THE REVOLUTION CONTINUES... 'BLAKE'S 7': SEASON TWO

Dark times ahead for our Liberator heroes in Season Two of BLAKE'S 7. Images: BBC.

"Where are all the good guys?" -  Vila

"You could be looking at them" - Blake (to his team)

"What a depressing thought..." - Avon


The ideal that one man can make a difference is more than proved by the intergalactic freedom fighter Roj Blake as he and his trusty vagabond team of varied ex-prisoners continue to wage their bold war against the evil and corrupt tyranny of the galaxy-spanning Terran Federation from within the futuristic environs of their advanced alien fighting ship, the Liberator, in the popular sci-fi series of the late seventies: BLAKE'S 7, created with enthusiasm and adventure packed incident by Terry Nation. Their galaxy spanning exploits now becoming a building rallying call to other resistors to join their cause, of which an irritant and once all-powerful Federation wants our heroes swiftly destroyed and the Liberator a new addition to their technological and weaponry means...

Continuing the crusade: Roj Blake (Gareth Thomas).

The series format of BLAKE'S 7 remains as strong as ever in its second year, with delivered promises of more bold storytelling and action to come. But first for our heroes, there's a little matter of last seasons frightening cliff-hanger prediction of the future, as told by their newly acquired super intelligent plastoid computer Orac (voiced by Peter Tuddenham, who also provides the regular tones of that other super-computer, Zen) - showing the Liberator and her crew blown to smithereens!- that must be resolved at all costs...

Paul Darrow as the coldly logical Avon.

Sally Knyvette as space pilot Jenna.

Michael Keating as lovable thief Vila, with the computer Orac (voiced by Peter Tuddenham)

Jan Chappell returns as telepathic alien Cally.

Blake with the doomed Gan (David Jackson).

The impressive Liberator spacecraft, out on the edge of the universe.

And Nation rises to the challenge, returning to solve that mystery with his Season Two premiere opener Redemption, which also sees one of the shows other early mysteries finally solved: who or what built the Liberator? Sadly not available to write a full season's compliment of adventures, as he had done with the premiere year (with a lot of key input from series script editor Chris Boucher), and his plans to introduce his DOCTOR WHO creations, the Daleks, into the series now scrapped, an over committed and previously exhausted Nation would instead provide two further original stories for the eagerly anticipated new run, Pressure Point and Countdown, both of which would prove excellent and show one of TV's top adventure writers in his creative stride, initiating a new mini-story arc with Boucher that would make its presence felt in the the shows last quarter. Boucher, too, would finally be able to write four original scripts for the new season; a talent who ultimately knew the characters and actors probably better than their creator, and more than able to write to the series strengths and what its dedicated behind the scenes crew could do with their limited programme making budgets. With the shows creator no longer such a dominating force with the scripting, the vacuum of his absence would be further filled in with several new writing contributors: Allan Prior and Roger Parkes, who provide varying quality escapades and scenarios. But the standout of the new batch is easily Robert Holmes, former DR WHO script editor of the Tom Baker era and the man who gave Boucher his first major television writing break on that series in 1977. Holmes provides two quirky and clever tales that also have a lot of humour (most notably building on the pairing of sardonic and blaster packing Kerr Avon (Paul Darrow) with clever intellectual thief Vila Restel (Michael Keating). On the directing front, producer David Maloney would ultimately handle the reins of the eventual action packed series finale, with enthusiastic veteran Vere Lorrimer also returning for four adventures. DR WHO directors adding a further touch of class to the second season wold include George Spenton-Foster and Derek Martinus, alongside another fine new visualist, Jonathan Wright Miller.

The Federation's presence in the series remains as deadly as ever...

As the ambitious new seasons kicks in for its January 1979 debut, all of our main cast of heroes return. Gareth Thomas as Blake becomes an even more serious and determined leader/fighter against the Federation this year, harder edged and wanting to carve out new alliances to launch an attack on the Earth and its main computer complex controlling the Federation. But its with this daring ambition and gambit that his ego and stubbornness escalate to the point where terrible mistakes of judgement are made, of which he is also gently manoeuvred by his enemies at Federation Space Command, resulting in the death of one of the Liberator family: the gentle giant Gan, who ultimately sacrifices himself to save Blake in the excellent episode Pressure Point. The decision to kill off one of the seven being made by the production team because they thought things were getting a bit too cosy for our heroes, winning their many battles too easily-a wise and ultimately shocking decision that certainly got the audience and critics attention in 1979. Originally, the likable characters of telepath Cally (Jan Chappell) and Vila were also on the prime candidates list of extermination, but, in the end, accomplished stage and screen veteran David Jackson, who had become slightly frustrated with the lack of development for Gan, got the chop.

Acting as Blake's twisted adviser, mostly to say snarlingly I told you so, and continue to act as a heated antagonist, Paul Darrow remains compulsively enjoyable as the often ruthless and edgy individualist Kerr Avon, who, at one point, almost abandons his colleagues to die at the edge of the universe in one episode (Horizon) but is stopped from doing so by fate: in the form of three advancing Federation pursuit ships! Michael Keating's aforementioned Vila also gains some new facets and comedy, both on his own and with the main cast, as the writers especially enjoying playing with his character relationship with Avon. Disappointingly, however, it's the lovely and resourceful female heroes that get a bit of a raw deal this season-the telepathic Cally (Jan Chappell) starts off well with a strong amount to do early on inside the creepy nightmare world she's trapped within during the shows second episode Shadow, but Sally Knyvette's ace pilot Jenna Stannis isn't quite so lucky in the season's final half, literally acting as a diversionary figure, using her feminine wiles or annoyingly staying on the Liberator flight deck or in it's teleport chamber wishing her friends "good luck" as they go off into danger!

Red for danger! Jacqueline Pearce has fun as super-bitch Servalan.

Brian Croucher as the re-cast baddie, Space Commander Travis.

