The Pirate Planet
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(Doctor Who Story No. 99,
2nd adventure in season 16's Key To Time quest)
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In-Depth Analysis Reviewby Martin Izsak |
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. |
Douglas Adams is most famous for the humour he brings to his science
fiction offerings, but I think he deserves even more credit for putting
big, fascinating scientific concepts back into Doctor Who story telling,
the very kind of concept that had been slowly fading away during the
era of producer Philip Hinchcliffe (seasons 12-14). For one thing,
Adams is very keen on physics, and knows
how to have fun with its concepts and the major figures in its history.
In his first script here, Adams seems to be able to bring together both
the sci-fi ambition of Bob Baker & Dave Martin's writing style with the
enjoyment Robert Holmes shows for interesting characters.
On the whole, the story itself dealt with subject matter, settings and characters that were far more sci-fi and interesting to me personally, and it developed in grand and surprising ways. I wholeheartedly found it to be better than "The Ribos Operation" (story no. 98). Although "Ribos" had advanced much slower along the Key to Time Quest than I had hoped, I think "The Pirate Planet" allowed me to anticipate and relish each separate adventure along the quest to a far higher degree.
Dave Chapman is in charge of electronic effects for this one, and pulls off some exceptional soft-edged picture-in-picture mixes, not to mention great beam effects for the Mentiads, the Polyphase Avitron, and the defining style for K9's blaster. But the most numerous firings of beam weapons come from the guards' standard issue rifles, and these receive a most sub-standard red blob or diamond on the target only. This is a very poor choice for type of effect considering that about 80% of such shots fired are misses, meaning that the red blobs would belong out of frame most of the time, and leave nothing you can add in the frame itself.
The DVD version of this story is unique in presenting many surviving clips of raw film footage from this story, some of which didn't make it into the finished program. Nearly all of the extra clips involve laser battles fought with the guards' rifles, this time without the red blobs. Interestingly, the plain footage seems to get the idea across better, proving that director Pennant Roberts knew what he was doing with the camera angles, and it is easy to imagine how much better the story could be with better laser effects. "Earthshock" (story no. 122) and "Revelation of the Daleks" (story no. 143) definitely do not need laser effect upgrades anywhere near as badly as "The Pirate Planet" does. This story really needs to show the beams coming out of the muzzles, and either traveling completely outside of frame for many of the misses, or being reflected off of or absorbed harmlessly by the mentiads and/or their force wall. Simply having red blobs pop up in absurdly inappropriate places detracts from the story points that the script wants to make during these battles, and needlessly adds confusion.
I must add though, that I really like the sound effect for the guards' rifles, a very nice, echoing, "out-there" sound.
The acting is rather typical for the later Graham Williams' era, in
that the major characters are done quite well, while the extras and minor
characters appear too uninspired to be believable.
Clive Bennett is exceptional among the average citizens of Zanack featured in episode one, and it's a pity he is obscured in many of the crowd shots. Many of the other citizens, guards, and technicians are quite lacklustre, as are Mula, Balaton, Kimus, and Pralix during their time in the wonderfully colourful sets of their home apartment. The dialogue for them here is simply too whiney and unable to come to grips with the story points for my tastes; Pralix, Kimus and Mula fare much better once they move on to more adventurous settings.
Bruce Purchase's Pirate Captain, on the other hand, is a good old barrel of fun. Having him play off of Andrew Robinson's excellent Mr. Fibuli is key to the character's success, and the hidden layers that gradually reveal the Captain's more three-dimensional aspects are much welcome stake-raising surprises. Also of note is Rosalind Lloyd's Nurse, who slowly gains much strength after an exquisitely subtle entrance.
This story is rather neatly split in two, with the first half going to exploration and investigation, and the second devoted to an ever escalating struggle between the Captain's forces and the Doctor's party. The escalation is extremely enjoyable, logical, and well-written, coming to a climax in episode four with all the right energy for a Doctor Who conclusion. But as this gives way to the required relief of tensions, many story points, not to mention the villains themselves, still need dealing with. Adams takes care of everything before the end, but the sense of it lays mostly in dialogue, and the final dispatch of the villains and their lair cannot match the level of excitement that the earlier struggle commanded. This is in fact the only story in the Key to Time season that doesn't show its allotted Key segment transforming back to its natural state. It seems to be a bit of an anti-climax, but the anti-climax portions are actually quite short compared with what came earlier, so the structure isn't too far off, and one can't complain too much.
In the end, "The Pirate Planet" is one of the most enjoyable stories
of the Key to Time season, and a great gem of the Graham Williams' era.
An easy contender for best story of the season.
Single Story versions:
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