THE FRINGE FANTASY FILM SHOW

NEW SITE FOLLOW THIS LINK !

2007-01-02T00:04:00.000Z

My new website can be found on http://cultretro.blogspot.com/ , it will be updated shortly as we kick off and look back at the timelords 2006 Christmas adventure.

Goodbye .......................... and welcome.

DOCTOR WHO – THE RUNAWAY BRIDE, YULE VIEWING, COOKERY PROGRAMMES & A CHANGE OF SCENE…….

2007-01-01T18:10:00.000Z

HAPPY NEW YEAR 2007 !

In 2007 I hope to do two things, firstly move to the new blog format. I haven’t checked what the score is just yet but am sure will be worth it. Looks like there is a click and drag facility, thank fuck for that.

The copying and pasting as couldn’t drag the respective pictures to the accompanying text has been a nightmare at times.

As well as that I also want to focus on Doctor Who stories when shown in the spring and review them without, and I repeat, without, spoiling it for those outside the u.k.

I will tease terribly but won’t spoil much. However those that want very little to do with the reviews as want the opportunity to find it all out for themselves then go away elsewhere or try to avoid them.

Yule viewing this year has been shite as usual, currently, and for the past two years, I have favoured ‘selective’ viewing where I watch film, retro television, catch up with the news via the web and watch the odd programme on DVD that I have recorded a while back. To rely on the mainstream for decent entertainment is just nigh on impossible, and always will be.

I did try, I believe it was Christmas Eve, to watch in ‘real time’ what the channels had to offer and found the whole thing a traumatic experience resulting in a screaming headache and delirium induced by hyper active imagery.

BBC4 go to the top of the class – you saved my viewing life! Not only did you treat us to an M.R James adaptation, the excellent ‘Number 13’ but showed Fanny Cradock at Christmas as well.

Whether you think of her as bastion or bitch, I can honestly say I learnt more from her over 5 shows than any current cookery programme rammed down our throats.

The differentiation between then and now is as far as I can tell lies purely with the ego.

Whether Fanny is acting or not, she cared about the audience and was more ‘personal’, cosier and focussed on what would be easiest way for us to create a recipe and of course, the food.

Currently, I am in no doubt that all TV has become is a haven for chefs to do rain on parade. They seem to be more obsessed with personality upstaging than how tall a soufflé will rise.

Whether catty troll Worrell-Thompson who I cannot stand or Ainsley-Harriot camply gurning and buffooning in the kitchen all these displays are not for the benefit of the viewer but more for their egotistical ends and of course how much money they can drain from the licence fee . Food is second best for the modern chef as long as the limelight is on them.

Gordon Ramsey is an exception and although I can’t handle Jamie Oliver he still provides some interesting information about the food he’s cooking, he’s also saved a few potential coronary cases in the process.

The rest are prima donnas, I wish would vanish from the media altogether. I am interested in the history of the dishes I am cooking, the best wine to drink with it, tips and ideas to save time etc. I am not interested in ponce and the whole ‘I am more likeable than you; buy my range of shit for sale’.

I suppose with Fanny she already new she had personality and charisma by the bucket load with her contemporaries they tend to have to ‘manufacture’ their image so all we get is falseness and ‘family friendly’ pretence as beneath the scripted banter and staged antics they are seemingly quite dull things in reality.

Fanny was pretentious but never pretended she was anything else. What you saw is what you got and the same goes for her cookery too. Cradock, I feel, cooked because she genuinely had passion for the subject and I feel, although it no doubt brought in a lucrative income, this shows.

Fanny did it for, first and foremost, passion for the skill where she had become master, modern chefs do it for their own wallets firstly, their image secondly and the cooking comes later on somewhere.

I understand Hugh Fernley Wittingstall mocked her techniques at flamboyancy stating it was borderline pretence and ludicrousness. This is from the man that cooked a placenta and eats it; give me blue egg canopies not a fistful of afterbirth any day. He’s another annoying wannabe and is unaware how generally piss offable his o.t.t excitement is.

If you missed Fanny Cradock cooks at Christmas then you missed a real retro treat.

The purity of basic, good cooking has been ‘glamoured’ by vulgarity. So despite the date of 1975 and brandy butter being vibrant green, and real cream being used (!!) it was refreshing to see a programme that was so absorbing.

Fanny was fascinating herself to watch, anyone capable of cooking under hot boiling lights in an evening dress and still is seen to be smiling at the end of it deserves kudos by the vat load.

I wish they’d scrap the modern cookery programmes and repeat these old ones, more eggs – fewer egos please.

The other exception to the overall tinselled tat was the Yule special episode of Doctor Who…….

This is where we finish this section of blog history and start anew, I hope this transition will be with ease as I am always dubious about changing things and then being disappointed, but it will be worth it for 2007.

Thank you for reading this in the past and for all your lovely comments, can I wish everyone a sterling 2007 and hope it brings peace, prosper and pleasure.

As soon as I have a ‘play’ and get started I will let you all know on this space. The retro TV strand will continue but will evolve and change.

How we started with sword and sandal and end up with celebrity chefs is beyond me but goes to show the diversity that this blog will always champion for.

Here’s to another 12 months……………………….

Fringe Fantasy Film Show x x x

XXXX. INTO THE LABYRINTH SEASON THREE

2006-12-30T21:14:00.000Z

This is the low down for season three of Into the Labyrinth, it wasn't all bad for this last lame attempt but the steam had run out and it demised in a short span similar to the classic Doctor Who serial did in the long; by losing it's respect somewhere along the way and becoming farcical pantomime.

The cast of regulars were; Chris Harris (Lazlo) and Pamela Salem (Belor) with Howard Goorney (Bran), Simon Beal (Phil).

Designer: John Reid
Music: Sidney Sager
Producer: Peter Graham Scott
Executive Producer: Patrick Dromgoole

Episode

T.X Date:

Piece of Fantasy/History

Gallery of the Season

Any Good?

With 10 = c’est Magnifique, and 1 = c’est Merde !

Wednesday, 28^th July 1982, 4.45 p.m – 5.15 p.m

Treasure Island, Long John Silver.

Wednesday, 4^th August 1982, 4.45 p.m – 5.15 p.m

Dr Jekyll and Mr. Hyde

Wednesday, 11^h August 1982, 4.45 p.m – 5.15 p.m

The Inca Civilization / Conquistadors.

Wednesday, 18^th August 1982, 4.45 p.m – 5.15 p.m

Great Fire of London

Wednesday, 25^th August 1982, 4.45 p.m – 5.15 p.m

Phantom of the Opera

Wednesday, 1^st September 1982, 4.45 p.m – 5.15 p.m

Kublai Khan.

Wednesday, 8^th September 1982, 4.45 p.m – 5.15 p.m

Excalibur and the legend of King Arthur.

XXXIX. INTO THE LABYRINTH SEASON TWO

2006-12-30T20:22:00.000Z

Here is the low down for Into the Labyrinths' second series. This was the best out of the 3, as everyone knew their parts by now and all play the characters with the greatest of conviction.

The season 2 Regulars were; Ron Moody (Rothgo) and Pamela Salem (Belor) with Lisa Turner (Helen), Simon Beal (Phil), Simon Henderson (Phil).

Devised by Bob Baker & Peter Graham Scott
Designer: John Reid
Music: Sidney Sager
Produced and Directed by Peter Graham Scott
Executive Producer: Patrick Dromgoole

Episode

T.X Date:

Piece of History

Gallery of the Season

Out of Ten

Monday,3^rd August 1981, 4.45 p.m – 5.15 p.m

Ancient Northern Europe , Nordic myth.

Monday,10^th August 1981, 4.45 p.m – 5.15 p.m

At the time of King James I.

Monday,17^th August 1981, 4.45 p.m – 5.15 p.m

American history with a familiar face from classic U.K soap opera Emmerdale, playing gun happy retard 'Davey Crockett'.

Monday,24^th August 1981, 4.45 p.m – 5.15 p.m

Mystic India.

Monday 7^th September 1981, 4.45 p.m – 5.15 p.m

Victorian London at the times of Holmes etc,etc.

