DVD Extras include:
- Audio commentary by Nicholas Courtney (The Brigadier),
John Levene (Sgt. Benton),
producer Barry Letts, & script editor Terrance Dicks.
- "Can you hear the Earth scream?" making-of documentary
- "The UNIT Family, part 1" featurette
- Visual effects promo film
- Deleted scene
- introduction from "The Pertwee Years" VHS Tape
- Pop-up Production Note Subtitles
- Photo Gallery
- DVD ROM Doctor Who Annual PDF
In-Depth Analysis Review
by Martin Izsak
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WARNING: This review contains "SPOILERS", and is intended for
those who have already seen the program. To avoid the spoilers,
read the Buyers' Guide version instead.
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This story is a true achievement. The Jon Pertwee Era appears
to be peaking early, and I'm going to wholeheartedly agree with
high-profile Doctor Who reviewer Gary Russell that this is Pertwee's
all-time best Doctor Who story - even if my criteria are different
from his, "Inferno" still wins hands-down. This story is almost
as environmental and "green" as
"The Green Death" (story no. 69), yet it cleverly
disguises itself in oranges and reds instead. Director Douglas
Camfield literally burnt himself out turning this into a real
masterpiece. But most importantly, "Inferno" makes a serious
metaphysical statement, somewhat underplayed by the dialogue
perhaps and not foremost in the conscious mind of the average
viewer as a result, but through superb demonstration it hits home
on the emotional and subconscious levels.
"Listen to that! That's the sound of this planet screaming out
its rage!"
Just what metaphysical statement am I talking about? It has
been said that our Earth was headed for destruction had it continued
down the same timeline it was on throughout most of the 1970's, and
that some time around 1981 - 1982, the human race chose a new path
with a more successful resolution of old issues. Many of these old
Jon Pertwee stories from the 70's showcase the sadness and frustration
felt by those who grasped the reality of where we were headed socially:
into a global apocalypse of conflict. Malcolm Hulke's work as a whole
stands out particularly well on this issue. However, no one story
truly encapsulates the idea better than "Inferno", where the Earth's
destruction can be fully experienced and at the same time relegated
to a parallel timeline, while the reality of our new choice for a less
destructive resolution of conflict has the approving stamp of being
the "true line" of present-day history.
"The TARDIS console slipped me sideways in time...."
Also, if the Doctor's character can be seen to grow and develop
throughout the 30+ year history of the show, it is here in "Inferno"
that he demonstrates his biggest breakthrough. John Lucarotti's
novelization of "The Massacre" (story no. 22)
makes plain the early Doctor's "fatalist"
view of time travel, a limiting trait that can be seen to bring out some
of the most anti-heroic behaviour from the Doctor in nearly every old
historical story of the program's history. The story dynamics improved
as this old conundrum was abandoned along with the historical settings
that usually brought it on. However, there's no better medicine for
that fear of changing history than a good parallel universe to prove
that EVERY history has its place, and that ALL of them coexist
simultaneously. The experience of one history does not erase the
existence of another. It still remains to be seen, however, how
well the Doctor truly understands this, or how long this impression
will last in him.
"Yes, of course, of course.... An infinity of universes....
ergo, an infinite number of choices....
So free will is not an illusion after all!
The Time Lords may have conquered Time and Space, but they still have
something to learn about freedom of choice. "Inferno" makes a pioneer
out of the Doctor, as he leads this exploration of a new frontier. And
ultimately he is a much better hero because of this new philosophy.
So, to disagree with Susan's dissertation to her science teacher in
"An Unearthly Child
(story no. 1),
the fifth dimension isn't "space".
"Space" is already covered in the first three dimensions, thank you!
If the fourth dimension is "time", as measured by clocks and calendars
the way any normal person would think of it, then the fifth dimension
is most easily described as "CHOICE", that which can slide us across
parallel universes to any imaginable outcome. Every choice and deciding
thought creates a small movement through that fifth dimension. The
pattern can be chosen!
"What did you expect? Some kind of space rocket, with Batman
at the controls?"
No complaints about the TARDIS in this story, with it making
plot-critical appearances in six out of seven episodes. Well, we
still only get the console, but lets face it, that's where all the
action is today. Surprisingly the TARDIS is at its best not during
the critical shifts between universes, but during the demonstrations
in episodes one and five. The familiar dematerialization sound
is most often present and mixed in with other excellent Brian Hodgson
creations both old and new, and for the story's only true
materialization in episode five, the satisfyingly reversed and
over-echoed sound from
"The Invasion" (story no. 46) is used once again.
Mirror, Mirror
The parallel universe / altered-regular-cast concept is not
totally new, as the classic
Star Trek episode "Mirror, Mirror"
predates "Inferno" and may have helped inspire that aspect of the
story. What is very curious are the reports I've read that
one of the early drafts was four episodes long and contained
none of the parallel universe material. That would make
the expansion of "Inferno" to seven episodes, complete with alternate
versions of Benton, the Brigadier, and Liz Shaw, one of the most
marvelous upgrades ever masterminded for the program. Archive
notes from Andrew Pixley indicate it didn't actually happen this
way, though. In any case, "Inferno" needs its parallel universe
to remain a powerful story.
