Doctor Who Top 50

The 50 Best Doctor Who Stories – 2: Inferno

“Doctor, I need answers.”

The Brigadier looks grim, troubled as he presses the Doctor over just what is going on at the Stahlmann Gas Project. On an elevated gantry overlooking the impossibly bleak complex, the two men ponder events they recognise as the start of something awful: a terrible infection let loose on the site of an infernal scientific experiment . Moments later we get confirmation that an appalling epidemic is spreading through the site, regressing its victims into screeching, drooling savages.

Unsettling musique concrete and the muddy palette of newly in-colour Doctor Who combine to make this set piece one of the most striking in the Doctor Who canon. Compared to the previous season, which had seen Patrick Troughton’s tenure labouring to a close with the likes of the interminable The Space Pirates, Inferno feels as radically different from the previous year as any comparable seasons in Doctor Who.

Even before the Doctor is shipped sideways in time and space to a fascistic parallel universe, Inferno feels grim. There is little levity and, unusually for Pertwee, there is little cheer in the Timelord himself, beyond his jibes at the pompous Stahlmann. The Brigadier remains the straight-laced professional soldier of his previous outings and few of the guest cast are easy to warm to. The location filming, minimal electronic score and direction of Douglas Camfield – utilising low shots, close-ups and handheld cameras (even the odd Dutch angle) to superb effect on location – combine to make Eastchester a grim, dull, cold place.

When the Doctor finds himself in an even more nightmarish version of the site, now patrolled by fascist avatars of his friends and plagued by more Primords, it reduces the story and the Doctor to a desperate fight for survival. Our hero gives up on saving a world that scarcely seems worth the effort and can only thank the remaining few who gives their lives to save his – and are promptly roasted alive.

All the regulars perform their mirror-universe counterparts with aplomb, but it’s Nick Courtney who really makes the difference. Despite his upright facade, The Brig has arguably become the key audience indication figure over Season 7. To see him as a sadistic, bullying coward – and to hear that the government he serves had the Royal Family “executed’ – undercuts our trust and faith in the character horribly.

Yet even he becomes a pitiable figure when faced with a grim death. “That bore’s going to blast any minute and we’ll all be roasted alive,” he whimpers. The Brigade-Leader’s mettle deserts him as he mouths the last word. It’s unsurprising – their fate is truly appalling. No death cheats here. No technicalities or semantics. Simply Liz Shaw – undeniably our Liz Shaw – being burned to death.

doctor who inferno

The Doctor fails, arguably for the second time this season after six full years of happy endings and enemies defeated. Perhaps the Doctor realises with a jolt – as does the viewer – that will not always prevail. This too is a radical shift in Doctor Who. He may never give up, and the Third Doctor is never cruel or cowardly. But for the first time in the show’s history he is portrayed not only as flawed, but fallible.

It could all have gone so horribly wrong with Jon Pertwee at the helm. While a versatile comic performer, there was little in his past to suggest that he could take the lead role and make it work. The comparison with his two predecessors, who have a long filmography of serious roles behind them, makes Doctor Who’s reinvention as an even more downbeat version of Doomwatch even more remarkable with the star of The Navy Lark at the helm. Yet Pertwee carries it off with style and purpose. Taking his lead from the material, and perhaps mindful of his past in comedy and light entertainment, Pertwee makes the Third Doctor a man of deep moral conviction and righteous anger.

In a few short months this dramatic new vision for Doctor Who is abandoned. When it returns in Terror Of The Autons, the show is faster, more colourful, more cosy. The UNIT family and Pertwee’s favoured ‘mother hen’ characterisation are in clear view and form the basis of the next four years. It casts Season 7 and Inferno into an even more curious light in retrospect. Arguably nothing so nakedly alarming as the story’s most memorable creations will be attempted ever again.

The Primords, in their proto stage, are raggedly terrifying creatures. Their blind fury is balanced with a disturbing otherness – alike but not. The course of their infection emphasises that strangeness. When Wyatt and Bromley are newly infected by a rampaging Slocombe they are propped up against the wall, responsive and seemingly confused as the green slime from the earth’s core rewrites their DNA. When they awake they are furious, violent, possessed of superhuman strength and endurance, radiating a terrible heat. They screech and pant. They are also horrendously contagious and in this aspect of the Primords is perhaps their most frightening threat. Not simply death, but infection, subversion, regression.

The Primords are some of the best realised zombies in the visual medium. While the previous decade had Plague Of The Zombies and Night Of The Living Dead, undead creatures had rarely been seen on film for 30 years. Even so, the zombies of Hammer and Romero are shuffling, largely ponderous. Inferno may be one of the first examples of the ‘running zombies’ genre, so lauded in Danny Boyle’s 28 Days Later. As in Boyle’s film, the Primords are not driven by a desire to feed, nor are they controlled by malevolent agents, they simply want to kill.