Monday 14^th September 1981, 4.45 p.m – 5.15 p.m

Great siege of

Malta

in 1565.

Monday 21^st September 1981, 4.45 p.m – 5.15 p.m

Ancient Egypt.

XXXVIII. INTO THE LABYRINTH SEASON ONE

2006-12-30T19:50:00.000Z

This is the low down for Into the Labyrinth : Season One .

The regular cast were ; Ron Moody (Rothgo) and Pamela Salem (Belor) with Lisa Turner (Helen), Simon Beal (Phil), Simon Henderson (Terry).

Devised by Bob Baker & Peter Graham Scott Designer: John Reid Music: Sidney Sager
Directed and Produced by Peter Graham Scott Executive Producer: Patrick Dromgoole

Episode

T.X Date:

Piece of History

Gallery of the Season

Any Good ?

Outta Ten with 10 = c’est Magnifique, and 1 = c’est Merde !

Wednesday,13th May 1981, 4.45 p.m – 5.15 p.m

Contemporary, modernity sets the scene….

Wednesday,20th May 1981, 4.45 p.m – 5.15 p.m

Back to the Druid time for our trio.

Wednesday,27th May 1981, 4.45 p.m – 5.15 p.m

Mediaeval England for the three as they meet the ‘real’ Robin of Loxley.

Wednesday, 3^rd June 1981, 4.45 p.m – 5.15 p.m

A tale akin to ‘The Arabian Nights’.

Wednesday, 10th June 1981, 4.45 p.m – 5.15 p.m

Set at the time of roundheads and cavaliers.

Wednesday, 17th June 1981, 4.45 p.m – 5.15 p.m

Off to Paris at the height of the French Revolution

Wednesday, 24th June 1981, 4.45 p.m – 5.15 p.m

The final stop, Ancient Crete.

XXXVII. INTO THE LABYRINTH (1981-1982)

2006-12-30T18:53:00.000Z

In the 1970’s, HTV who served the West Country Broadcast in England, churned out some exceptional tales for the young audiences.

It gave us ‘The Clifton House Mystery’, ‘King of the Castle’ and the surreal fantasy chiller ‘Sky’. These supernaturally steeped serials were more mature than there intended audience and proved to be classic examples of British telefantasy not just singularly lame children’s drama.

Into the Labyrinth was an absolute gem and a fine example of the last of it’s’ kind. It still seems to have a mature undercurrent despite the serial lapsing into immature farce by its last season with only the female lead holding the events together with any credibility.

The series drew on the remarkable acting capabilities of the two lead protagonists played by Ron Moody and Pamela Salem. Both were cast in the roles of the adversary sorcerers Rothgo and Belor.

The first series began in 1981 and was shown in the 4.45 – 5.15 p.m slot. It was another gift to the young television audiences from producer Patrick Dromgoole and this time the story editing was achieved by Bob Baker, a familiar name in science fiction due to his story input with Dave Martin on a number of Doctor Who stories.

What is noticeable it’s the catchphrase ‘I deny you the Nidus!’ , shrieked at the end of every episode as Belor scatters the object through time setting the trio of adventurers onto their next encounter.

In most of his scripts for Doctor Who the trademark ‘mantra’ is also evident, ‘The Quest is the Quest’ (Underworld) and ‘Contact has been made….’ (The Invisible Enemy) immediately springs into the mind.

The three young leads are that of Helen, Terry and Phil. In the first season it seems they are a very fresh to their acting ability. They ‘look’ as though they are acting, they don’t seem to be the part, if this makes sense?

One noticeable flaw is Helens leap from true Cornish 'oooo-arrrrrr' stereotype to Chelsea grammar- within minutes; this is as much of interest to note as anything else. Something like this in modern television simply would not happen.

I suppose at least an attempt was made at local dialect. More promising was the outdoor filming using the mythical areas of Avebury and the Tor in Glastonbury. Both locations were wisely used before in Children of the Stones and Sky and that adds to the mystique of the drama.

Such rare places of mystery that still survive still manage to somehow conjure up another 'mystical' dimension without the assistance of the CGI or flash sfx because the atmosphere and locality, the depth of vistas and areas of enchantment can already be found. Children of the Stones has to be the nadir of this as much time was spent appreciating Avebury in the direction on location.

Such magical places seem to permeate the lens , the story, the actors and actresses, the feel and you might as well say the whole series as a whole. Into the Labyrinth does not feature any languid spectacles of outside broadcast but when it did it couldn't of chosen a better locality. Glastonbury, I consider , one of my personal 7 wonders I have experienced, I will always love Glastonbury.

Not the festival, but the town, go there one day but avoid the time of the aforementioned display of crude, mass marketing, it is glorious otherwise. I haven't been there in 2 years or more and I hope it hasn't gone to seed like most villages abandoned for the urban favouritist costs.

The thought of a fast food diner or a big supermarket or something just as gut sickeningly awful , bleeding the surrounding area dry of character, makes me want to weep.

Back to Into the Labyrinth and by the second series the juvenile actors and actresses seem well settled into their roles and eager to reprise and sacrifice all for Rothgo again.

The blueprint of this serial provides plenty of historical scope for the writers involved. Certain episodes take part at key moments in history and despite the meagre budgetary restrictions create quite vivid, atmospheric set pieces.

Another winner is the main leads different acting skills on display. Using the same actors but providing them with different characterisations also adds to the magic of the programme as well as demanding calibre from the star performers.

Despite the disguises of Rothgo and Belor being glaringly obvious who they are, it still doesn’t steer away any of the interest, as the acting skills are just as intriguing as anything offered to the eye.

Another triumph was Sidney Sagers haunting theme for Into the Labyrinth. A haunting vocal echoes, seemingly, around the cheddar gorge interior as Sager creates a gentile but very eerie melody.

I did note that this theme changes during season 2 and sounds awful, the haunting voice becomes really amateurish; it is as though the final version had got muddled with the demo and the latter made its way to the final cut.

Sagers' music doesn’t alter throughout the series fortunately and supplies ‘meat on the bone’ where necessary.

Surprisingly, irrespective of the vintage, 'Into the Labyrinth' features some decent ‘fast-paced’ direction, a usual hold back for it’s’ age. The battles between Rothgo and Belor are also very entertaining. Salem sports a tight black Lycra number and seems in her element as the cackling but enchantress.

The special effects are basic but most of the fight sequences are expertly choreographed din comparison to the bargain basement C.S.O and ‘spark’ overlay energy bolts. One however cannot admire the way Belor glides across the craggy interior, which has a natural unearthliness all of its’ own.

The C.S.O opportunity was milked for nearly all it can offer, the instances where the children enter the vortex is now cosily kitsch and still exciting after all this time.

Despite the series bearing a ‘younger audience’ in mind unlike its other stable mates, Into the Labyrinth doesn’t fall short on the chills.

Whenever the children go time travelling there is some truly unnerving maniacal laughter, it sounds like a genuinely disturbing audio recording to one hell of a ghost train ride, accompanies their journey through the vortex.

Another memorable instance of scare is Belors' face superimposed over a skull like stalagmite whilst chanting ’Perish….’

An obvious connection to Doctor Who was the choice of writers, due to this wise selection the scripts never fail John Lucarotti used to supply some first class efforts for early Doctor Who ‘historicals’, another writer is Bob Holmes , the writer who churned out arguably some of the best Doctor Who stories for the show.

It is no wonder then that the series was relatively successful, and another two series followed.

The third series did change quite radically; a big gap is made by the exit of Rothgo and the introduction of Lazlo. Lazlo was totally unbelievable and was a character that seemed to have strayed in from a third rate pre-school kiddie show. I believe the actor used to be a kids t.v presenter and is totally miscast.

Pamela Salem reprises her role as the evil one and thankfully makes the offering from season 3 just about bearable.

Phil returns but the other two young dimensional travellers have been left out this time around making the show more ‘emptier’ than before. Another change in the writing style enabled ‘fictitious’ characters to be brought into the show for Phil and Lazlo to encounter. This provides shitty parodies of old literary Goth such as ‘Dr Jekyll and Mr. Hyde’ and ‘Phantom of the Opera’.

