5,0 av 5 stjärnor
Unmissable. Whimsical, swan-like, yet charged with such intelligence
Recenserad i Storbritannien den 2 juli 2012
With valuable insights from the key players within the DOCTOR WHO production team and cast, SECOND TIME AROUND -THE TROUGHTON YEARS is a superbly written "essay" that charts the critical phrases that witnessed a monumental change - literally - that heralded a new beginning.
But it could, according to internal BBC sources, have been a very different end that could have seen DOCTOR WHO terminated. "A critical make or break period..."
Distilling archive material from series producers and directors and mixing `live-action' interviews (from Anneke Wills, Christopher Barry, Frazer Hines, the still delectable Wendy Padbury) this documentary presents the definitive story of Patrick Troughton's three-year stewardship of the TARDIS.
In describing the change - based upon Louis Stevenson's "Strange Case of Dr Jekyll and Mr Hyde" - from Hartnell to Troughton, Anneke (Polly) Wills twinkled that "something magical was about to happen" though it was thankful that the series producer's idea that the `new' Doctor would be "...a pirate of the skies..." was hurriedly vetoed (Troughton: "I looked like Harpo Marx") and a "hobo" crafted with the character having an edgier & darker personality that, at times, would seem disjointed and disadvantaged at times of peril.
Like a GOOGLE MAPS `location pin', SECOND TIME AROUND -THE TROUGHTON YEARS highlights key moments throughout the three seasons that define it, whether it was enforced changes to its supporting cast (Michael Craze's seemingly ousting, and inevitable departure of Anneke Wills), potential companion material that `got away' (Pauline Collins from THE FACELESS ONES), poorly conceived aliens (the Macra were "...a little hokey" according to Wills) and how Troughton's first season (season four) suffered from indistinct storylines resulting in "...viewing figures weren't very good, and (it) could have been cancelled..." according to series producer, Derrick Sherwin.
One contribution provides an unrestricted, linear critique that viewers will either find difficult to stomach due to its honesty or refreshing for the same reason. With a neck as robust as that of a Sontaran warrior, the legendary writer and series script editor, Terrance Dicks, discusses the working relationship of series producers and the series' lead actor (Peter Bryant and Troughton didn't get one), and how the series writing had become staid and uninspired.
However, NEW SERIES one-time-only writer, Robert Shearman (DALEK, 2005) alludes that Troughton's final season of adventures were "...bolder..." and had "...a different way of telling stories..." and that Troughton himself was "...phenomenally good, electrifying to watch, scary when he wanted to be..." whilst Frazer Hines mourns the rejected story, PRISON IN SPACE wherein the Doctor & Jamie would have encountered big bosomed prison guards hunting them down; "I wish we had done that show".
Overall, SECOND TIME AROUND -THE TROUGHTON YEARS is well balanced, equally informative (though, thankfully, not too `geeky') and entertaining ensuring that viewers will neither be factually bored or subjected to inane banalities from "talking heads". More of that later.
In DOCTOR WHO STORIES - FRAZER HINES (part one) the titular actor recounts (in an interview filmed in 2003) fresh-as-a-new-daisy memories of his time as Jamie McCrimmon, the fan-popular 1746 Highland Piper.
It is all too obvious that Hines is very fond of both the series and its lead actor ("...not the most attractive man but the ladies loved him... a dry sense of humour...and eccentric"), and with his description of the TARDIS dematerialisation sound being "...two warthogs being chatted-up with a hippo getting in on the act..." it is not difficult to be appreciate his contribution.
In discussing DOCTOR WHO - THE KROTONS, he agrees with the majority of fans that the aliens were "...the worst monsters ever..." and but the story was well-written and superbly directed as "...black & white is more scary than colour. More shadows..."
Sadly, like an over-packaged, over-priced Easter Egg confection that is more impressive on the outside than its disappointing content, THE DOCTOR'S STRANGE LOVE: THE KROTONS is, quite frankly, dire. As unkempt as Boris Johnson's (the current London Mayor), this unworthy fan-discussion cannot be considered as `value-added-material' for it's dull, banal in content, lacks any structure and conversational direction. At least there's Sarah Jane Smith's attic to scan with tear-filled eyes, and, as redeeming feature, there's a stuffed owl perched on the sofa's arm.
Please, no more of THE DOCTOR'S STRANGE LOVE series.
In contrast, the PHOTO GALLERY is worth viewing as it presents - in a dust and scratch-free clarity - a series of never-before-seen images from the behind-the-scenes filming of THE KROTONS.
I wonder if APPLE's Robert Ives will be inspired by Zoë's `teaching machine' natty headset for the next iPod accessory?
Under the generosity of "air-time" from the ever genial, Toby Hadoke, a carousel of the story's cast and crew contribute to a engagingly informative and entertaining commentary that, along with the perennially essential on-screen information text, enhance your appreciation of this much-maligned (read: with indignation) Troughton four-parter.