Derek Ware’s Wyatt Primord uses movement particularly well and the reactions of the regulars to the horrifying creatures add weight to their threat. The Doctor, who until now has largely scoffed at foes, is frightened by the Primords.

The Doctor never really understand what the Primords are, thought he has a sense of it as he pieces together what is happening at the Stahlmann complex. They are antibodies, somehow created from deep within the planet and now determined to return the Earth to its volcanic past, ridding it of humanity. The sound of a planet screaming out its rage; a planet trying to cleanse itself of a pestilential menace.

The Doctor alone realises this. The real enemy in Inferno is not Stahlmann, nor the Primords, but the Earth itself.

The slavering creatures that roam the site are not infection; we are.

Blake's 7

Blake’s 7 – Duel: “No Victory For Either Side”

travis and blake

Terry Nation was a hack par excellence. The term has come to be inferred by some as an insult, but it is nothing of the sort. Instead it’s recognition of professionalism, the ability to write tightly, efficiently – to recycle material while creating something original and engaging. In Duel, Nation’s hackery is perhaps more evident than usual.

The plot owes much to a familiar genre trope, the most frequently cited examples of which is the Star Trek episode, Arena: a hand-to-hand battle to the death between two foes. In Duel we have perhaps the best representation of the low regard in which Travis and Blake hold one another – and the very different ways in which they choose to express it.

sinofar blake's 7 duel

The framing device of an ancient civilisation wiped out by an atomic holocaust is another set-piece straight out of the Nation playbook, though the spectral presence of Sinofar and Giroc – two sides of the same coin – forever embodying the duality of foe versus foe is an interesting device.

The atmosphere in Duel can’t pass without comment. As usual Douglas Camfield brings an urgency and edge to direction – and creates a wonderfully ethereal atmosphere in the opening scenes, another detour for Blake’s 7 into fantasy SF territory.

sinofar giroc blake's 7 duel

The dreamlike ambiance of the episode – is it real or in some sort of dreamscape? – makes for a notably different episode of Blake’s 7.There are rather more close-ups on individual actors in Duel, with plenty of focus pulls – and rather more thought has gone into how to block out the tricky Liberator flight-deck scenes.

Blake’s identification of pursuit ships, followed by the camera pulling back to allows Jenna and Gan to share the frame, is very Camfield and feels radically different.

blake duel

Travis gets several close-ups that allow Stephen Greif to shade in some more of his character’s drives and instincts. And perhaps the most telling if Avon’s smile and slow headshake as he realises Blake won’t kill Travis.

Adding to this is the music, or rather the musical effects that combine sound design with music here, created using stock music due to Camfield’s refusal to work with Dudley Simpson. While the composer’s work is one of Blake’s 7’s trademarks, Duel certainly benefits from a change in tone.

the liberator blake's 7

The escalating echoes as Travis pounds The Liberator with plasma bolts and the oppressive musique concrète that accompanies any of the scenes on the planets are effective in moving Blake’s 7 outside of its usual ambiance.

So too the level of violence. When Travis yanks back Blake’s head and puts a huge knife to his exposed throat it’s a startling moment. Similarly eye-catching is the moment the Mutoid extends a syringe towards Jenna’s throat.

travis and mutoid

The fight scenes are much more convincing here too, in terms of space and ground combat. Bested by Blake Travis is happy to discard the dead Mutoid, like a broken doll, in another display of his offhand brutality.

When Travis is asked by Servalan about his preference for Mutoids in Seek-Locate-Destroy his answer is not wholly convincing. Here Stephen Greif does allow Travis some small inflections of fascination, disgust – and even a sadistic pleasure in teasing the Mutoid with whom he works.

travis duel blake's 7

It suggests that Travis is somehow simultaneously repelled and drawn to them – perhaps, as he suggests himself, he feels vaguely akin to them. But it has certainly crossed his mind that the Mutoid might come to view him as a source of fresh blood, on which they depends for survival.

Blake, Avon and Jenna are clearly identified as the parent figures here, who choose to leave the others to their bickering. Towards the end of the episode Blake teases Jenna, asking her about the beauty of Sinofar, and shares a laugh with Gan. Meanwhile the big man and Vila jibe at Avon, who is back to his withering self following Mission To Destiny.

avon duel blake's 7

If Blake has learned anything by the end of Duel, despite having refused to kill Travis, it is not evident. Despite the warning that his crew could die because of his beliefs, he is still determined to destroy the Federation.

The only difference between Blake and Travis is the latter identifies Blake as his enemy; Blake sees past Travis to the entire Federation. Even his hatred of Travis is subordinate to it.

vila gan avon

Blake also believes his crew to be there by choice, but it is Hobson’s choice. Cally’s people are dead; Avon, Jenna and Vila are wanted criminals at the mercy of the Federation; Gan can’t be on his own.

Neither Blake nor Travis heed the warnings of Sinofar and Giroc. Both have bound their crews to their own personal destinies: against an implacable enemy, to mutual destruction.

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