Fortunately, the girl power side of the shows villainy department fares a lot better, as the evil temptress and power mad queen of Federation Space Command, eventually Madame President, the feminine spider in her web, Servalan, as wickedly portrayed by the lovely Jacqueline Pearce, goes from strength to strength as the writers, particularly Chris Boucher, latch on to what an interesting and ahead of her time character role she truly was. Not available to play the sadistic, Blake hunting supporting role to her of Travis, due to his role in another TV movie project, Stephen Greif would need be recast by the producers, who ultimately decided to keep the Travis character because Terry Nation liked him and he was popular with audiences. Deliberately wanting to show a more over the edge and dangerous Travis than before, whose hunt for the rebel resistance fighters has become ever more bloodthirsty, up and coming young actor Brian Croucher, getting a name for himself as a raw talent in popular gritty TV film dramas of the time, would soon don the new leather costume, wear the intimidating black eye patch and wield the arm weapon that would makes the role so memorable. Croucher, though not the greatest of actors by any means, handles himself reasonably well in his debut in the series and is perfectly watchable when he has a good script in hand to work with, in doing so proving a very real and dangerous threat to Blake and co. But in some of the middle and more humourous, format challenging episodes towards the end of the season he looks a little lost and uncomfortable. Fortunately, with the character now seemingly as fully explored as he could be by the writers, Travis's final appearance is well handled, almost slaying his mortal target before getting a great death scene himself from the hands of Avon.

Michael Keating, Paul Darrow and Gareth Thomas enjoy a break on the Liberator set, with Zen (voiced by Peter Tuddenham) in the background.

Roger Murray-Leach's ground breaking sets for the Liberator interior come out of storage for year two and receive some mild improvements and polishing (though bits and pieces of props can still be heard falling to the flight deck floor from time to time!), whilst the series overall budget, though still BBC standard small, was given a slight increase and visually looks much better than its premiere year. As ever, when episode scenes are made on film or on location, the show has a much better looking quality about it. The overall much criticised (before and since) special effects and model work are also of a good to very good standard in numerous episodes this year, from the likes of talents such as Matt Irvine. Aussie composer Dudley Simpson brings his musical skills to bear once more on the series, whilst June Hudson, a well-respected talent within the corporation, replaces some of the threadbare looking cast outfits of year one and exterminates the different coloured, deliberately Robin Hood inspired crew exploration costumes designed by Barbara Lane, so as to add some glamour of fabric and leather to the shows attractive heroes and villains for the first half of year two, replaced by Barbara Kidd, who quickly builds on her fine work.

Season Two trailer: Blakes 7 series 2 trailer - YouTube

Blake's in trouble in Redemption.

As the season finale nears and the galaxy changing events out on the far away planetoid Star One begin, the series ratings remained very strong, despite a mild dip against the rival CORONATION STREET soap opera on the opposite ITV channel. Plans were soon in the preparation stages for BLAKE's third year, of which producer Maloney and Boucher would be returning to creative guide the ship's helm. Sadly, with the end of her contract, Sally Knyvette would decide not to come back as Jenna, instead deciding to investigate her academic career and put acting on hold for a period. Sad to see her go, the series team would be hurt further with the news that lead star-and the heart of the show- Gareth Thomas had also decided to quit whilst he was ahead, so as to avoid typecasting and continue his successful career in the theatre-most notably with the approaching and tremendous lure of The Royal Shakespeare Company beckoning him. (Towards the middle to near end of the second season transmission run, Thomas, with Pearce, would make an appearance on the popular children's television show MULTI-COLOURED SWAP SHOP, informing viewers of the shows upcoming third season, which would start production that summer, though his non participation in it would be carefully avoided.)

Tense times ahead for Avon and Blake.

Despite what would be the tremendous loss of Blake and Thomas, Maloney and Boucher, with series creator Nation, quickly realised that recasting the series original was not an option they wanted to pursue, and that, instead, an intriguing new dimension of storytelling and drama could be brought to the revised show with a new lead star, one who was already actually present in the series and had been rapidly gaining a major following with the regular audiences, especially female fans who admired his characters intelligence and steel eyed grasp of dangerous situations: Paul Darrow's Avon...

A new dawn was imminent for BLAKE'S 7...

Here's a look back at KOOL TV's favourite episodes from Season Two...

The Ultra take possession of their original ship, the Liberator, in Redemption.

Leggy alien lovelies of the Ultra, as played by Harriet Philpin and Sheila Ruskin, in this rehearsal image.

REDEMPTION. Whilst trying to work out the puzzle of newcomer Orac's prediction for the Liberator's destruction, and undergoing vital maintenance work, Blake and his crew are attacked by the ship's internal defence systems-themselves under reprogramming and influence from its original alien owners-the cyborg humanoid Ultra (personified by the leggy Lycra clad forms of Harriet Philpin and Sheila Ruskin)- who reclaim the ship and plan to interrogate and execute its inherited crew...

A solid opener to the new series, that crams in a quite a lot in fifty minutes: good ideas, action, overall location filming (inside a nuclear reactor plant- a choice of filming venue which caused some worries with the cast members at the time, with Jan Chappell later allegedly having it written into her contract that she would no longer partake in such potentially heath and safety risky places) and sterling model work. But it all would have worked a whole lot better as a two-parter, giving Nation, and watching viewers a more satisfying chance to further develop the story and the alien Ultra, plus the still not quite resolved mystery of what exactly happened to the Liberator's original crew (potential for an upcoming BIG FINISH book perhaps?).

Bek (Karl Howman) tries to save Hanna (Vivienne Burgess) from the drug controlling lure of the Terra Nostra in Shadow.

SHADOW. The enemy of my enemy is my friend? Realising he needs allies to continue his fight against the Federation, Blake initiates a first meeting with the intergalactic drug dealing mafia known as the Terra Nostra. He fails to win any kind of support-indeed, the crime cartel realise what a huge bounty the Federation will pay if the Liberator crew are captured- but soon discovers the truth-the real power- behind the organisation and their cultivation of the rare narcotic Shadow, which has enslaved so many innocent lives to its deadly grip. At the same time, a possessed by an alien force Orac takes control of Cally, and, seeing her as a potential threat to its invasion plans, sends her into a dark oblivion of the mind...

A terrific script from Chris Boucher mixing sci-fi concepts and action, full of strong performances (with guest artists including Karl Howman and Vivienne Burgess), and confident direction from Jonathan Wright Miller.