As Lazlo has his sidekick Phil so Belor has one in this season, an annoying little old man called Bran. He provides the ‘humour’ element that is so unnecessarily needed in this current run.

As you can see, as well as the inspiration behind some of the stories for season 3 being a bit decrepit, it had been parodied practically to death too, even by early eighties standards.

The final series wrapped up conveniently and the possibility of more Into the Labyrinth never surfaced.

So let’s rewind, the first episode of Into the Labyrinth which was first broadcast 13 May 1981 in the United Kingdom was titled Rothgo.

We learn that Rothgo is a powerful sorcerer that once held the amulet of his power called the Nidus. At odd with the force of good is that of evil represented by black sorceress Belor.

In a confrontation with Belor , Rothgo lost the Nidus into the Labyrinth, a maze of time. The longer Rothgo is without the Nidas the more he begins to degenerate. As Rothgo is too weak he enlists the help of three children Phil, Helen and Terry to retrieve the Nidus. Belor too has designs on the powerful amulet and intervenes in any way possible to gain the power and defeat Rothgo.

The Nidus can also be any object and can only be recognised by its reflection, the children’s task is simply to enter the labyrinth and bring it back despite jeopardising their lives and being trapped in time forever.

In the second series we learn that Belor has created the Albido a foil for the Nidus but in a struggle with Rothgo her talisman of evil is destroyed and the Nidus is once more sent hurtling through the dimensions.

This time the Nidus is shattered into segments and the children are whisked off to different adventures to retrieve the pieces until good overcomes bad.

In the third series we saw Phil being contacted by the good spirited magician Lazlo. Lazlo needs Phil’s help in obtaining the Scarabeus bracelet to prevent his illness of rapid decay spreading any further.

Phil also finds that he and Lazlo exist in Delta Time where fiction exists as a reality. Their first adventure on the quest for the Scarabeus starts with pirates and long john silver etc, etc, yawn, etc and goes rapidly downhill until the last credit.

It is a shame the makers of Into the Labyrinth didn’t believe in ‘if it’s not broken why fix it?’ especially when it is done disastrously so.

Although these changes to season 3 did refresh a stale format it did dent the quality affecting all involved and shamefully reduced it into nothing more than just another silly kids' programme.

I don’t think I am being too harsh, I love the Tomorrow People and it is high up their in my personal TV heaven land but I would not contest that the last story/last series is really, really awful. I guess this applies to ‘Into the Labyrinth’.

Unfortunately Rothgo and chums had a limited repeat on The Children’s Channel way back in the pioneering days of satellite television since its first airing.

Also the series played on the Nickelodeon channel as part of their spooky anthology umbrella ‘The Third Eye’ but I believe only the first was shown. Series 1 did surface on an NTSC VHS video (Video Gems), but that really all there was to the merchandising of the programme.

In dire need of TLC and then a DVD release, ‘Into the Labyrinth’ stays in the dark on an unsuspecting, retro-friendly public. It’s such a shame you won’t be able to see Belors ‘big hair’ in season 3 that seems to 'erupt' more folicles each time a bad deed is done. Wonderfully retro, love it.

XXXVI. ARMCHAIR THRILLER : 'QUIET AS A NUN' (1978 ITV)

2006-12-16T23:38:00.000Z

Armchair Thriller replaced Armchair Theatre, and this time went heavier on memorable chills than standard thriller fayre.

The series premiered in 1978 and lasted until 1980. Its ratings were phenomenal and peaked at approximately 11 million and still were delivering the goods until it’s sudden vanish from the schedules.

With the first season receiving praise from the critics and public alike a second series was soon to follow. This was a little weaker but did feature some decent outings, Ian Mckellens' terrifically tortured performance in ‘Dying Day’, springs immediately to mind.

One tale has stood the test of time and still is chillingly recalled despite the series never being repeated or available on video or DVD format.

Quiet as a Nun was written by Antonia Fraser and was first published in 1977. The story was the first to feature the character of Jemima Shore, daytime chat show host and sleuth by night.

Julia Jones translated the book to the small screen with great accomplishment and eventually Thames began producing the 6 part story for its’ Armchair Thriller umbrella show.

The sophisticated, attractive ‘Maria Aitken’ took on the role of Jemima Shore and the supporting cast were chosen with much care based on acting ability and conviction by the seem of things. The actresses involved really bring the characters off of the page and each seems to have at least one scene stealing performance.

Pug Faced Patsy Kensit appears as Tessa and is surprisingly effective in performance despite her juvenile age. The wonderfully eccentric Sylvia Coleridge appears as Sister Boniface, two years before she appeared as an eccentric botanist in the classic ‘Seeds of Doom’ Doctor Who story.

Another ‘Who’ before, is Susan Engel playing a superb and eerie Sister Agnes, she featured in Bakers’ story ‘The Stones of Blood’ in 1978. In both roles she excels in characterisation uniting sexy and menacing all at the same time, excellent stuff. Brenda Bruce and Renee Asherson finish off the high quality cast. Anyone I haven’t mentioned is also bloody good by the way.

The story concerns the tragic events surrounding the convent of the blessed Eleanor. In the convent ground there dominates the ruined and ephemeral ‘Ivory Tower’.

In the Tower a nun is found, starved to death.

Jemima Shore reads of this in the newspaper and is perturbed; as the body was that of an old school friend. She also knows that her friend was heiress to a tremendous fortune.

Prompted by a letter of invitation to the Convent by her alma mater and friend Sister Ancilla she decides to go back to her old school in the hope of trying to find more information about the mysterious death.

Jemima is dining with the schoolgirls where she hears some alarming news. It seems, according to one child that before a death occurs the Black Nun can be seen wandering the grounds. The girls add that the spectre is evil and malevolent and heralds death. A child ‘Tessa’ confirms she has seen the apparition recently.

Jemima Shore dismisses the story as fantasy of the childish mind. As Jemima retires for the evening she receives a note from an anonymous person saying that the Black Nun will appear that evening at the Ivory Tower.

Fuelled by inquisitiveness and of a journalistic nature, Jemima pilgrimages to the tower in the dead of night and the viewer gets the shit scared out of them for it’s here Jemima discovers something rather nasty that attacks her viciously……

What begins as a routine thriller excels into gothic horror. The direction is brilliant at conveying the ephemeral, silent corridors are explored, cobwebs cloud and at any moment you expect to see something manifesting; it would not look out of place in the slightest.

The music is another triumph too and fits well with the musty dwellings and unfolding skulduggery, such combinations make this compelling viewing. The only slight let down is that after the climax at the end of episode 3 everything else seems a slight anti-climax but the quality never falters and neither does the stories capability of captivation.

In a recent trash TV poll programme entitled ‘100 Scariest T.V Moments’, this climax made an entry at number 65. I think this is quite a feat as thee programme hasn’t been media saturated like other alleged ‘spine chillers’.

The clip was also played with another demonstrating the opening credits. They too are most unnerving. An animated sequence shows an empty white chair, spotlighted. A shadow makes its way to the seat, it settles, grips the arms with clawed hands then the camera plunges into the darkness of the shadows head, paving way to something icier than your average thriller.

Another worthy of note is the different Thames Television ident that was used right at the beginning of the programme. Instead of the bright blue London landmark icon we get a darker, ‘evening’ version of the same scene spookily illuminated by a moon peering from a midwinter cloud and small lights from some of the silhouetted buildings.

This show could have been easily mistaken for a horror anthology at the time if the teasers and credits were anything to go by. In one trailer the chair is soaked in blood as a screaming, maniacal face sweeps by before a graveyard voiced announcer declared the evenings glimpse of events.

Such teasers must have had the audiences coming back in droves. The cliff-hanger endings also were an added bonus.

The series was shown in the 8.30 p.m slot, twice weekly and just about pushes the boundaries of pre watershed ‘family’ orientated drama and because of this brave attempt turned successful, gave a legion of children sleepless nights.

