DVD release COMMENT  

Why am I disappointed by the DVD EXTRAS for DOCTOR WHO – THE AMBASSADORS OF DEATH?

I was expecting more, I suppose. Though, on reflection, the drama production is over 40 years since it was broadcast and it can be forgiven for much of its impact being diminished as a mist of time envelopes it. Was it realistic to think that “film trims” and “test shots” for the model sequences to be discarded in an unlabelled film canister in a BBC depository? I suppose not.

Okay, upon logical reflection, I’m not that disappointed.

The COMING SOON trailer promotes an unsolicited “Oh, yes!” from the first second. Whilst sceptical of the “re-visited” DOCTOR WHO CLASSIC SERIES releases, especially if the original DVD release was “quite recent”, if the second outing is considerable remastered & restored with supplementary material then it can be justified. First released in 2005, DOCTOR WHO – THE CLAWS OF AXOS SPECIAL EDITION, scheduled for 22 October 2012, is allegedly being remastered by combining the colour on the washed out 525-line NTSC 2" tapes with the 625-line B&W film recordings to improve picture quality, and there may be a new documentary.

Un-remastered, the PHOTO GALLERY is more poignant than it usually is. With death of York-born, Caroline John (5 June 2012) it was take an hardened DOCTOR WHO fan for whom Dr. Liz Shaw was one of their companions during their formative years not to feel both deflated yet elated in adoring her natural beauty and a smile that it heart-warming. In many ways, the story’s promotional photographs demonstrate an unadulterated playfulness that Karen Gillan (Amy Pond) exudes today in promoting the NEW SERIES.

With an additional glimpses of the set designs during recording breaks, a foray into the domain of the DOCTOR WHO make-up artist, and proud “family album” photograph of the special effects team and their scale model offspring.

The original (I suspect that it has been compiled from remastered material with the BBC Continuity Voiceover added to) TRAILER for the story is as thrilling as the seven-parter itself and any of the trailers for the current (2012) trailers.

Considered as the equivalent of ‘rusk’ in a premium sausage, TOMORROW’S TIMES – THE THIRD DOCTOR is a good old fashioned filler that is dull in format (‘a talking head piece to camera’) but truly fascinating in content (though there has always been too much narration; there should be more archive material).

It’s January 1970 and the critics embrace the new direction of the all-colour DOCTOR WHO in the “confident” hands of Jon Pertwee with a series that has “an authentic sense of the uncanny” as it establishes itself in the near present day (debate) as opposed in the science fiction theatre of alien planets. However, the darker-undercurrents, impregnated by Barry Letts and Terrance Dicks) within the storytelling was both welcomed and criticised (former lead-actor, William Hartnell was interviewed by the Press and admitted that he no longer watched the series as it was “no longer a programme for children”.

Documenting the four-year era, TOMORROW’S TIMES – THE THIRD DOCTOR includes an insightful report of the death of Roger Delgado who, as the (definitive and unequivocally the most chilling) Master, “…performed with panache…” and a “…villain who was hard to hate…”

In conclusion, Peter Purves states that the television critics had “…found a new respect for the show throughout the early 1970s…” but with the introduction of Tom Baker – under the guidance of series producer, Phillip Hinchcliffe – the programme was to come greater scrutiny that it has had previously as its tone became even darker and (more) violent.

MARS PROBE 7: MAKING OF “THE AMBASSADORS OF DEATH” is genuinely absorbing; intelligent, funny, daring (oh, that shower scene with HAVOC may affect those of a nervous disposition) and informative in equal measure.

Top-and-tailed with television coverage of the “Houston, we have a problem” NASA APOLLO 13 flight, the documentary assesses the prophetic yet highly coincidental similarities of that iconic space flight and one of the seven-parter’s plotlines that was played out within days (11th and 14th of April 1970 respectively) of each other. Spooky.

In the one of the last remaining links to the 1960s and 1970s DOCTOR WHO main production team, Terrance Dicks (script editor and writer) recalls the genesis of DOCTOR WHO – THE AMBASSADORS OF DEATH, from the unceremoniously abandonment of (multiple) re-writes of David Whittaker’s “first contact” (DOCTOR WHO AND THE CARRIERS OF DEATH story (he was effectively paid-off with £630, packed his suitcase and relocated to Australia, according to Dicks) and the crafting the story through his own collaboration with the reliable Malcolm Hulke.

Sadly, in a brief assessment of HAVOC, an independent team of stunt men, we are treated to a ‘no holds (or holes, perhaps) barred’ expose (sic) into how Roy Scammell transformed himself to a knee-high length booted & mini-skirted Dr. Liz Shaw, how a location-based stunt went seriously wrong, and how the team relaxed after filming. Personally, this DVD could have included a generous spotlight into HAVOC’s work and overall contribution to the series. Perhaps, this planned for the DVD release of DOCTOR WHO -THE MIND OF EVIL or the forthcoming special edition version of DOCTOR WHO – THE CLAWS OF AXOS?