Carnell (Scott Fredericks) and Servalan make for an intriguing pair in Weapon.

WEAPON. One of the Federation's greatest and most personality imbalanced scientists, Coser (John Bennett), has escaped with a top secret weapon called IMIPAK, and the race is on for Blake and Servalan to find him first and acquire the technology. But Servalan, accompanied by a blood-thirsty Travis, seemingly has all the aces up her sleeve: most notably a clone of Blake, delivered to her from the mysterious and neutral Clone Masters, and a psycho-strategist, Carnell (Scott Fredericks), able to predict to the last decimal how people will react in certain situations. But other factors soon come into play that neither party factor anticipate...

Another terrific script and high concept sci-fi idea from Boucher, which gives Jacqueline Pearce some fine, almost THOMAS CROWN AFFAIR inspiring sexy interplay between her and Scott Fredericks as the charming and dangerous Carnell. 

Blake confers with alien leader Ro (Darien Angadi) and his partner Selma (Souad Faress) in Horizon.

HORIZON. Travelling to a world on the edge of the charted exploration path, codenamed by the Federation as Horizon, our heroes encounter a civilisation in the grip of its colonialism and are soon captured. It seems that Avon is now finally, truly, on his own and ready to run with the Liberator: the prize he's always desired....

Its not regarded as one of the series best episodes but I think Horizon is pretty enjoyable and well made, with strong performance from CALLAN's William Squire as a nasty Federation academic heavy and Darien Angadi as Ro, the manipulated alien leader who has seemingly abandoned his peoples ancestry and been manipulated and abused by his overseers. It's Paul Darrow, though, who especially shines brightly as Avon in this episode as his anti-hero almost with a heart...

Big game huntress Servalan and her Mutoids in Pressure Point.

PRESSURE POINT. Making good on his promise to return to the Federation seat of power on Earth, Blake vows to destroy its mythical computer complex, hidden at a top secret and apparently unbreachable location, once and for all. Going over the heads of his at-risk crew mates-almost forcing them into it through charisma and confidence, watched by a bristling with anger Avon, who at first thinks it could all be a foolhardy and life-threatening exercise, Blake has pre-arranged the assignment with another Earth resistance force led by the venerable Kasabi (Jane Sherwin), though he is unaware until too late that they are all walking into a carefully prepared trap by Servalan and Travis, as the full truth about central control is shockingly revealed...

One of the genuine highlights of Season Two, George Spenton-Foster piles on the style and all the tense thrills he can get from Nation's great script (despite a couple of noticeable budget deficiencies in re-used set designs), with the no-punches pulled death of Gan at story's end both gloomily triumphant and excellent drama. Special mention once again to Jacqueline Pearce as Servalan who excels in her scenes with Travis and the captured Kasabi, her former mentor, who previously recognised her ambitious and sadistic streak at an early age...

Travis faces a death sentence in Trial.

TRIAL. Now an embarrassment to Servalan after the disastrous situation with Blake and Central Control on Earth, she arranges a show-trial that sees Travis under court martial for genocide crimes committed several years earlier in the Federation's name. Meanwhile, a guilt stricken Blake, wary of his next steps with the death of Gan, leaves the Liberator to seek solace and thinking time on an alien world, which soon comes under danger from another biological organism.

Two very distinct plots revolving around the element of individual survival come together for a fine action finale which sees Travis now a fugitive from the Federation but secretly working for Servalan when necessary. A brooding Croucher has some good material to play with as Travis, alongside some fine character acting support from the likes of Peter Miles, John Savident and THE BILL's late Kevin Lloyd.

Vila and Avon corner the duplicitous Tynus (Ronald Lacey) in Traitor.

KILLER. Vila discovers that Avon really does have a friend out there in the cosmos, in the form of the duplicitous Tynus (Ronld Lacey), as the pair travel to the communications complex on Fosferon in order to steal a new Federation code machine. Meanwhile, the Liberator discovers a previously missing believed lost Earth space ship from its distant past, containing a deadly discovery that could render humanity extinct if it isn't stopped...

A witty and enjoyable script from Robert Holmes with a couple of genuinely scary moments. Keating and Darrow share some good scenes with guest Lacey, whilst Gareth Thomas gets his investigative acting chomps into the B story with other guest star Paul Daneman as a research scientist. It's all a little bit more low budget looking than previously, though, and watch out for all the plastic used in this episode. Plus, there's an infamous appearance from the world-famous Michelin Men!

Endangered species! Blake tries to help the people of Albion in Countdown.

COUNTDOWN. The search for the location of the Federation computer control complex, now known as Star One, continues, propelling Blake into searching for a senior military officer, Commander Provine (Paul Shelley), on the conquered colony world of Albion, whose people have now launched a revolutionary battle, with the aid of hired mercenaries, in a risky life or death gamble to re-take their society. Its a gambit that is only partially successful, however, as Provine activates a doomsday weapon in retaliation, of which only Avon and the mercenary Del Grant (Tom Chadbon) can de-activate it. The situation is further complicated by the fact that Grant blames Avon for the previous death of his beloved sister, Anna, and has vowed to kill him!

Another Nation corker full of worn but always enjoyable tried and tested plot elements that, like a beloved pack of cards, he loves to shuffle and re-shuffle. The finished production gives things a further fresh new spin, helped along with enthusiastic direction from Vere Lorrimer and some good stunt work shot on film at Ealing Studios. Paul Shelly is a fine guest baddie, with an equally strong performance from Tom Chadborn as Grant, who works well with Paul Darrow. It's a shame his character never returned to the series as a semi-regular...

Danger for Vila and Avon in Freedom City in Gambit.