Despite this being a real treat and all episodes existing in their entirety it has never been repeated on the network since its original air date.

DVD-R grey releases are available and are surprisingly decent prints, they will have to suffice until someone sees the sense of a box set release or a digital channel repeat but I would think will never be shown, due to its lack of tits, explosions and CGI.

The players;

* Maria Aitken (Jemima Shore)

* Renée Asherson (Mother Ancilla)

* Brenda Bruce (Sister Elizabeth)

* David Burke (Tony Amyas, MP)

* James Laurenson (Alexander Sharbeck)

* Doran Goodwin (Sister Lucy)

* Margaret D'arcy (Sister Clare)

* Kate Binchy (Sister Edward)

* Linda Slater (Dodo)

* Sarah Webb (Margaret)

* Michelle Winstanley (Blanche)

* Patsy Kensit (Tessa)

* Catrina Hylton (Mandy)

* Mary Healey (Beatrice O'Dowd)

* James Appleby (Joe)

* Susan Engel (Sister Agnes)

* Sylvia Coleridge (Sister Boniface)

Directed by Moira Armstrong / Writing credits; Antonia Fraser (novel), Julia Jones & Philip Mackie (Television Adaptation)

Produced by Jacqueline Davis

Original Music by Andy Mackay & Roger Webb

Robert Banks Stewart ; Script Editor & Story Editor


	*Part One*	*Broadcast;* *11^th April 1978*
	*Part Two*	*Broadcast* *13^th April 1978*
	*Part Three*	*Broadcast* *18^th April 1978*
	*Part Four*	*Broadcast* *20^th April 1978*
	*Part Five*	*Broadcast* *25^th April 1978*
	*Part Six*	*Broadcast* *27^th April 1978*

INTERMISSION AT THE FRINGE FANTASY FILM SHOW

2006-12-10T13:51:00.000Z

Hi,

Just to let you readers know I am taking a well deserved break from the site and as I can’t fucking stand Christmas, it’s pretence, it’s vulgarity, it’s mass appeal, it’s influence on the great unwashed causing competitiveness, debt and overall misery – it will provide me with time to review more for my site.

I celebrate Yule anyway so whether Christian mythology is celebrated is of no consequence either.

So far I have some cool treats for us waiting to be reviewed, ‘The Owl Service’, ‘Quiet as a Nun’, ‘Kolchak-The Night Stalker’, ‘Into the Labyrinth’; will all guest appear over the coming Yule period.

Don’t fret mucky pups, as in between such articles there will be our look at a fare share of sleaze, which will feature such unsavoury and controversial delights as ‘Cockfighter’, ‘Red Nights of the Gestapo’ and I think a couple of Hardcore porn classic reviews could join this blogs beating heart.

Most important of all I have had some lovely feedback for my Doomwatch retrospectives and other articles from those people who inspire me to share my thoughts and knowledge.

Thank you.

Feedback and constructive comment means so much and really makes the site what it is. There is always room for improvement and memories to share.

Is it easy writing/creating articles for this blog? I would say enjoyable – yes, easy - no.

The main ‘restriction’ is that of time. First is choice of programme or film and reliable research references, second is writing the rough, thirdly there is the word ‘tart-up’ and consequent re-reads (time permitting), fourthly image choice and screen captures, fifthly image re-touch, six word and grammar check (sometimes when I get carried away – forgive the grammar – some articles I will definitely ‘make over’ grammatically in the future), seventh the article layout, eighth and a final proof reading for errors, ninth is the time for one last check, tenth – publish the bugger! This is based on an ideal world scenario and excludes things like job, social interaction, family and friend time and your own ‘personal space time’.

This also excludes inserting of tables, font changes, research of article, programme re-visits, trivia checks, goof observation etc, etc. So I hope that explains why sometimes it can take anything up to 3 days to create one article.

I try to be as a quick as I can be allowing the reader at least one article per week.

If I can be quicker I will be. I want to demonstrate interest within the word accompaniment and visually the same quality.

These do take time. I also feel there are too many ’12 bore reviews’ that ‘lumps’ everything in together reducing respect for the programme or film under review and then blasts away at the reader bombarding we with brief FAQ’s of mild relevance; sadly this is void of any ‘spirit’. Don’t really want to go down that road.

So expect something real soon over the Yule period or just after…………

Happy Solstice/Yule 2006, Readers of The Fringe Fantasy Film Show !

Meet some of the team……….

This is my dog Laurence Niblick who loves food, Tea, walks in the woods, Patrick Troughtons’ Doctor Who stories and Classic FM. He was 3 on the 5^th December he is sub editor of the reviews.

This is my African grey Charlie, he is known more popularly by his pseudonym ‘Monsieur le Beak’ he loves kit-kats, swearing, screeching, apple, pecking humans, nursery rhymes, Gilles Peterson Compilations, jazz and giallo. He is the oldest member of the team and is approx. 40 years of feather. He is the artistic and cultural manager.

Here is some wonderful art, enjoy.

XXXV. THE CULT of DOOMWATCH

2006-11-23T22:19:00.000Z

THE CULT of DOOMWATCH

TX. 21^ST November 2006 20.30 ,U.K, BBC4

It was with trepidation I sat and watched this documentary courtesy of BBC4’s British sci-fi strand (thank you for that!). I love this programme so much you see.

Overall I felt the programme to be a half decent primer for an introduction to the series if, criminally, you had never seen it.

It was admirable enough in its retrospective look at the show. There were a few things I was unaware of too, such as the programmes influence on the merits of unleaded petrol and the government warning off doing such a story (bloody hell!) at the time.

Another area thankfully covered was the cool guest appearances, they all seem to have aged well, Robert Powell (wouldn’t he make a fab Who ?) was as enigmatic as ever, Simon Oates still had a glint in his eyes as always and Jean Trend was also such a welcome addition, especially as she was the first ‘emancipated female’ element of Doomwatch.

Bit disappointing though regarding Jeff Nolan who played Geoff Hardcastle and Elizabeth Weaver who played Anne Tarrant, not adding their points of views. I would have loved to have heard their recollections.

John Nolan could have commented if Toby Wren was a hard act to follow and his experiences of being the new sex symbol. I feel Elizabeth Weaver could have added value as many of the stories she appeared in were junked and she oversaw seasons 2 and 3, so it’s not as though either were relegated to a period in Doomwatch that we know nothing/very little of.

Disappointing on the fan front though, Kim Newman classed ‘Tomorrow the Rat’ as a ‘thematic’ sign of the times and quoted ‘Willard’ and Nigel Kneales ‘Beasts’ as comparisons, but failed to highlight that these all were after this Doomwatch episode was broadcast. ‘Willard’, 1971 and ‘Beasts’ 1976 were all successors of this ‘rats have gone mad’ style of storytelling, but this was not mentioned. If it was and I overlooked, then the sincerest of apology, if not – you should’ve.

As for the other guy, Steve O’Brien, an editor of SFX magazine, waxing lyrical about the sexism and how ‘cringe inducing’ it was, I felt this to be a foolish demonstration of his lack of understanding programmes of this calibre and ‘enveloping’ of political correctness; which has destroyed the majority of most programmes today, irrelevant of what genre it is in.

The show was made in the ‘70’s after all, life was like that. Sir, if you cannot watch a programme for what it is and take the genre, time and sociological perspective into consideration then I feel it would be best not to comment at all.

If we take into consideration the real world and avoid the Utopian idealism of a nanny state and political correctness which has totally buggered this country up and obviously doesn’t work (it has created wider gaps in minority culture, made cities into dirty ghettos and has stripped away any identity we have whether immigrant, national or otherwise), I feel this is a most trivial aspect to mention and tiring.

Such sexism still goes on, but not as blatant. I also believe there is a fucking massive gap between genuine misogynistic spite and banter/levity. As with most things in 2006 it all gets blurred into one as people are too incompetent to rely on their own discretions anymore and break down severities. With human beings and what they think individually, now beginning to be controlled by others in more subtle ways, I suppose it is sadly understandable.