In the noticeable absence of main cast members (Frazer Hines and Wendy Padbury), Hadoke, our very own `WHO-isper' cajoles and teases the most distant memories from the aging cast (Phillip Madoc [Eelek], Gilbert Wynne [Thara], Richard Ireson [Axus]) and, providing a technical insight into the production of black & white television drama, crew (Bobi Bartlett [Costumes], Slyvia James [Make-up], David Tilley [Assistant Floor Manager], and Brian Hodgson [Special Sounds]. For me, the most interesting contribution was from Hodgson as, and I had forgotten the fact, THE KROTONS did not have any incidental music within in, and it was his contribution of "special sounds" that ensures that the story remains (almost) unique and enigmatic over the intervening decades.
Commentary highlights.
On the Gonds attire, Richard Ireson: Weird costume! Did we think that it was trendy?
Philip Madoc: I did think that you were quite attractive really. If you just had a reasonable body you looked a bit better.
On the Gond haircuts, Richard Ireson: What a cool haircut, Gilbert.
Gilbert Wynne: I still have it now today.
On Patrick Troughton's characterisation of the Time Lord, Richard Ireson: For me, Patrick has to be the best Doctor (Who).
Gilbert Wynne: I agree.
Richard Ireson: ...so comfortable.
Slyvia James: I agree with you two. My favourite. Fun, professional but somehow embraced everybody.
Richard Ireson: ...child-like and totally comfortable in character. The costume didn't fit him properly. And the hair...
Slyvia James: I used to cut his hair! Rather "BEATLE"-like.
Madoc: A sense of weirdness.
On "absent friends", Gilbert Wynne: I was hoping that Madeleine (Mills) [who played Vana] was going to be with us.
Toby Hadoke: She's no longer with us. She died last year.
On Tom Baker, Phillip Madoc: I always thought that he could have come from outer space. He can expand at any moment if he's inspired.
On playing villains in DOCTOR WHO, Phillip Madoc: (THE KROTONS) set a trend.
On director, David Maloney, Phillip Madoc: Sensitive. Lovely man.
David Tilley: A sheer joy to work with.
On his next DOCTOR WHO appearance with Troughton, Phillip Madoc: (THE WAR GAMES)...a very good script.
Toby Hadoke: Is it cathartic about playing the bad guy, as you are very nice in real life?
Phillip Madoc: Yes, I am really. I keep telling people.
On seeing the Krotons "surveillance monitor" graphic, Phillip Madoc: That's what I call THE X-FACTOR.
On creating a soundtrack that was non-musical for THE KROTONS, Brian Hodgson: I think this was the first time that we used a "Crystal Palace". A great scanner that meant we could feed 6 musical notes in and that give a kind of pulsating musical thing. All very primitive unlike how you do things now.
On Wendy Padbury's Zoë costume, Bobi Bartlett: Breathtaking imagination. Wendy's costume is made from disposable paper. A plastic coating on a fibrous paper. A visual collage.
On the Kroton voices, Brian Hodgson: Their performance shone through, that's why it works.
Phillip Madoc recounts am enigmatic meeting he had with William Hartnell in the BBC Bar. Sterling.
On her personal costume art archive of work on DOCTOR WHO, Bobi Bartlett: I have a portfolio of costumes.
(Editor: So why aren't they featured on a DVD EXTRA?)
On the DOCTOR WHO theme music, Brian Hodgson: DOCTOR WHO did an enormous amount for the Radiophonic Workshop since QUATERMASS. It was the first mass entertainment we'd done.
On Eelek, Phillip Madoc: I don't do a death scene
On Troughton's decision to leave the series, Slyvia James: I recall at the time that he was ready to go.
On having starred with Peter Cushing on DALEK - INVASION EARTH 2050AD, Phillip Madoc: Peter Cushing; the nicest man you will ever meet.
In conclusion, DOCTOR WHO - THE KROTONS represents the professionalism of the BBC (and Associates) in drawing together a balanced product with intelligent (bar the DOCTOR'S STRANGE LOVE featurette which has its origins from the CBBC digital channel) and entertaining documentaries that illuminates a lost history of television, grey and dust-coated yet it shines across the decades as a prime example of Troughton's genius in embodying a unique alien.
For me, this humble Robert Holmes penned and David Maloney directed four-parter is held in affection for it was, like for many fans of a certain age that sat transfixed to 1981's THE FIVE FACES OF DOCTOR WHO repeat season, my first foray in the Troughton's characterisation in full. Whimsical, swan-like, muddled yet charged with such intelligence that would send Prof. Stephen Hawking's wheelchair in a spin.
DOCTOR WHO - THE KROTONS is like RONSEAL; it does everything you'd expect from a Saturday Teatime drama series whether you watched it for the first time in 1969 or in 2012.
Unmissable.
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