GAMBIT. It may seem a little off kilter in the overall BLAKE'S 7 universe, what with its quirky and wordy mixing of comedy and drama, alongside what could be considered some very camp and perhaps too extravagant set and costume designs (making the most of the BBC's enormous stock warehouse of items), but Robert Holmes script is clever and lively, as our heroes travel to the neutral space city of sin, Freedom City, to find the a fugitive cyber-surgeon named Docholli (Denis Carey) who, currently being protected by Travis, may have the key to the location of Star One. But Servalan, more flamboyant and crafty than ever, is also there, using the city's lecherous ruler, Krantor (Aubrey Woods), to aide her search. On the comedy front, Avon and Vila conjure up a bonkers but fun B plot where the pair, using a miniaturised Orac, swindle the house casino. But a drugged Villa unwittingly gets caught up in a deadly speed-chess game with a master player called the Klute. And if you lose, you die...

Cally and Blake enter a hidden complex in Star One.

STAR ONE. The seasons finale is a gripping and exciting affair from Chris Boucher. The elusive location of the Star One planetoid has been found and Blake makes explosive plans to destroy it utterly, no matter what the consequences for the peoples and planets that rely on its huge computer support to survive. Once down on the surface, however, the Liberator crew haven't reckoned on the fact that an alien infiltration of the planet by a mysterious race of shape adapting creatures called the Andromedans is already underway, at work on sabotaging the Federation's key defences- the first beachhead to a massive sneak attack, lead by an all-betraying Travis. Soon Blake and Jenna realise that Star One and the Federation must be saved if the human race is to have a fair chance against such an overwhelming attack, and an alert call is sent via Orac. With the Federation's huge minefield defence shield now partially down, and Blake critically wounded from a soon dispatched Travis, it's up to Avon, making a promise to Blake, to lead their ship and its crew in a time buying battle with the Andromedans, whilst en masse Federation forces, led by Servalan (determined not to let her new empire fall), race to their location. The battle is soon begun as the brave Liberator, staring death in the face, opens fire on the approaching aliens...

The Liberator takes on an approaching alien armada in the closing scenes of Season Two.

Forget the unable to do it justice model work of the Andromedan alien fleet and enjoy the gruesome practical effects, gooey monsters and quite bloody violence on display in this episode, which also successfully shakes up the series format big time for season three. Plus, a final, genuinely moving scene between Blake and Avon that's beautifully written and played. 

And then there's that all-time classic final moment of "Fire!"

This confident, overall well made and memorable Series Two of BLAKE'S 7 ends on a gripping, we can wait to see what happens next cliffhanger, where the fate of our heroes and humanity hangs in the balance...

Seasons One to Four of BLAKE'S 7 are available on DVD.

Check out the news of the new series of BLAKE'S 7 novel adventures from BIG FINISH productions, and their audio dramas, which bring back many of the original series cast: Book News: New BLAKE'S 7 Novel Announced - Sci-Fi Movie Reviews, Movie News, Comics, Books and Gaming

Fans of the Season Two cliffhanger episode Star One and Season Three's continuance Aftermath, will be pleased to hear that an original audio drama intriguingly charting the unseen battle between the Liberator crew and the Andromedans- Warship- will be released in 2013 (above sleeve pic): 7. Warship - CD and Download - Blake's 7 - Big Finish

KOOL TV REVIEW: 'DOCTOR WHO - THE FACE OF EVIL'

An identity crisis on a mysterious world for DOCTOR WHO in The Face of Evil. Images: BBC.

DOCTOR WHO: THE FACE OF EVIL

Starring Tom Baker as the Fourth Doctor and introducing Louise Jameson as Leela.

Released on DVD from 2ENTERTAIN/ BBC WORLDWIDE

Reviewed by Scott Weller

Ever had a bad day at the office, or at home, with your trusty computer? Ever felt that it had a mind of it’s own? Well then, spare a thought for that trusty Time and Space zipping Time Lord known as the Doctor, in his teeth and curls incarnation of Tom Baker, when he becomes an intergalactic Sigmund Freud, and joins up with a promising female warrior companion to boot, in order to tackle a mentally deranged, homicidal computer who, bearing the Time Lord’s visage, think’s he’s a megalomaniacal god! Yes, it’s the latest enjoyable CLASSIC DOCTOR WHO tale released from those ever reliable people at 2ENTERTAIN / BBC Worldwide: The Face of Evil!

Trailer: http://www.youtube.com/watch?v=TP9hSO40gv8

Groomed into a promising new author for the series by then incumbent script editor and all-round writing genius Robert Holmes, Chris Boucher’s first story for Tom Baker WHO (originally titled The Day God Went Mad- yep, you bet that was changed very quickly so as not to incite a religious backlash!) is an all-round good sell to audiences, with an intriguing central plot full of seventies sci-fi ingenuity (including feuding tribesman against high tech scientists in an evolutionary experiment gone awry, and with a seriously bonkers computer at the heart of it!)  and well paced storytelling (especially in the opening two episodes), lots of invention and intriguing characters, most notably with his creation of the series newest TARDIS companion/occupant, the ex-savage Leela of the Sevateem, as played by RSC actress Louise Jameson with action gusto and inquisitive, child-like spirit, continuing the series then fine trend for strong female companions (the likes of which had prior been seen with Elisabeth Sladen as Sarah Jane Smith) and with the advent and continuing evolution of Women’s Lib.

The Fourth Doctor (Tom Baker) and new companion Leela (Louise Jameson).

Partially inspired by Boucher and the Production Team from the late sixties/ early seventies figure of Leila Khlaed, a Palestinian liberation fighter, the behind the scenes character aim for Leela, later well-described as a “savage feminist”, was an attempt to shake the WHO companion format up a bit and try to do something different from what had been done before, so much so that, in many ways, the companion could often be strong enough to protect the Doctor rather than the established other way round.

Also new to the series director Pennant Roberts would be much liked by the WHO crew, possessing a good grasp of storytelling and character moments for the series, strong casting skills (most notably here in finding Louise Jameson), as well as showing visual flair under time pressure (the usual behind the scenes bugbear for the show), especially for the filmed sequences of the un-named jungle planet at Ealing Studios designed by Austin Ruddy, whose trees and sandy surface, marked with the occasional deadly piranha-like Horda creature (from resident FX expert Matt Irvine), look excellent. (There’s also some impressive model work, like the Mount Rushmore face of the Doctor, even if it is shot on video.) The story’s all-important serialized cliffhangers are also very strong, with an absolute cracker to the third episode that's up there with Modern WHO’s “Are you my Mummy?”