I feel to shield women is misogynistic in itself, with an equal society we all should fend for ourselves anyway, equally, so why patronise and highlight ‘special dispensation’ of one of the sexes?

His comments weren’t balanced either, by the ‘clips’, as well as dumb blonde instances where was the balance of Penelope Lees’ fantastic put down of a potential ‘chat up’ in ‘Tomorrow, The Rat’? (“Before you offer to buy me drink I think you ought to know I am not a whore neither am I an easy lay; although I enjoy a man from time to time, you are more than unusually repulsive and you don’t stand a snow balls chance in hell – Push Off!”)

Some of it seemed to revel in those naughty misogynist ‘70’s misconceptions without balance. I suppose they had to up the anti a bit to put us off from realising that comparing 70’s drama to today’s is like comparing a Faberge egg to a turd.

The ‘juicy’ bit in the documentary had to be the recollection of ‘in fighting’ between Terence Dudley and Pedler and Davis. As in my Caligula review (Gore Vidal vs. Bob Guccione) it is quite surprising how something so sweet could turn so sour. Bloody funny though!

This is biased on my part, but I felt more time could have been dedicated to the programme, but overall I think it was informative, well researched and insightful for the time provided.

Also commendation for, I believe it was, BBC Scotland, actually giving a toss about making something about Doomwatch in the first place.

In the trailer it mentioned about why Doomwatch was so important/well received in Canada – was this covered? Does anyone know why? The reason I’d like to know is that if the programme was significantly praised and received by another country maybe, just maybe, they still may have a few episodes that are missing from the u.k archives.

Does anyone know how well the programme was received abroad and if it was exported quite liberally?

So many questions – food for thought for a ‘Doomwatch’ DVD box set release?

XXXIV. DOOMWATCH (CLASSIC FORGOTTEN T.V) 1970 - 1972 - THIRD SERIES

2006-11-19T19:02:00.000Z

Arguably one of the weakest seasons according to varied recollections, as there is bugger all to represent it in the archives we will never be able to judge for ourselves. The opening story titled ‘Fire and Brimstone’ saw Dr.Ridge disillusioned with the world around him, holding key cities across the globe to ransom, with phials of anthrax.

Apparently, based on reports, as there are no viewing materials/audio or scripts, the third season steered away from the ‘grittiness’ and the environmental dread aspect for a more ‘personal life’ emphasised plot.

Dr.Anne Tarrant becomes a permanent fixture and marries Quist. The only additional person to the cast, introduced in Season 3, is Commander Neil Stafford.

Stafford is a ‘mole’ planted by the Minister, so Doomwatch is unknowingly placed under political scrutiny. Another area where the third series seemed occupied with, was boardroom drama and political opinion dominating several stories this time around, compared to the last two seasons.

I can’t comment on John Bowns’ performance as Stafford, as I have only seen three episodes that exist and feel it unfair to base any opinion of a character when the resource material is so poorly represented.

Colin Bradley returns and seems to ‘duo’ with Secretary Barbara Mason on a few adventures.

Despite only a few representative episodes of season 3 Doomwatch, I did notice that there is a slight change in atmosphere. In the first two seasons there was strong focus on developing the plot at the Doomwatch offices. More emphasis was on ‘team work’ in the earlier stories. By the third season this seems to shift, become ‘scattered’ some what. There are frequent ‘cosy’ chats between Tarrant and Quist in their new found domesticity and the lab scenes at Doomwatch H.Q become lessened.

For me this seemed to dull down the impact compared to the early series and with only fleeting pop ins’ to the laboratory it seemed sci-fact had become second place to the proceedings.

Such scenes are more intimate and are of some interest on the outset but outstay there welcome and occasionally are merely there to pad out the plotline. The episodes I have seen are very wordy and appear more slower in pace than before.

The dramatics are still of a high calibre and the plots despite being a bit hit and miss , are still interesting enough, but it seems that at this stage in the series’ life, the initial concept of the programme begins to lose direction and foresight.

By the end of the final season Doomwatch was showing signs of flagging. The last series was due to be 13 episodes but only 11 were ever broadcast. ‘Sex and Violence’ was made but was unbroadcast. The main reservation for not screening the episode was that some of the characters bared too strong a resemblance to actual persons in the media e.g. the severely oppressed draconians' Lord Longford and Mary Whitehouse amongst others.

To prevent legal issues the programme remains untransmitted in the U.K to this very day. I believe it was broadcast overseas.

Another reason was the controversial decision to use a real life military execution. Although this would not be an ‘issue’ now, back in the day it may have raised a few corporate eyebrows at the Beeb.

With this episode becoming more and more of a liability the easiest decision was to shelve it.

Unfortunately ‘Sex and Violence’ was also held back from the UK Gold repeats in the mid-1990’s and the episode ‘The Logicians’ was broadcast in its place.

The season’s swansong was to be ‘The Devils Demolition’ but the story never got to the filming stage.

Kit Pedler and Gerry Davis were not very impressed with what the series had become and washed their hands of it. Terence Dudley still pursued with their idea and defended the third season championing the fact that they were still dealing with ‘hot ecological topics’.

This is seemingly true judging by the synopsis we have to go on, however if the episodes that exist are representatives of the season as a whole we can certainly indicate that Doomwatch had lost its impact significantly.

With Dr. Tarrants introduction there appears to be several episodes based on psychological experiments and dishonourable motives on behalf of the practitioner. Although some of these tales are grim in premise as ‘Hair Trigger’, they do have a tendency to wane and flag to the point of interest lost.

There is nothing ‘revelatory’ anymore and this episode in particular could be passed off as melodrama with a fleeting reference to sci-fact, a pale reflection on the previous two seasons.

Other sources indicate that Terence Dudley also moved towards more fantastical elements to draw in the viewers. A couple do sound dubious in their credibility but who am I to sincerely believe this to be the case as all my hypothesis is based upon is a paragraph of words and differing recollections.

I am unsure how much of an impact Commander Stafford had on the season too as the material available either featured him generally being a hindrance or in the background doing very little.

He seems to be a character of interest but we will never get to see just how much of a threat he was to the Doomwatch team and how he fitted in with the dynamics of the other characters. One thing is for sure that Barbara Mason is not a fan and often challenges his motives which he seemingly crawls out of.

A mammoth question mark hangs over the final outing of the Doomwatch team for one fundamental reason – the scarcity of material.

Could there be missing stories? There are rumours, but there always is, that some episodes are lurking about overseas. Doomwatch, despite its varied tales of environmental hazards applicable to most countries in the world, is quintessentially ‘British’ and this may have been a stumbling block for marketing it overseas?

Therefore this makes the dream of ‘stumbling’ upon some season 1 and 3 stories highly remote and virtually an impossibility. We're not talking Doctor Who here!

Unless the series becomes as popular again due to remake or revival, I sincerely doubt anything else much will come to light, which is a crying shame.

A DVD release is so desperately needed but I wouldn’t imagine it to be a priority of the BBC at the moment as they are probably clogged up with releasing mainstream crap to the great unwashed currently in time for Yule.

In 1972 a rival to Hammer studios, Tigon, produced a feature length movie of the television series. The regular cast were represented on the big screen in disappointing cameo appearances and the main roles were played by Ian Bannen and Judy Geeson as Doomwatch scientists from another ‘branch’, totally unrelated to the BBC version.

In 1999, Channel 5 took the initiative and updated the show. Unfortunately it never turned into a series despite the pilots’ potential.

It was above average but like most contemporary programmes lacked solid identity. The theme tune, as all modern shows, is uninspiring noise; the ‘sit-up-and-take-notice’ nuclear bomb/Max Harris credits is sacrificed for CGI and ‘barren’ modernity.

Trevor Eve, he of bland cop show ‘Shoestring’, is fine in the role but is let down by a two dimensional supporting cast featuring the uninspiring ‘tough women who acts like a dyke, but who isn’t’ and the ‘token black/ethnic’. Despite the failings, at least someone tried, and it is such a shame it never took off.

I believe another reason why the plans of a new season were scuppered was due to the lack of finance.