Director, Michael Ferguson cites this story (and the Pertwee era, in general) as “…one of the marvellous times of my career. Happy times and a privilege to be a director at the BBC…” certainly correlate to the quality & professionalism that we see on-screen (bearing in mind that we are watching a piece of television from 1970); intricate, challenging, eloquent in its truth, and crafted (the model shots, he acknowledges, were “…really good…” and choreographed as a homage to Stanley Kubrick’s 2001 – A SPACE ODYSSEY that had been recently released (1968).

Polished and balanced, MARS PROBE 7: MAKING OF “THE AMBASSADORS OF DEATH”, unlike other CLASSIC SERIES DVD documentaries, takes the series seriously as they should (fans buying these CLASSIC SERIES products appreciate, if not love, it and deserving of intelligent and credible thesis), and, here, under the stewardship of Chris Chapman we are treated to such.

Tonight, as I upload this review, it has been announced that NASA astronaut, Neil Armstrong has died (aged 82). A living icon passes into history.

The DVD COMMENTARY highlights.

Moderated by the perennially personable, Toby Hadoke, tactfully guides the legendary Nicholas Courtney (The Brigadier), Caroline John (Dr. Liz Shaw), Peter Halliday (Alien Voices), Geoffrey Beevers (Private Johnson in episode seven), Terrance Dicks (Script Editor), Michael Ferguson (Director), Derek Ware (HAVOC), Roy Scammell (HAVOC) and Derek Martin (HAVOC) in drawing forth their memories lain dormant for over 40 years.

When compared to the VHS release, the restoration of the seven episodes is remarkable – and you have consider both (1) the age of the source material (i.e. the print) and (2) the fact that the story harkens to a pioneering age of (new) colour television – with a depth of clarity so you can enjoy the delicate embroidery across Pertwee’s dress shirts. However, episode two fails to delivery an acceptable quality but, I guess, the BBC can only improve a print to its maximum.

It may be a challenge to re-watch this epic seven-parter a second time with the studio commentary but, with some guarantee, it would be rewarding. For the first time in a long while that commentary content (i.e. the reminiscing of the cast & crew) is less repetitive when compared to that of the “Making of…” documentary; it is fresh, informative and entertaining.

Episode two’s commentary is particularly witty as its contributions are from the ‘cheeky chappies’ that constituted the boys from HAVOC (Derek Ware, Roy Scammell and Derek Martin), and I am sure that without the sterling girding moderation form Hadoke that the BBFC Rating may elevated it to a 15 rating.

And if you can ‘multi-task’, it is recommended that the INFORMATION TEXT is active at the same time. A prime example of “added-value” that a legion of DOCTOR WHO fans may not have previously experienced.

Yes, at times, the commentary seems like an aural obituary with so many of the contributors having died since its recording but it is gloriously alive and buoyant. Nicholas Courtney, Peter Halliday and, recently in 2012, Caroline John.

Commenting on the story as a whole, Terrance Dicks: An odd sort of show. Cobbled together but it’s been cobbled together well.

Highlight: The opening view of the Space Centre Control Room is a prime example of a 1970s “matte composite shot” (a combination of a model or an illustration painted on a glass plate with a large-scale studio set & live action.

On the Third Doctor’s character, Michael Ferguson: I always thought Jon (Pertwee) was a magician.

On the Doctor and Dr. Liz Shaw’s arrival at the Space Centre Control Room, Michael Ferguson: The Doctor arrives by forklift truck.

On the contribution of actor Michael Wisher, Nick Courtney: Excellent work.
Michael Ferguson: So reliable.

On his “reverse” view of the Brigadier to camera, Nick Courtney: Oh, no, a bum shot again.

On UNIT, Terrance Dicks: I created UNIT and then I spent half my life trying to get rid of it.

Fact: The model budget for this story was shared with that of the BBC drama series, DOOMWATCH.

On trying to spot a UNIT regular, Derek Ware: Where’s John Levene?
Toby Hadoke: He’s in episode five.
Derek Ware: He said that he always wanted to be James Bond.

Fact: John Levene changed his name to John Anthony Blake.

Fact: Alan Chuntz was as ‘London Black Cabbie’.

On her three-month pregnancy status, Caroline John: When I did this one I got pregnant.
Derek Martin (hurriedly): No me!

On foul language amongst the crew & cast, Caroline John: I’m the world’s swearer on God’s Earth.