Leela protects the Doctor from the scheming Caleb (Leslie Schofield)

Beyond her lethal killing abilities (which are aplenty in this first season, eventually resulting in her fine tuned aggressive tendencies being toned down by both the production team and star Tom Baker), the often fearless and inquisitive character of Leela (the name meaning “dark eyed beauty”), indeed a true counterpoint to Sarah Jane, soon shows herself as a companion with great potential for the Doctor to educate and enlighten abut life, the universe and everything, in a sort of WHO version of the Pygmalion story: the plan initiated by the producers to see Leela, eventually evolve away from the leathers and into a more developed, clothed individual. This first season for the character sows the seeds of those ideas well, before such game-plan ideas frustratingly disappeared before any satisfying conclusion well into the actress second and final season in the role (a missed opportunity from an already overburdened new producer to come, Graham Williams).

Louise Jameson certainly makes an impact with the dads as Leela.

Certainly attracting the male audience of the time, and a welcomely shapely figure in becoming brown leathers, Jameson makes an attractive and spirited entrance on the series (her youthful face and acting style reminding me of Diana Rigg/Emma Peel from The Avengers) and she handles herself well on the show against the mighty and formidable presence of Baker in the titular role. The pair may not have gotten on all that well off-screen for their original filming duration (Baker never having been happy with the way Leela hade been devised without his input, and at a point in the series when he would have been perfectly happy to have been alone in his travels (thankfully, his later ideas of a parrot or a talking cabbage as a companion had not yet sprung into his mind!), but that tenseness never appears on screen: indeed, the Doctor and Leela make a fine combo for Saturday tea-time viewing of 1977-1978.

Baker also has ambitious double duties here (but I bet the BBC of 1976 only paid him one salary!), not only as the Doctor but also in providing the manipulative and highly dangerous voice of the neurotic split personality “god”, Xoanon/ “The Evil One”, formed into being from a blunder made by the Time Lord during an unseen past adventure (read Terrance Dicks fun TARGET novelization of the story from the seventies to find out more!).

The Doctor has to undergo a William Tell-like competition to save Leela, watched by the sneaky Caleb.

The Face of Evil also has a fine pedigree of guest support, too, including a post STAR WARS Leslie Schofield (whom Pennant Roberts would later cast in his first directed episode of BLAKE’S 7) as the manipulative Sevateem warrior Caleb, Brendan Price as Leela’s compatriot, Tomas, and a great performance that almost, but not quite, goes over the top from David Garfield as the wily Sevateem witch doctor/shaman, Neeva, who worships the god/split personality Xoanon. His scenes with Baker are excellent. Oh, and looks out for the brief appearance of EASTENDERS Peter Dean (who played Pete Peale) as a Sevateem warrior soon killed by invisible monsters!

Of the rest of the behind the scenes production, later to be Oscar winning costume designer John Bloomfield creates some noteworthy wears for the episodes, especially the Sevateem in their primitive leathers, which look believable within their primitive fantasy environs, whilst their Tesh enemies/servants of Xoanon, led by Leon Eagles as Jabel, reside in bizarre harlequin-like attire that wouldn’t be out of place in an intergalactic version of Alice in Wonderland! With those particular costumes you’ll either like them or loathe them. Still, they are nonetheless memorable.

On a slightly negative note, some of the set design work of the Earth survey spaceship interior looks pretty cheap by today's standards (its clear that money was being saved for the next two ambitious stories of the season instead), and there's also the occasional duff video effect overlay or stunt fight that doesn't quite work, but one can, and should, overlook all of that in favour of the fun and intelligent sci-fi set-up: certainly the kind of tale that today's WHO, afraid to lose it’s viewer base, just wouldn’t be able to produce.

The titular Face of Evil.

Though Tom Baker's presence is missed on the Special Features side, a strong bevvy of supporting bonus material still accompanies the release, which fully documents Louise Jameson and Leela’s arrival in the series, including Into the Wild-a nice behind the scenes documentary from Chris Chapman looking back at the making of the story (featuring an excellent new look at BBC effects man Matt Irvine’s fun Doctor/Mount Rushmore face), Doctor Who Stories, in which the actress fondly recalls her time on the show in previously unseen and extended interview material originally conducted in 2003 for the BBC 1 documentary, The DOCTOR WHO Story, a look back at her appearance with Noel Edmonds in a February 1977 edition VHS clip from the Multi-Coloured Swap Shop children’s series, detailed info text which includes a full list of the 26 actress who originally tested for Leela alongside the winning actress, some very nice rare out-take footage from the September 1977 Ealing studios filming that introduced Jameson as Leela, a Denys Fisher toy commercial for their then WHO range-costing around £3.49 each back in the day-if only today’s FORBIDDEN PLANET exclusive figures were as cheap as that now!- and including an incredibly well-endowed Leela action figure that Jameson would go on to hate!, plus a nice photo gallery that includes aborted early make-up tests for Jameson as Leela, and Tomorrow’s Times- the continuing documentary series on UK newspaper coverage of each era of the show, this one on Tom Baker’s era, and hosted by the lovely Wendy Padbury. Topping it all of there’s also a great trailer for the next WHO/Jon Pertwee DVD release: The Daemons. Great stuff.

Tom Baker and Louise Jameson pose for the press.

Though not regarded as one of the all-time classics of the Philip Hinchliffe produced WHO era, The Face of Evil is still a solid, well-made tale that’s superior to many of the shows later mid-eighties series offerings, as well as most other television of its time. It’s enjoyable new take on an old sci-fi concept- the kind of mad computer gone amok that Captain James T. Kirk used to enjoy debunking on Classic STAR TREK – lifts it well above the ordinary, combined with an excellent introduction to the series by Louise Jameson/Leela, who has a promising repartee with Tom Baker (continuing to be as perfect as ever in the title role).

KOOL TV STORY RATING: 4 out of 5

KOOL TV DVD EXTRAS: 4 out of 5

KOOL TV DVD REVIEW: 'DOCTOR WHO - REVISITATIONS 3 BOX SET'

Newly restored classic WHO adventures. Images: 2ENTERTAIN/BBC.