"Well, I didn't know he'd go off like that! The man's so
infernally touchy!"
As excellent as "Inferno" now is all the way through, it is
interesting to watch the quality of the dialogue evolve with each
episode. The guest characters are a bit on the stereotypical side
in this story, which is not particularly a bad thing as the script
and the production team know what to do with them, but they're
not quite as fully or as sympathetically developed as those in
"The Silurians". Early on we get a lot of short-tempered clashing
between them, and when faced with this situation, the Doctor appears
to be choosing to aggravate matters often instead of coming to the
point of his argument. He's only humanoid, after all.
"I've told you the truth! If your minds are too narrow to accept it,
that's not my fault!"
As the story runs its course, however, the dialogue gets better
and better - the arguments get to the point, and rely less on empty
style and flourish. Also, unlike "Silurians", the characters here
do eventually learn to see the world from the eyes of those around
them: Sir Keith Gold is good at that from the beginning, Section
Leader Elizabeth Shaw and the Brigade Leader take their stubborn time,
but do eventually come to believe the Doctor's story, and Greg Sutton
and Dr. Petra Williams overcome their differences to find common ground
in the classic male/female way in both universes. Lethbridge Stewart
doesn't like Miss Shaw's rebelious tone in either universe, but this
is at least resolved with humour in one.
"You know you really do look better with that mustache!"
Nicholas Courtney's performance as the good old Brigadier is
as enjoyable as ever, and he even manages to remain extremely
charming when yelling an order to Sergeant Benton to drag in
Professor Stahlman. Courtney also does a good job as the Brigade
Leader, although this is not quite as polished: his final scenes
in the hut leave something to be desired in terms of making the
action seem believable.
Jon Pertwee is at the top of his form all the way through,
and Caroline John also turns in top notch performances in both of
her roles, although a stiffer Liz Shaw may not have been too great
a stretch for her.
John Levene has appeared twice before as Sergeant Benton in
"Doctor Who", but this is the story in which he truly earns his
place as a series regular. The dynamics of the parallel universe
story-plot that make "Inferno" what it is DEMAND alternate versions
of character exposition, so we get to see a lot of what makes the
good Benton tick, in order to contrast it with the parallel bad-Benton.
Levene is truly excellent in both roles, and even gets a chance to
play a monster again as he had also done before on Who - his
best monster performance is his last one here. From this story
onwards, Benton would remain recognizable to the mainstream audience.
The guest characters sport less differences from one universe to
the other. Derek Newark, last seen taking over the tribe in
"An Unearthly Child" (story no. 1)
as Za, is much more civilized and enjoyable here as
Greg Sutton, and possibly even more energetic to boot. The director's
wife, Sheila Dunn, has graduated from bit roles like Blossom LeFavre in
"The Dalek Masterplan" (story no. 21)
and voice-over roles like the receptionist computer in
"The Invasion" (story no. 46)
to bring Dr. Petra Williams to life,
solidly and sympathetically. Dr. Williams is a strong character,
deflecting Sutton's obnoxiously obvious early come-on in episode one
with a great deal of charm, learning to take charge when necessary
as the high position she has earned allows her to, and having the
most crucial, proactive role of technical expertise in the main plot
throughout episode six's dramatic conclusion - she is a showcase of
the best of women's lib, while remaining female in character and
likeable to boot. Christopher Benjamin, perhaps better known for his
role in
"The Talons of Weng-Chiang" (story no. 91),
is I think even better here in
"Inferno" where he seems perfectly cast as the likeable, almost
over-sensitive Sir Keith Gold. Olaf Pooley gives a tour-de-force
performance as Professor / Director Stahlman. Even though the mad
scientist is scripted to be a little one dimensional, he greatly
succeeds as a character where Zaroff of
"The Underwater Menace" (story no. 32),
or even Robson of
"Fury From the Deep" (story no. 42) do not. His motivation
to succeed in producing energy for the British government is
easily understandable, as is his emotional vulnerability if his
theories should be proven wrong. Pooley also makes a great Primord
monster as well, demonstrating ability to act outstandingly through
any amount of odd make-up, prosthetics, or costumes. Curiously
though, while the conversion to a Primord involves massive growth
of new, extra hair all over the body, Professor Stahlman somehow
manages to LOSE his mustache! Maybe this has something to do with
the larger nose squeezing the upper lip out of existence.....??
And speaking of Primords, let's not forget the minor character
of John Bromley (Ian Fairbairn), who, while never really having a role
greater than that of the token victimized extra, manages to have his
role stretched over six of the seven episodes until he becomes something
of an iconic symbol for the story. The image of him is captured on the
cover of the edition of the novelization that I happen to have, helping
him to stand out even more in my mind.