On high-level stunt work on location, Derek Ware: Jon (Pertwee) suffered from vertigo.

On Cyril Shaps (Lennox – the scientist), Caroline John: A wonderful actor.

On creating a reality within DOCTOR WHO stories, Caroline John: (Jon Pertwee) was determined that the acting was real.

On the location stunt work across the Weir’s walkway and the substitute for Caroline John with Roy Scammell, Derek Ware: You can see the bulge in (his) pants when (he) went over. Legs akimbo.

On the collaboration within the DOCTOR WHO production office, Terrance Dicks: The best bit about my job was having Barry Letts to do the difficult bits.

On actors contributing to the broadcast script, Terrance Dicks: Occasionally, Nick came up with some good lines.

On the number of deaths within DOCTOR WHO in general, Terrance Dicks: There’s always collateral damage…
Nicholas Courtney: See MIDSOMER MURDERS.

On the story’s co-writer, Malcolm Hulke: Small, bald, horn-rimmed glasses, very sharp with people, very meticulous. Broadly Left-wing.

On comparing CLASSIC SERIES of DOCTOR WHO, Terrance Dicks: The new SARAH JANE ADVENTURES is more like the old WHO.

On the character of Packer from DOCTOR WHO – INVASION, Peter Halliday: Completely useless Packer.

Fact: Halliday states that he originally came up with the idea of UPSTAIRS DOWNSTAIRS whilst talking with Jean Marsh. He originally titled it BEHIND THE GREEN BAIZE DOOR.

On his first DOCTOR WHO appearance, Geoffrey Beevers: My only second television. A lovely opportunity. It seems so long ago to me.

To the Moderator, Caroline John: Your very picky, Toby!

On an un-credited appearance in the 1964 episode DOCTOR WHO – THE ESCAPE (episode 3 of the story DOCTOR WHO - THE DALEKS), Michael Ferguson: I was the (dalek) ‘claw hand’ that was covered with goo.

On his iconic fight sequence of the Brigadier despatching a couple of thugs, Nicholas Courtney: I’m glad you made me look so good, Michael.

On his upper-lip addition, Nicholas Courtney: On this story, it was my best moustache.

On being a part of THE AMBASSADORS OF DEATH, Nicholas Courtney: It is a long time ago. Very good.
Caroline John: Lovely to be part of a lovely story.

A fitting end from two DOCTOR WHO fan favourites.

VHS release COMMENT  


For many years Skaro’s (the legendary fanzine) Editor, Simon M Lydiard provided hours of DOCTOR WHO video gems for the York based DWAS Local Group meetings. Copies of then not-yet-released videos, such as THE TENTH PLANET, THE ICE WARRIORS etc were regularly mailed from the West Country to North Yorkshire.

However, a tape that we never borrowed was the seven part action-packed, hardware filled, Pertwee mystery THE AMBASSADORS OF DEATH. Though it has been over 32 years since it’s first transmission, for all intent and purposes, for me viewing the story today was like a new (even though I knew the storyline inside-out) DOCTOR WHO story. Compared to the eighties banality of PARADISE TOWERS or THE HAPPINESS PATROL, AMBASSADORS is akin to the cinemascope action movies than a two-Bob children’s television show that it basically was.

This is not DOCTOR WHO.

Many critics have commented that the story was styled to emulated the British James Bond brand, employing elements of science fantasy-action, but I feel that its roots lie in fifties American ‘B-movies‘. Homely, worthy and limited only by the imagination of the Director’s use of a gravel pit and dry ice or the Set Designer’s relationship with a roll of aluminium foil.

Like many of the Third Doctor’s adventures, the audience (whether casual or dedicated aficionados) has its patience sorely tested as the episodes elasticise over the weeks. The production team were either keen to exorcise their own dramatic expectations or reduce the expense of having to write/produce another story. Pertwee’s first season was incredulously imbalanced with episode/story ratio values of 4,7,7,7; this would have been better as 4,4,4,5,4,4.

Pertwee seemed blissfully sidelined theoughout as the wider theme of institutionalised xenophobia is challenged, in a method of storytelling that has become synonymous with American TV dramas (notably THE X-FILES), teasing us with the expectation of alien contact and governmental conspiracy.

However, even for its seven episodes, AMBASSADORS is a perceptive period piece that excelled in parts (the cliffhangers are of a high order) yet coasted downhill in others (Nicholas Courtney’s haemorrhoidal attempt at hand-to-hand combat is worth the £12.99 RRP itself, as is the very wobbly staircase within the safe house).

It may not be on your ‘best WHO story’ list but it is a worthy addition to the collection. The only shame is that we are now getting closer to the inevitable release of THE HORNS OF NIMON.

Read the BBC AUDIO original soundtrack release (2009)