Doctor Who Project: Doctor Who and the Silurians

Doctor Who Project: Doctor Who and the Silurians

It’s a bit hard to accept one monster, let alone two.

The Third Doctor and UNIT go hand in hand. Far from being a harmonious relationship, however, the Doctor often finds himself at odds with his putative employer, and as Malcolm Hulke’s oddly titled “Doctor Who and the Silurians” (Story Production Code BBB) demonstrates, UNIT and the military-bureaucratic mindset it represents serve as a second foe more often than not, one occasionally as deadly and bloodthirsty as the monster of the week.

From a narrative perspective, the bureaucratic bumbling that prevents UNIT from mustering sufficient resources to answer threats helps drive, and pad, all the stories of the UNIT era, here allowing this tale of a reptilian civilization that has slumbered, and now awakens, in a cave network under Britain to reach seven episodes.

Peacemaking

But more than that, this inertial force helps define the Third Doctor quite clearly, and consequently we have a more distinct understanding of his essential character more quickly than we did with either of his predecessors. For while the Doctor has always been disdainful of the martial mindset, the force-before-reason mentality, this story cements the Third Doctor as a scientist first and foremost, with no patience for rules and no qualms about subverting his relationship with Brigadier Lethbridge-Stewart and the military organization he represents if needed to save lives.

Neatly, Hulke provides the Doctor with a Silurian counterpart who shares his efforts to broker a truce between the former masters of the planet and the current inhabitants, and the nameless reptilian leader has his own version of the Brigadier to contend with. This one, however, has the ability to kill with a third eye at the top of his head and desires the complete eradication of the “apes” infesting the Earth; our Brigadier just has a mustache and a little portable radio. But in the end, the Brigadier is the one who oversees a mass extermination.

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Doctor Who Project: Spearhead from Space

Doctor Who Project: Spearhead from Space

My dear fellow, how nice to see you again.

Absence, they say, makes the heart grow fonder. Or hearts, perhaps, in the case of Doctor Who.

Six months elapsed from the end of Season Six to the beginning of Season Seven, making Jon Pertwee’s debut story as the Third Doctor, “Spearhead from Space” (Story Production Code AAA) by series regular Robert Holmes, a long awaited reunion for viewers indeed. And what a change they found when they tuned in. A new Doctor and the use of color footage, to be sure, plus a new companion in Caroline John’s Liz Shaw, but also a vigorous sense of confidence in the storytelling that manifests itself in a four episode story filled with fast pacing and dynamic directing by Derek Martinus. Never did the camera zoom in on people in various stages of horror quite so often as in this story. Shame the Doctor spends the first two episodes in bed, though.

Sleeping on the job

And the cause of this extreme terror? A plastics factory run by aliens has been turning out plastic automatons, none of which are quite as terrifying as their usual line of work, plastic dolls. The establishing scenes in the factory, with conveyor belts lines with disembodied plastic baby heads, must surely count as some of the most disturbing in the series’ history.

Abandon hope

The intended monsters in the story, the Autons, derive their menace from their nearness to human beings, humanoid without quite being human due to the slight angularity of facial features and the overall blankness in the visage. The effect harkens to the original, Mondasian Cybermen, whose obvious similarity to human beings causes a degree of ontological dread that the later versions simply lack. The Autons function quite similarly to Cybermen as well, lacking any affect or individuality and obeying the orders of a centralized hierarchy. And wouldn’t you know it, they want to conquer the Earth, too, only while wearing blue coveralls and cravats.

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