DOCTOR WHO: ‘REVISITATIONS 3’ BOX SET

(Comprising The Tomb of the Cybermen, The Three Doctors and The Robots of Death)

Available on DVD from 2ENTERTAIN/ BBC WORLDWIDE

Reviewed by Scott Weller

The Time Lord Doctor finds himself in a space whodunnit, is caught in a plot to reactivate deadly inhuman foes from his past and meets his previous incarnations to unite against a galaxy-threatening enemy. Its four Doctors for the price of one, across three classic re-releases and five discs, in the third of the BBC’s REVISITATIONS series of restored and extras packed Special Edition CLASSIC DOCTOR WHO adventures, out now from 2ENTERTAIN/ BBC WORLDWIDE.

So, put on your best Beatles wig, wrap that multi-length scarf firmly tight around your neck, and wear your frilly Edwardian shirt with pride as we take a look at each of the thrilling stories in time and space the set comprises…

Overall release trailer: https://www.youtube.com/watch?v=3r5Pj4XPeqc&feature=related

THE TOMB OF THE CYBERMEN

With its prior reputation as one of the scariest, original and most atmospheric of tales, with only a few stills and people’s memories of the tale from its original transmission in 1966- all there was to go on and believe in- the return of the classic Patrick Troughton DOCTOR WHO story The Tomb of the Cybermen from Hong Kong in 1993 was a joyous moment to fans and TV historians alike-as if the show’s Holy Grail had been discovered. When finally back in England in 1993, the important question was, when restored and released, could it possibly live up to all its expectations and iconic status?

The long sleep of the Cybermen is finally over. 

Getting the new DVD box set off to a mysterious and deadly start in its well deserved re-mastering, Tomb almost lives up to it’s All-Time Classic status as a potent and chilling tale of greed, manipulation and ambition, as the emotionless Cybermen, determined to survive their limited existence, devise the perfect trap to ensnare the very best and brightest, and most evil, to their cause, as they are reawakened from their hibernation state within the ice tombs of the planet Telos by a largely unprepared for what they find  group of scientists and space explorers. Into all this comes the Doctor and his companions, of which a battle for survival by both sides soon rages within the cold and chilly environs of the Cybermen’s lair.

The Doctor (Patrick Troughton) confers with the Earth expedition.

Despite a few dated moments and effects misfires, this is still an effective and atmospheric story that perfectly showcases the silver Cybermen, especially in the shivers down the spine moment when they break out of their honeycomb like tombs: indeed the stuff of TV and WHO history. The TARDIS trio of Patrick Troughton as Cosmic Hobo Time Lord, Frazer Hines as Scottish warrior Jaime McCrimmon and pixie-like Deborah Watling as Edwardian lady turned adopted companion Victoria Waterfield are first rate, as is the majority of the main guest cast, including George Pastell as the head of a loony band of Logicians, Eric Kleig, surely one of the great WHO/genius madmen of the small-screen black and white era, and Shirley Cooklin as his conniving, equally ambitious, stab-you-in-the-back partner, Kaftan.

The awakened Cybermen make new plans.

But above all else, it’s Patrick Troughton as the Doctor who holds it all together magnificently, with plenty to admire in his performance as it shifts between mystery, comedy and drama as he takes on the Cybermen, primarily at his and their peak in the shows second and third episodes, as the sparring and battle of wits between them intensifies-these creatures truly are the ultimate monster for his Doctor’s era. As an actor, Troughton has this rare ability to make it all seem so easy on-screen, showing us the Doctor’s multi-faceted personality in a way that modern WHO actors have tried to imitate but have never bettered. There’s a touch of the Machiavellian in him as he helps the Earth expedition unravel the mystery of the Cybermen, ultimately for his own ends so as to finally destroy them, but also a tender side, too, in a charming scene he has discussing his unknown family to Victoria.  And, of course, there’s his brilliant on-screen pairing with Jamie, and his off-screen best friend Frazer Hines-the pair bringing out the best in each other. Any chance to see Troughton-this fine and much-missed actor- in a WHO story, complete or not, should be relished.

Adding to his Cyber legend opponents is the introduction of the massive and dangerous form of the Cyber Controller, as played by Michael Kilgarriff, taller than his subordinates and far more creepy and intimidating, who would play the part again in a story for the Colin Baker colour era in 1985. His frightening first appearance in Tomb delivers the classic line to the captured humans, voiced by a transistorized Peter Hawkins off-set- “You belong to us. You shall be like us…” Surely another one of WHO and television’s most memorable and sinister scenes. On a smaller, though less successful scale, there’s also the premiere appearance of those cute but deadly beasties the Cybermats, which also terrorized Matt Smith’s incarnation in 2011.

Another Cyberman emerges.

Written by Kit Pedler, scientist and journalist, and Gerry Davis, whose love for good old fashioned adventure yarns would make their way into WHO history, they make a fine duo pooling their not inconsiderable talents to first create the Cybermen at the end of the William Hartnell era (though its obvious that The Doctor has encountered them off-screen before even this story), and helping them become the Doctor’s second greatest nemesis, who, like the Daleks, always (thankfully) manage to escape total destruction. This third adventure featuring the creatures certainly cements the Cybermen’s deserved reputation as one of the Doctors deadliest enemies, a literal plague across the galaxy, in a story packed with great visual imagery and logical nastiness from them. Their legend lives on as they kick off the famous Monster Era of Troughton’s period.

The filmed sequences at Ealing Studios are first rate, though there’s a few limitations of the time in the majority of the video tape footage shot at the restrictive Lime Grove studios-most notably the odd boom mike appearance or shadows, the odd camera swerve showing an actor ready to arrive on cue, a slip on a set or the odd string on a prop Cyberman thrown across the room, but that doesn’t matter when you have a strong story to enjoy and an overall ambitious production to be applauded.

An iconic colour moment from a black and white classic.