So despite it fading in and out of the ether Doomwatch still leaves a legacy and is an overlooked gift just waiting to be unwrapped once more. With the way in which we are killing the planet it wouldn’t be a moment too soon either.

Some delightful news, as part of BBC4’s Brit Sci-Fi strand they are dedicating a whole thirty minutes to the show hopefully this will be able to fill in further gaps. Don’t forget Tuesday 21^st November 2006 at 8.30 p.m, BBC4.

DOOMWATCH

Broadcast: 5^th June 1972 to 14^th July 1972

Mission Brief

Any Good?

Archive?

Season Three

'Fire and Brimstone'

by Terence Dudley

5th June, 1972 @ 9.20pm - 10.15pm

Terrorism and Environmental Threat – Ridge Goes Loco.

No Sources Available

No - Wiped

'High Mountain'

by Martin Worth

12th June, 1972 @ 9.20pm - 10.10pm

Mental Breakdown, Wonder Drugs, Political Corruption.

No Sources Available

No - Wiped

'Say Knife, Fat Man'

by Martin Worth

19th June, 1972 @ 9.20pm - 10.10pm

Nuclear Hazards, Dirty Bombs

No Sources Available

No - Wiped

'Waiting For a Knighthood'

by Terence Dudley

26th June, 1972 @ 9.20pm - 10.10pm

Lead Poisoning, Processing Dangerous Chemicals and Potential Threat.

An o.k. episode but a bit of a snoozer. Of interest but weak. 5/10

Yes (Broadcast on UK Gold in 1995 – when it was good !)

'Without the Bomb'

by Roger Parkes

3rd July, 1972 @ 9.20pm - 10.10pm

Pheromones, Contraception and Aphrodisiacs.

No Sources Available

No-Wiped

'Hair Trigger'

by Brian Hayles

10th July, 1972 @ 9.20pm - 10.05pm

Lobotomies and Remote Controlled Psychopaths

Enjoyable and thought provoking yarn. Lacks pace. 7/10

Yes (Broadcast on UK Gold in 1995 – when it was good!

'Deadly Dangerous Tomorrow'

by Martin Worth

17th July, 1972 @ 9.20pm - 10.10pm

Malaria, Immigration and the Use of D.D.T

No Sources Available

No-Wiped

'Enquiry'

by John Gould

24th July, 1972 @ 9.20pm - 10.10pm

Toxic Gas. Health and Safety. Corprate Cover-Ups.

No Sources Available

No-Wiped

'Flood'

by Ian Curteis

31st July, 1972 @ 9.20pm - 10.10pm

Extreme Weather Conditions. Global Warming. Thames Flooding.

No Sources Available

No-Wiped

'Cause of Death'

by Louis Marks

7th August, 1972 @ 9.20pm - 10.10pm

Euthanasia & Ethics

No Sources Available

No-Wiped

'The Killer Dolphins'

by Roy Russell

14th August, 1972 @ 9.20pm - 10.10pm

Using and Manipulating Animals as Saboteurs and Killers.

No Sources Available

No-Wiped

'Sex and Violence'

by Steward Douglass

Untransmitted.

Pollution of the Mind. Does Sex and Violence in the Media Truly Affect Society?

An absolutely first class episode. The writing, direction and plot content are first class. 10/10

Yes – only aired overseas and never shown in Britain.

'The Devil's Demolition'

by Wolf Rilla

Untransmitted

Cancelled

No Sources Available

Never got to the production stage.

Season Three Regulars;

John Paul (Doctor Spencer Quist), Simon Oates (John Ridge), John Barron (The Minister), Elizabeth Weaver (Doctor Anne Tarrant), Joby Blanshard (Colin Bradley), Vivian Sherrard (Barbara Mason), John Bown (Commander Neil Stafford).

Produced by Terence Dudley

The Other Bits……………………..

Doomwatch – The Movie

A remote island village... A team of intrepid scientists... A terrifying secret...

When grossly oversized fish are caught by fishermen off the shore of Balfe, a remote and isolated island, the governmental watchdog agency known as Doomwatch is called in to investigate. Doctor Del Shaw finds that the village community is exhibiting higher than average incidents of a horrifically disfiguring condition known as acromegaly, he soon discovers that the condition is being caused by the military; illegally dumping chemicals in the surrounding waters of the island, turning the people who eat the fish into cannibalistic mutants.

Ian Bannen (Doctor Del Shaw), Judy Geeson (Victoria Brown), John Paul (Doctor Quist), Simon Oates (Doctor Ridge), Jean Trend (Doctor Fay Chantry), Joby Blanshard (Bradley), George Sanders (The Admiral), Percy Herbert (Hartwell), Shelagh Fraser (Mrs Straker), Geoffrey Keen (Sir Henry Layton), Joseph O'Conor (Vicar), Norman Bird (Brewer), Constance Chapman (Miss Johnson), Michael Brennan (Tom Straker), James Cosmo (Bob Gillette), Cyril Cross (George), Geoff L'Cise (Don), George Woodbridge (Ferry Skipper), Jerome Willis (Lieutenant Commander Tavenar), Jeremy Child (David Broome), Brian Anthony (Brian Murray), Rita Davies (Mrs Murray), Walter Turner (Mr Murray), Paddy Ryan (Grandfather Murray), Reg Lever (Sam), James Mellor (First Man), Eamonn Boyce (Second Man), Paul Humpoletz (Third Man), Pam St. Clement (Young Woman), Katherine Parr (Middle-Aged Woman)

Directed by Peter Sasdy

Produced by Tony Tenser

Made by Tigon British Film Productions Ltd

Released:

1972

Running Time:

92 minutes

Featuring; Doctor Spencer Quist, Doctor John Ridge, Colin Bradley and Doctor Fay Chantry, and introducing Doctor Del Shaw

Doomwatch – Winter Angel (1999 Channel 5 Pilot Episode)

DOOMWATCH (Pilot)

Broadcast; 7^th December 1999

Mission Brief

Any Good?

Archive?

Winter Angel by John Howlet and Ian McDonald.

7^th December 1999 @ 9 p.m

Pilot Episode Runs for Approx. 100 minutes

Dr.Neil Tannahill is contacted by Quist. An investigation is needed into rogue nuclear waste and some dodgy Russian dealings.

It tries and is not a bad attempt but there are definite some fine tunings necessary. More noise, more action, more pennies and more contemporary….not always necessarily a good thing. Annoyingly not developed into a series. 7/10

Yes.

Only shown the once, unavailable on alternative forms of media.

So there we are, an insight into what could be contested as one of the most influential and genuinely prophetic series of all time, so far.

Bring it back please and next time leave the opening music as it is/was but update the visuals, remember all ‘well loved’ and ‘well remembered’ television programmes always deserve their own signature tune.

Thanks for the interest and if you have any source material to fill in the gaps - please enlighten.

XXXIII. DOOMWATCH (CLASSIC FORGOTTEN T.V) 1970 - 1972 - SECOND SERIES

2006-11-19T03:17:00.000Z

As mentioned the ending of season one ended with a bang and it was the aftermath that formed the plot of the first story of season 2. Quist is wracked with guilt and cannot come to terms with Wrens death. Ridge taunts him about the disaster and holds him entirely responsible, paving the way for some excellent drama between the two main leads.

‘You Killed Toby Wren’ was a superb opening story that highlighted the intricate and complex dynamics involving the Doomwatch team personally, without over saturating the plot. Also introduced is the new ‘Wren’ substitute- Geoff Hardcastle. Fresh faced graduating scientist, Hardcastle, stumbles across some sick genetic engineering and with the assistance of his colleagues begins to delve deeper.

Thus the very first story got underway of Doomwatchs’ second outing. Although some of the stories this time around are undoubtedly ingenious I noticed overall they steer away from being too prophetic, which is a shame as this worked so well in the first season.

Fortunately in the second series of Doomwatch the transition from the 'old' to the 'new' and involvement of fresh ‘leads’ is a subtle one. The secretary changes as bubbly blonde Pat Hunnisett leaves and is replaced by the raven haired Barbara Mason. Vivian Sherrard really brings Barbara into her own, not just regulated to serving coffee in a crimpalene mini dress she begins also to help out in some of the cases.

