Lambert. Show all posts
Thursday, 27 November 2014
Saturday, 6 December 2008
The Forest of Fear
"Fear makes companions of all of us, Miss Wright."
Ha ha, Doctor Who in nutshell. A striking episode this one, with some memorable moments. It's enjoyable to see that, in the production team's imagination at least, politics would have played just as big a part in the life of a stone-age tribe, the Tribe of Gum, as it might in a family or workforce today.
This episode makes much of very little; a small cast and a small studio. It succeeds with imaginative direction and clever lighting, presumably from the moon in the story.
This is the first time watching this story that I have really enjoyed the three stone-age episodes. The very first episode of the programme is a television classic and would easily stand up to being shown again today, but I've previously always felt that the other three were weak, an impression that I know has got in the way of starting this project and one that I have held since they were shown in 1981 as part of 'The Five Faces of Dr Who' season on BBC2. The Tribe of Gum and The Krotons were shown as the only examples of sixties Dr Who. You had to be strong to be a fan in those days. Well, how wrong I was. I'm really enjoying them on this viewing and I'm looking forward to the last instalment.
It's most interesting for the way in which the main characters, the TARDIS crew, are developed.
Ian attempts to take control of the situation from the Doctor, but the only thing the Doctor really relinquishes is brawn, the only thing he can't do himself.
The Doctor is alien here, another sign of his different morality and ability to see the bigger, universal, picture.
Barbara, as for all of Jacqueline Hill's tenure, is beautifully drawn and acted. It is she who reacts most to the situation she and Ian find themselves in; not only wrestling with the high concept of having travelled through time in an impossible machine, but also with being in immediate danger, cold and frightened with no time to think. Stumbling across the dead boar, the last straw, she breaks down. Then Za is attacked by an animal and it is at this exact moment that we see her become the character that we adore. Having doubts, being afraid and yet always doing what she feels is morally right. She puts her own needs aside to help another. She is undoubtedly one of Doctor Who's strongest and best-loved companions.
Next episode: The Firemaker
Ha ha, Doctor Who in nutshell. A striking episode this one, with some memorable moments. It's enjoyable to see that, in the production team's imagination at least, politics would have played just as big a part in the life of a stone-age tribe, the Tribe of Gum, as it might in a family or workforce today.
This episode makes much of very little; a small cast and a small studio. It succeeds with imaginative direction and clever lighting, presumably from the moon in the story.
This is the first time watching this story that I have really enjoyed the three stone-age episodes. The very first episode of the programme is a television classic and would easily stand up to being shown again today, but I've previously always felt that the other three were weak, an impression that I know has got in the way of starting this project and one that I have held since they were shown in 1981 as part of 'The Five Faces of Dr Who' season on BBC2. The Tribe of Gum and The Krotons were shown as the only examples of sixties Dr Who. You had to be strong to be a fan in those days. Well, how wrong I was. I'm really enjoying them on this viewing and I'm looking forward to the last instalment.
It's most interesting for the way in which the main characters, the TARDIS crew, are developed.
Ian attempts to take control of the situation from the Doctor, but the only thing the Doctor really relinquishes is brawn, the only thing he can't do himself.
The Doctor is alien here, another sign of his different morality and ability to see the bigger, universal, picture.
Barbara, as for all of Jacqueline Hill's tenure, is beautifully drawn and acted. It is she who reacts most to the situation she and Ian find themselves in; not only wrestling with the high concept of having travelled through time in an impossible machine, but also with being in immediate danger, cold and frightened with no time to think. Stumbling across the dead boar, the last straw, she breaks down. Then Za is attacked by an animal and it is at this exact moment that we see her become the character that we adore. Having doubts, being afraid and yet always doing what she feels is morally right. She puts her own needs aside to help another. She is undoubtedly one of Doctor Who's strongest and best-loved companions.
Next episode: The Firemaker
Thursday, 4 December 2008
The Cave of Skulls
The second episode. It seemed so much longer than 25 mins. Already I'm gripped by the cavemen society; the hierarchy, the politics, the need for food and warmth, the children playing as children must always have done.
And into that world are thrown our four travellers. The Doctor, so confident at first in front of Ian and Barbara as the TARDIS lands, is soon as lost as the others, suggesting that although Susan and he have undoubtedly travelled, albeit it seems only through different periods of Earth's history, at this stage he is far from the confident adventurer we know and love; here looking far more out of his depth. Much is made of the Doctor and Susan's genuine confusion as to why the TARDIS has not changed as it clearly has been doing, again suggesting that they are very new to this way of life.