Making fine use of effective atmosphere within confined and claustrophobic sets (black and white always brings out the best in the medium), with some good exterior location filming, too, alongside sound design from Brian Hodgson and the BBC Radiophonic Workshop that continues to resonate, Tomb is directed with stern efficiency by Morris Barry.  It definitely shows its sixties roots at times but is still a story much to be admired. Beyond its place in WHO-dom, Tomb would also have worked well as a memorable horror story, what with its army of undead coming back to life. It could have been a great HAMMER film, eh? Watching this four-parter unfold, you’d think Christopher Lee or Peter Cushing might turn up at any minute.

What Tomb lacks in great special effects it more than makes up for in its aforementioned atmosphere and cast performances-and one of the reasons why it would become so memorable after its original transmission, alongside what was considered at the time some quite strong violence for mid-sixties tea-time Saturday viewing.

Special Features: Two informative and fun audio commentaries from the surviving cast, an original introduction from the late director Morris Barry, an examination of how the classic story was restored to its former viewing glory using the innovative VidFIRE process, early B/W Patrick Troughton title sequence tests, a short but sweet part of the sixties Late Night Line-Up magazine show in which presenter Joan Bakewell talks to the BBC effects team about their work on shows like DOCTOR WHO, rare cine footage of the final Dalek war from the lost Troughton Evil of the Daleks adventure which preceded Tomb, info text, a very nostalgic mid-sixties WALL’S ice cream film commercial for Sky Ray ice cream sticks of Doctor Who and the Daleks, another fine Coming Soon trailer for the Tom Baker adventure The Face of Evil, PDFs, and photo gallery. New special features material included The Lost Giants-the making of Tomb: a fun look behind the scenes (with some especially notable CGI set renderings of the Cyber tombs and control room), The Curse of the Cybermen’s Tomb: a fun mini-doc in which historians compare the WHO story to the legendary real-life uncovering of King Tutankhamen and classic HAMMER HORROR, and the Cybermen: Extended Edition, in which writer/presenter Matthew Sweet takes a look at the evolution and history of the Cybermen through the classic and modern series. The clips for this are well chosen and edited, and there are some good observations made, but Sweet’s commentary and presentation are frequently annoying and too sarcastic for my tastes. This documentary deserved to be taken more seriously, with the presenting of the Cybermen in a more dangerous and darker light.

Clip: https://www.youtube.com/watch?v=nOrql7vzYWA&feature=relmfu and https://www.youtube.com/watch?v=I4vbf5nHo1I&feature=related

and http://www.youtube.com/watch?v=ZYrsY_iXoWs&feature=g-all-u&context=G2454923FAAAAAAAAAAA

THE THREE DOCTORS

Those all-powerful, galaxy observing Time Lords from the then as-yet unnamed Gallifrey find themselves on the very brink of destruction from one of their own: the revered and once believed dead, now revenge fuelled, stella engineer Omega, harnessing the dark power of anti-matter and aiming a bloody enormous black hole at them! With such an all-consuming crisis, those smart-alec Time Lords know they’ll need the help of their exiled Doctor. And not just one, but a multi-partnership timestream lift comprising three of ‘em!

Galactic Greats! William Hartnell, Jon Pertwee and Patrick Troughton.

Big ideas for a big story celebrating the shows landmark 1973 Tenth Anniversary, and that’s exactly what we get in the fairytale-like adventure that is The Three Doctors, a genius idea concocted by Who legends Producer Barry Letts and Script Editor Terrance Dicks whilst in the BBC Bar (of which so much great WHO would be created within it’s hallowed booze halls), from the always witty and imaginative penmanship of then writing duo regulars Bob Baker and Dave Martin. This is the first, most memorable and ratings busting multi-Doctor reunion story of CLASSIC WHO, and the type of story which the modern day series would find cheesy, or probably be afraid to do now. Starting off as a space lightning mystery, it becomes a grand dish that finally sends the first two monochrome Doctors into full colour, alongside the exiled to Earth, velvet coated, dandy/action figure of the distinctive and highly likable Jon Pertwee.

Doctors 2 and 3 encounter the legendary Time Lord Omega (Stephen Thorne).

In their sterling efforts to defeat the super mad-man in his negative domain, the tale definitely reveals itself to the Doctors as a colourful pantomime, working well as a post Xmas 1973 treat, especially in certain areas of its production design: notably its anti-matter universe environs and misty singularity well, but the lovable UNIT set-up and supporting cast, including the late, great Nicholas Courtney as a now almost comedic Brigadier Lethbridge-Stewart- a far cry from his earlier appearances in the series as a more realistic and efficient military man of the late Troughton/early Pertwee era- are first rate throughout, alongside a towering performance of intelligent but threatening gusto from Stephen Thorne as the tragic loony to be pitied, Omega, who would later re-appear to challenge the Doctor and the universe in the 1983 Twentieth Anniversary season story Arc of Infinity. Banished to another dimension, might he possibly rear his head for the upcoming Fiftieth Anniversary? Never say never.

Doctor 2 confers with the Brigadier (Nicholas Courtney) and Jo Grant (Katy Manning).

A strength and weakness in equal measure, there’s lots of archetypal early seventies WHO ingredients on display here, colourfully amped up in this Special Edition restoration: weird and wonderful monsters (the lumpy red Gell Guards), UNIT unsuccessfully battling the alien invaders, lots of quarry runarounds and explosions, and Jon Pertwee showing off The Doctor’s Venusian or Martian Aikido against aliens.  And we love it. Oh, and Katy Manning, as assistant Jo Grant, as well as being more comfortable and confident in her role than previously, looks absolutely sexy as hell in this story, too!

A quick peep outside from Doctors 2 and 3.

Director Lenny Mayne is clearly having a good time with the story, keeping the action coming fast and loose, whilst also allowing the actors to breathe and enjoy the storytelling celebration. Troughton the Second Doctor and Pertwee the Third, obviously rivals in character and out, work a treat together, and its just a shame that William Hartnell’s clever, sometimes playful, sometimes irascible and authoritative portrayal would be restricted to film cameo appearances only (due to sadly failing health prior to filming).

You certainly won’t be bored watching The Three Doctors, as the charming and delightful Doctors and companion camaraderie provide the much anticipated and delicious icing atop the proverbial Birthday cake.