Geoff Hardcastle is another change but due to this character being a bit bland he kind of fades into it all a bit. He simply doesn’t have the charisma of Powell but despite this short change is convincing in his participation at the very least.

The other noticeable addition was a female ‘equal’ to Quist and Ridge in the form of Dr.Fay Chantry. It is alleged that Chantry was brought into the mix in order that women were profiled more ostensibly in the series. Although her performance was good enough there still seemed a ‘hold back’ for the character as though she wasn’t permitted to ‘dominate’ over her male counterparts. BBC politics, scriptwriting, sign of the times, I am not sure and don’t really care as it doesn’t deter from the programmes polished standard.

Another ‘semi-regular’ was Dr. Anne Tarrant played by the erudite Elizabeth Weaver. Tarrant is bought in to sort Quists' head out for him after the Wren tragedy and appears now and again; until she and Quist gets’ hitched in season 3 and eventually becomes a permanent fixture. Tarrant specialises in Psychology and things neurological which gives the script writers to develop some tales of psychological ‘smog’ as well as the pollution that is there in front of our eyes.

As the original series, Doomwatch season 2 wasn’t afraid of tackling grim issues or taking on unscrupulous immoral fat cats of industry. The stories were on occasion decidedly weaker than first time around but still suitably made a point and never failed to deliver on poignancy either.

The series did not end on such a spectacular note as the first but doesn’t lose none of it’s power thanks to John Paul’s’ stunning performance at the end of season two’s ‘Public Enemy’ episode. The way in which the direction compliments the forthcoming speech orated by Quist is spot-on. The season ends with a message from the Doomwatch team lectured to the attendees at a village hall and then finally as Quist looks into the camera – to us.

What is noteworthy is that season 2 has been left unscathed by the merciless wiping policy of the BBC at the time.

These nostalgic nuggets of a ‘green’ first were broadcast on UKGold in the mid nineties – when the station was good! That was the last time it graced our screens sadly.

DOOMWATCH

Broadcast : 14^th December 1970 to 22^ndMarch 1971

Mission Brief

Any Good?

Archive?

Season Two

You Killed Toby Wren by Terence Dudley

14th December, 1970 @9.50pm - 10.40pm

Genetic Engineering/ Hybrid Experimentation.

Tip-Top performances by all involved. A nasty twist and intelligent writing. 10/10

Yes (recently repeated on UK Gold in 1995 when the channel was good)

Invasion by Martin Worth

21st December, 1970 @9.50pm - 10.40pm

Bacterial Weapons and Water Supply Contamination via Chemicals.

Brilliant. The scenes of bio-hazard suited men wandering the house are most chilling. 10/10

Yes (recently repeated on UK Gold in 1995 when the channel was good)

The Islanders by Louis Marks

4th January, 1971 @ 9.20pm - 10.10pm

Immigration, Evacuation and the Human Condition. Earthquake.

Decent episode seeing immigrant vulnerability from all sides.7/10

Yes (recently repeated on UK Gold in 1995 when the channel was good)

No Room for Error by Roger Parkes

11th January, 1971 @ 9.20pm - 10.10pm

Wonder Drugs and the Dangers.

Good thought provoking tale. Drags slightly.6/10

Yes (recently repeated on UK Gold in 1995 when the channel was good)

By the Pricking of My Thumbs by Robin Chapman

18th January, 1971 @ 9.20pm - 10.10pm

Extra ‘Y’ Chromosome and Violent Behaviour

Excellent stuff that really makes you think. Some pretty gruesome ‘pranks’ and a fine performance by the young male lead. 8/10

Yes (recently repeated on UK Gold in 1995 when the channel was good)

The Iron Doctor by Brian Hayles

25th January, 1971 @ 9.20pm - 10.10pm

Euthanasia by Computer Decision and Redundancy of the Human Race.

Outstanding and nightmarish vision of potential things to come. 9/10

Yes (recently repeated on UK Gold in 1995 when the channel was good). Also guest-starred Patrick Troughton

Flight into Yesterday by Martin Worth

1st February, 1971 @ 9.20pm - 10.10pm

Devastating Effects of Jet Lag and the Dangerous Side Effects of Time Distortion

Brilliant. A little far fetched but pertinent to everyone. Superb script and groovy ‘lounge’ music too. 10/10

Yes (recently repeated on UK Gold in 1995 when the channel was good)

The Web of Fear by Gerry Davis

8th February, 1971 @ 9.20pm - 10.10pm

Yellow Fever and Deadly Spiders in the Scilly Isles.

Outstanding adventure from Davis. Does not fail on any of the Doomwatch trademarks we have come to know and love.9/10

Yes (recently repeated on UK Gold in 1995 when the channel was good)

In the Dark by John Gould

15th February, 1971 @ 9.20pm - 10.10pm

Mustard Gas and Ethics Regarding Artificial Life Support.

Haunting piece of drama, still relevant and could still touch on a few raw nerves. 7/10

Yes (recently repeated on UK Gold in 1995 when the channel was good)

The Human Time Bomb by Louis Marks

22nd February, 1971 @ 9.20pm - 10.10pm

Urban Neurosis. Mental and Psychological Breakdown Caused By Urbanisation.

More relevant now than at the time this was first shown. Food for thought in our violent/stressed society. Super performance by Jean Trend. 10/10

Yes (recently repeated on UK Gold in 1995 when the channel was good)

The Inquest by Robert Holmes

1st March, 1971 @ 9.20pm - 10.10pm

Rabies Alert! All Dogs and Cats to be Destroyed in a 10 mile Radius.

Excellent drama and an opportunity for Joby Blanshard to shine. Bit talky but engrossing. 7/10

Yes (recently repeated on UK Gold in 1995 when the channel was good)

The Logicians by Dennis Spooner

15th March, 1971 @ 9.20pm - 10.10pm

Technological Brainwashing. Computers that Teach Criminal Superiority to the Young.

Scary stuff, well paced and plotted. Does flag a bit. 6/10

Yes (recently repeated on UK Gold in 1995 when the channel was good)

Public Enemy by Patrick Alexander

22nd March, 1971 @ 9.20pm - 10.10pm

Industrial/Governmental Cover Up. Toxic Gasses and Pollution and its Effects on the Community.

Decent story featuring a young Trevor Bannister. Story a little weak saved by a wonderfully apocalyptic Doomwatch ending speech.

Yes (recently repeated on UK Gold in 1995 when the channel was good).

This saw the bow out of Dr.Fay Chantry and Geoff Hardcastle.

Regular/Semi-Regular Characters of Season 2;

John Paul (Doctor Spencer Quist), Simon Oates (Doctor John Ridge), John Nolan (Geoff Hardcastle), Joby Blanshard (Colin Bradley), Vivian Sherrard (Barbara Mason), John Barron (Minister), Elizabeth Weaver (Doctor Anne Tarrant).

Producer; Terence Dudley

In our final segment we look at Season 3 of Doomwatch. Arguably the weakest of the three and the most hit when it came to junking.

At the end of Season 2 Kit Pedler and Gerry Davis bowed out and it was left to producer Terence Dudley to carry the torch for the environment ………

XXXII. DOOMWATCH (CLASSIC FORGOTTEN T.V) 1970 - 1972

2006-11-12T20:11:00.000Z

DOOMWATCH

Ecological disaster abounds ! : test tube ethics, urban neurosis, euthanasia, mutant viruses, industrial espionage, government corruption, overcrowding, big brother intrusions and the flooding of London.

This is not a resume of the week’s news in our look-over-your-shoulder society we have inherited; these are instances and insights into a long forgotten BBC television series called Doomwatch which ran from 1970-1972.

Doomwatch regularly drew in 12 million viewers, was regularly praised by the daily tabloids and, for it’s time, made one episode so controversial it had to be pulled from the schedules. Mondo made its way into this particular episode and with audacious boldness showed a real life military execution to hammer home its point. This did not result in getting the episode banned contrarily to popular belief but it did help, more on that later….