Director Douglas Camfield gave his all on this story, providing
it with much of its edge, ensuring that the acting is on par, that the
action remains gripping and exciting, that even without Dudley Simpson
the soundtrack contains the right mix of music and ambience to convey
the right mood for each scene and sequence, and that the cameras are
always in the right places at the right time to give the audience
an interesting and understandable view of a story that keeps moving
at a good pace. In fact, he focused so much of his energy on this
project that he made himself ill, and producer Barry Letts had to
take over to finish up much of the studio recordings. Which scenes
are Barry Letts'? For years, I wasn't been able to tell; they match
up so seamlessly with all that had gone before. Only with the recent
acquisition of Andrew Pixley's archive notes have I been able to set
myself straight. A truly excellent directing job by both participants!
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If Delia Derbyshire ever deserved a credit for Doctor Who,
it is here for "Inferno". Not only is she the mastermind behind
the realisations of the infamous theme song from 1963 to 1979,
her "Delian Mode" track sets the mood for the exploration of
parallel universes and ancient geology in this adventure, while
her "Blue Veils and Golden Sands" track helps back Stahlman's
mad obsessions in episode two. Brian Hodgson also makes significant
contributions, beyond the brilliant montage of new sound effects and
old reused ones: His "Floating Through Space" track composed for
"The Wheel in Space" (story no. 43)
had already been reused at half speed for the White Void in
"The Mind Robber" (story no. 45),
and now it resurfaces for "Inferno", dropped
approximately four semi-tones this time, backing scenes of half-human
half-Primord characters to emphasize for us that something just isn't
right with them. Also of note is a "Heat" track of low white noise
with slow, steady, metallic percussion which gets used very often
and, along side "The Delian Mode", best symbolizes the story musically.
(Find out more here.)
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"There's nothing we can do! Is that right, Doctor?"
"You're seriously ill; you've been infected!"
Once more, the third Doctor displays several of his least
effective traits, but thankfully these are kept to something of
a minimum in this story. His "Doomsayer" tactics are evident
once more, emphasizing the eloquent statement of problems to
be more of an achievement than it ever really is, and secondary
hero Greg Sutton is quick to jump aboard the bandwagon with him.
However, since the plot of "Inferno" follows through on the
consequences of those problems, the "Doomsaying" is not as
out of place here as in other stories, and the Doctor does promote
solutions as well where appropriate.
"If we get you back, Doctor, you'd better make darn sure they stop
their drilling. I'd hate to think this was all for nothing."
The "Man of Sleep"
apparently returns for the first part
of episode seven, threatening to waste the sacrifice that his new
friends in the parallel universe made for him. This is shaky ground!
However, the Doctor's actions before and after, combined with
the emotional weight of his experiences and his philosophical
breakthrough, justify his unconscious screen time this time around.
"Stop this infernal drilling!"
Sir Keith is poised to do just that, suspending the project
pending a full inquiry, by authority of the minister, yet when it
comes down to the final crunch, he waffles and says he has no
authority! Well, what else was that hair-raising, time-consuming
trip to the minister for, then? Surely the minister revoked
Stahlman's authority! However, it is left up to Stahlman to
graphically convince our protagonists that their judgement is
far better than his own.
The Professor is slightly more humane and conscienscious
than his parallel "Director" Stahlman counterpart. Where the
Director recruited a team of fellow Primords-to-be in episode
five, the Professor goes it alone when his time comes. Even
the villains are more compassionate in the true time-line,
thankfully!
"Nothing like a nice happy ending, is there?"
"Now come along, dear fellow. Put on a smile!" :-)
The season comes to a close with a scene full of humour,
good cheer, and comical conflict for the series' regulars. The
Doctor attempts his usual heroes' exit, but thankfully the
results are a little atypical this time around, lending to
greater entertainment value. A great finish for a classic.
"....Degrees in medicine, physics, and a dozen other subjects.
Just the sort of all-rounder I've been looking for."
Season Seven has got to be one the most successful years
of the Doctor Who program, especially in raising the maturity
level of the show's content, scripts, and production values.
Although the writers felt they needed to replace Liz Shaw with
an assistant who requires constant, simpler explanations from
the Doctor, I don't truly believe this really was to help the
audience understand what was going on. Season Seven just didn't
have that problem, and is probably the most easily understood
year of stories in any of the first three Doctor's eras. Liz
Shaw's assistant character worked extremely well for the audience,
but probably required more effort from the writers. While they
opted for a simpler and easier assistant character to write for,
they also sadly left the peak of the maturity level of the scripts
behind as well.....
Season Seven Rankings:
Best Stories:
Inferno
The Silurians
The Ambassadors of Death
Spearhead From Space
Best Directors:
Douglas Camfield (and Barry Letts)
Timothy Combe
Derek Martinus
Michael Ferguson
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Best Writers:
Don Houghton
Malcolm Hulke (The Silurians / The Ambassadors of Death 2-7)
Robert Holmes
David Whitaker
Trevor Ray (The Ambassadors of Death 1)
Best Music:
Dudley Simpson (The Ambassadors of Death)
Delia Derbyshire and other library tracks (Inferno)
Dudley Simpson (Spearhead From Space)
Carey Blyton (The Silurians)
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"Inferno" is now available on DVD and VHS video:
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DVD NTSC
Region 1
for the North American market:
in the U.S.
in Canada
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DVD PAL
Region 2
for the U.K.
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VHS Video
NTSC
for North America
PAL
for the U.K.
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