Happy Tenth Anniversary, DOCTORs WHO!

Special Features: A delightful commentary from the late Nicholas Courtney and Barry Letts with Katy Manning, a look back to a BBC 1 Pebble Mill at One 1973 celebration of DOCTOR WHO with a fascinating interview with a very shy Patrick Troughton and effects man Bernard Wilkie, plus lots of classic WHO monsters, BLUE PETER’s 1973 celebration of DOCTOR WHO with a visit from Jon Pertwee in his then new Whomobile car, nice to see again 1990 highlights of the THREE DOCTORS talk from the BSB 31 WHO event, talking to Pertwee, Bob Baker and Dave Martin, Nicholas Courtney and Terrance Dicks, the trailer for the 1981 Five Faces of DOCTOR WHO repeat season, a reconstructed trailer from 1973 for The Three Doctors,  an under-rated trailer for the 40^th Anniversary DVD and video tie-ins for the series from BBC WORLDWIDE, info text, PDF’s. New specials features include Happy Birthday to WHO-another fun but short documentary on the making of the landmark story, Was Doctor Who Rubbish? – a nice little fan contributing programme which satisfyingly debunks all of ex-BBC 1 controller Michael Grade’s ridiculing comments about the show from a few years back (I hope the success of Modern WHO continues to stick in his crawl!), Girls, Girls, Girls – the 70’s, in which ex-companions Caroline John, Katy Manning and Louise Jameson have a Loose Women style talk about their life and careers in WHO- the trials and tribulations and legacy of being a WHO companion in that era of tea-time sex symbols, the changing face of feminism and television for women, and life working with the actors who played their Doctors- that’s enjoyable enough, and a photo gallery.

Clip: https://www.youtube.com/watch?v=TfTGVnk_XEU&feature=relmfu

and: https://www.youtube.com/watch?v=ptrqn9BZGiE&feature=relmfu

THE ROBOTS OF DEATH

It’s Agatha Christie meets Isaac Asimov-certainly Murder Most Foul- in concurrence to a robot revolution that are the two superb dramatic hooks of the classic four-parter from 1977:The Robots of Death, a tense and claustrophobic space murder thriller, starring curly haired bohemian intellectual Tom Baker in his magnetic, in–his-stride prime as the perennial Time Lord, alongside ex-savage now companion Leela of the Sevateem, played with beauty and independent spunk by Louise Jameson, a fine successor to the then recently departed Elisabeth Sladen. Back into a realistic devised sci-fi civilization, it’s one of the series finest adventures and certainly in my personal top-ten of all-time favourites from any era. Another definite showcase as to why the show has remained so popular over the years.

The Fourth Doctor (Tom Baker) takes on a new type of enemy in this adventure.

Chris Boucher’s second script of three for Baker is top notch, attracting first class behind the scenes talents including director Michael E. Briant and designers Kenneth Sharp and Elizabeth Waller, and future Academy Award nominee editor Tariq Anwar, alongside a supporting guest cast of super actors- seventies defining talent the likes of David Baillie, the gorgeous Pamela Salem, CALLAN’s Russell Hunter, SAPPHIRE AND STEEL/WHO veteran David Collings, and BLAKE 7’s Brian Croucher.

The art of murder. One of the robots of the title.

The art deco world our heroes are caught in-whose colourful corridors are soon smeared and tainted in a darker shade of blood red- is wonderfully realized for the small screen-a WHO tale memorably devoid of location filming- and the robots of death of the title are superbly created, providing many memorable images of thrill and spills in this sophisticated tale from Baker’s third season of the role, impeccably produced by the dedicated pairing of producer Phillip Hinchcliffe and script edited by Robert Holmes, masters of iconic tales full of dark plotting, well created atmosphere and exciting cliff-hangers. Robots is compulsive viewing and certainly lives up to the title and reputation of Classic WHO, then at the top of its popularity as the linchpin start of Saturday night TV viewing for the BBC 1 channel back in ‘77.

If you’ve never seen Classic WHO, this is the type of story that’s a fine place to jump in with, and defies the ages as a well-crafted piece of classic television. It’s a story that general viewers always remember from its original transmission. And quite rightly so…

Leela (Louise Jameson) and The Doctor within the art deco Sandminer.

Special Features: Two audio commentary’s (one serious from producer Hinchcliffe and writer Boucher, and one lively, from Tom Baker, Louise Jameson, Pamela Salem and director Briant), The Sandmine Murders- the best of the three Making Of Documentary’s of the box set, including contributions from the mighty Tom Baker (affectionately referred to as a “creative terrorist’ by guest star Brian Croucher), and presenting new information on the shows exquisite production and costume designs, Robophobia –Toby Hadoke, an affectionate look at Classic WHO’s robots, from this story’s murderous offerings to other weird and wonderful one-offs through the original series (though beware, the scenes of Hadoke dressed as a suburban housewife at one point may cause visual distress!), Studio Sound-a brief but interesting look at the undubbed voice of one of the robots as originally recorded in-studio, silent model shot footage both used and unused from the original filming, studio floor plans of the story’s sets, original continuity announcing of the opening episode, info text, photo gallery, PDF’s.

The Doctor's then new companion, Leela, as previously introduced in the story, The Face of Evil.

Clip: https://www.youtube.com/watch?v=eyD5ILDvYho&feature=player_embedded

and: https://www.youtube.com/watch?v=9lYsNQ5WJlY&feature=relmfu

OVERALL

All the stories in their new re-mastered makeovers look far superior than they did in their original DVD releases (in fact, some of those early 2000 discs have actually started to disintegrate!), and surely better than when they were originally transmitted, too, whilst sound restoration and the VidFIRE conversion process are first rate. Alongside all this are some smashing new bonus features that add informative weight and behind the scenes discoveries to the discs.

REVISITATIONS 3 is one of the most entertaining box sets for the series yet, and well worth the purchase.

OVERALL STORY RATINGS:

THE ROBOTS OF DEATH: 5 out of 5

THE THREE DOCTORS: 4 out of 5

THE TOMB OF THE CYBERMEN: 4 out of 5

All extras (new and old combined): 5 out of 5