The scenes in the TARDIS at the beginning are compelling. The device of building part of the planet set and the TARDIS interior next to each other so that it may be glimpsed through the open doors is genius, as is the cut back to show the Police Box doors closing at the same time as the inner ones. After this first season this was almost abandoned until the new 2005 series.
There are some marvellous pieces of dialogue as Za asks Hur to "throw some more of the dead fire on" and Kal unwittingly describes the Doctor as "full of fire".
And then there's lovely Eileen Way, sitting on her rock offering commentary like a stone-age Nanna Royle. Untouchable. I met her once, years ago, at a Dr Who Convention in Birmingham. Tables were limited at breakfast and so Marc Platt, who I was with, and I asked if we might share her table. She was immaculate and stern and utterly charming I recall, dressed all in black with her hair tied tightly back. She was reserved at first, but as she warmed to us and realised that we held her in genuine affection she revealed that her primary reason for coming was to get Patrick Troughton's autograph for her grandson. And there she was, a very special guest at the convention, loved by all, who had only finally accepted the invitation because of her family. Unstoppable things, grandmothers. She asked us whether we thought he would mind her asking and we reassured her that we thought he probably wouldn't. Anyway, she asked him and he was delighted; two fine old actors who truly respected each other. And both gone now, sadly.
Next episode: The Forest of Fear
And into that world are thrown our four travellers. The Doctor, so confident at first in front of Ian and Barbara as the TARDIS lands, is soon as lost as the others, suggesting that although Susan and he have undoubtedly travelled, albeit it seems only through different periods of Earth's history, at this stage he is far from the confident adventurer we know and love; here looking far more out of his depth. Much is made of the Doctor and Susan's genuine confusion as to why the TARDIS has not changed as it clearly has been doing, again suggesting that they are very new to this way of life.
The scenes in the TARDIS at the beginning are compelling. The device of building part of the planet set and the TARDIS interior next to each other so that it may be glimpsed through the open doors is genius, as is the cut back to show the Police Box doors closing at the same time as the inner ones. After this first season this was almost abandoned until the new 2005 series.
There are some marvellous pieces of dialogue as Za asks Hur to "throw some more of the dead fire on" and Kal unwittingly describes the Doctor as "full of fire".
And then there's lovely Eileen Way, sitting on her rock offering commentary like a stone-age Nanna Royle. Untouchable. I met her once, years ago, at a Dr Who Convention in Birmingham. Tables were limited at breakfast and so Marc Platt, who I was with, and I asked if we might share her table. She was immaculate and stern and utterly charming I recall, dressed all in black with her hair tied tightly back. She was reserved at first, but as she warmed to us and realised that we held her in genuine affection she revealed that her primary reason for coming was to get Patrick Troughton's autograph for her grandson. And there she was, a very special guest at the convention, loved by all, who had only finally accepted the invitation because of her family. Unstoppable things, grandmothers. She asked us whether we thought he would mind her asking and we reassured her that we thought he probably wouldn't. Anyway, she asked him and he was delighted; two fine old actors who truly respected each other. And both gone now, sadly.
Next episode: The Forest of Fear
Wednesday, 3 December 2008
An Unearthly Child
The cover of the BBC DVD for this story calls this first episode a masterpiece of sixties television and watching it today I think that it probably is.I watched on our big new lcd telly and the picture quality stood up really well, but I think I might resort to something smaller and more intimate for the next ep.
We’re so familiar with the format of the programme now and yet here it is brand new, and achingly original. Verity Lambert and Waris Hussein were young and fresh, and she determined. And it really shows.
I know they had plenty of time to rehearse and practice this episode, but it’s beautifully acted and choreographed and it’s great to see William Hartnell unflustered and word perfect.
And I love the end, the way there are beats to register that the Police Box has moved, then the shadow on the floor and finally the start of the theme. I love the way Kal at the start of the next episode keeps his position to allow for the captions and indeed for the whole next scene. Putting silence and pace into a production takes confidence. Russell T. must approve.
I don’t want this blog to be a review of each episode, there are plenty of reviews around for those who want them. Nor will there be any criticism for this is a labour of love.
I just want to record my thoughts, chiefly so I can look back on them in about six years when I finish. Occasionally I may have indulged in a small glass of red as I watched and so I apologise in advance for any gushing or eulogising!
Ian
Next episode: The Cave of Skulls
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