With the current trend on ‘environmental dread’ fuelled by the media, and quite rightly so, now is the perfect time, in my opinion, to think seriously about making a programme of this ilk again. Doomwatch was the first ‘green’ programme and covered topics such as immigration and overcrowding so more relevant now than at the time the series was first shown.

One episode was titled ‘The Human Time Bomb’ and explored the devastating effects of ‘living on top of each other’ as the occupants of a block of flats were unknowingly going mad by ‘urban neurosis’. Such effects could still be applied to what we are experiencing in the now as overcrowding and urban incarceration could potentially make a human pressure cooker blow. How relevant is Doomwatch today – I say very relevant.

Like most early seventies television programmes some of the scripts are a bit wordy and verbose but due to the calibre of writing makes for compulsive and intense experiences by time you have adjusted.

Irrespective of it’s mini-skirts, flowery cravats and stereotypes Doomwatch holds up amazingly fine and is a true classic of British television. Doomwatch deserves that rare stamp of being ‘totally head of it’s time’ relying on science fact rather than science fiction.

"At the rate we are going… at the rate we’re polluting…overcrowding…chemicals…noise…we’ve got thirty years. Thirty years of slow, dirty dying".

(Quist . ‘Public Enemy’) (what a prophecy!!)

Doomwatch was broadcast 9^th February 1970 on BBC1. It filled the 9.20 p.m – 10.10 p.m ‘adult drama’ slot; it can clearly be seen why. Doomwatch is uncannily prophetic and after watching all available source material it always manages to prick the conscience that we aren't doing enough to protect what we need to survive . The series also didn’t shy away from the odd chemical burn or genetic horror visually.

Within 50 minutes the audience were exposed to a mutant bacterium that eats plastic. In an age where this relatively new material reigns supreme we only now understand the problematic environmental aspect of bio-degradability mentioned in our modern world all too often.

Sticking to it’s other objectivity of ‘technology gone too far’ we have a potential solution but due to bureaucratic obstinacy and utter carelessness had resulted in one plane crash and to the main protagonists’ horror will result in another.

What works extremely well is the startling ‘melt’ of the everyday objects we take for granted; reduced to a runny goo. Doomwatch continued to fulfil its morbid promise of jarring the viewer a bit and succeeds. I feel shock is too strong a word and would be more appropriate if writing this in the 1970’s.

Although some of the gilt has rubbed off due to time, several episodes still maintain their potency and a couple of images remain in the brain long after the credits have faded.

In 1966, Dr.Kit Pedler and scientist Gerry Davis immortalised a sci-fi Frankenstein for the definitive science fiction series Doctor Who. They were responsible for the 4 part ‘regeneration’ story titled ‘The Tenth Planet’ which saw, a la ‘Thing from another World’, a group of scientists fending off menacing aliens in the isolated wastes of the arctic.

The aliens were the ‘Cybermen’, the horror not lies souly in the iconic design, which has maintained a high standard; despite their ‘outings’ being a bit hit and miss; it lays with the unsavoury fusing of organic matter and technological superiority too.

This nightmarish vision of science successfully impacted with the audiences and made the creators names ingrained with Dr. Who fans as well as terry Nation et al. So already the ‘style and representation’ of Pedler and Davis’ visions was delighting a thrilled audience.

Eventually they were offered the chance of creating a new drama for adults with a sci-fi slant. As this would prove to be less constrictive as adult in nature in what could be discussed and shown compared to Doctor Who, work began on a new series.

Pedler had kept a scrapbook full of cuttings relating to eco-disaster and scientific advancement. This was fundamental for the series advancement and was used to produce some of the most memorable outings for the department.

Together they created Doomwatch, it stood for 'The Department of Observation and Measurement of Scientific Work' and was a fictious organisation dealing with environmental threat whether from our own neglect or from a laboratory somewhere.

Filming began in autumn/winter 1969. The first series was fresh and there had literally been nothing like it before. The birth of colour television in the u.k in 1967 meant this new advancement in visuals was used to decent lucidity just as the early ‘70’s Doctor Who were.

Secondly the series offered the viewer the teaser before lunging into the ‘alarmist’ powerful credits. The music is a brass and thunder accompaniment composed by Max Harris bursting out of the speakers whilst red filtered atom bomb explosions are intercut with the words ‘DOOM’ and ‘WATCH’ until ‘DOOMWATCH’ flashes from purple to white on the screen. Waking us all up to what is going on right under our noses or is about to happen if we ignore at our peril.

Thirdly and most jaw dropping of all was the death of one of the best loved characters at the end of the first season. People were just not used to seeing their heroes snuff it on screen. This further cemented the programme into the decent adult drama niche and Toby Wrens death , albeit quite ‘sudden’ for a series, caused important momentum that still echoed well into the third season and left the gateway for Dr.Quists ‘romance’ with his psychiatrist whilst she counselled him over Tobias’ death, amongst other things and the breakdown in the relationship between Quist and Ridge.

Dr. Spencer Quist was the main protagonist expertly played by John Paul who stuck out the three season tenure. Steadfast, determined and perturbed Quist lived in the shadow of guilt as we learn he was responsible for the first atom bomb. He is also haunted by the memory of his wife, Helena, and her death from leukaemia. Both these tragedies are the impetus for Quists battle with authority and his ongoing crusade against those that are turning the planet into an over brimming bedpan.

He was joined by Dr. John Ridge, the dashing womaniser but he too had ‘issues’ until finally in the third season he attempts to hold the world to ransome for their eco-crimes with phials of anthrax. Although arrogant, Ridge underneath it all is as vulnerable as most with the interesting and unpredictable habit of going off at tangents which played with conviction by Simon Oates, triumphs alongside the characters fascinating instability.

Colin Bradley was the third member of Doomwatch and provided expertise on the departments’ computer, reports and stats. Fortunately this character wasn’t left to 'tinker' in the background and had some interesting escapades of his own. One is a chilling (and very talky) episode called ‘The Inquest’ involving rabies and the call to destroy all dogs and cats within a 5 mile radius. Topical and riveting.

Tobias Wren was the fourth personnel, fresh faced and dedicated to the cause, Wren fitted into the mix very well indeed. His stay with Doomwatch was a short one as an attempt to diffuse a bomb goes horribly wrong and he ends in bits.

Pat Hunnisett provided the ‘dolly-bird’ appeal but as with Colin Bradleys' character was given a bit of limelight in some of the episodes and nearly had a brush with the reaper in the story ‘The Devils’ Sweets’.

Doomwatch not only caused a stir in the ratings but nationwide politically. The Daily Mirror set up its’ own Doomwatch department intent on challenging the threat of environmental disasters. In the government at the time motions were put forward to set up a similar department life imitating art. Gerry Davis was asked to be part of the group. It didn’t surface, but I ask how many times you recall a television programme inspiring such. Not many times I think you agree.

The series developed further but it is argued that the series became too soap-opera by its third season concentrating on the home lives of the character and of course affairs of the heart. Terence Dudley the producer defended this saying that the environmental pollutants and potential disasters are still at the fore. The third season did feature episodes that covered flood, immigration, pesticides, lead poisoning but then tried to diversify with more ‘fantastical’, 'audience grabbing' elements such as killer dolphins (not as b movie as it sounds) and a lipstick that acts as a contraceptive as well as an aphrodisiac.

Unfortunately we may never be able to judge the content of the third season. With no script reprints or accessibility (can anyone help here?), no screenshots and soundtracks and with the scantest of reference we can only surmise. The difficulty with Doomwatch is there seems to be decent research for the first two seasons and then midway through season 2 it kind of fades into obscurity.

As you would have deduced a part of the first season and nearly all of season three has been deleted. I only wish attention to this was in as much effort as Doctor Who. Doomwatch is a pertinent unsung hero of British Science-Fiction that deserves a re-make and a re-appraisal. Why this isn’t due to commence productionfor us to view in the near future is totally baffling.

Can’t Russell T.Davies do something with it this time around, without having to set it in Wales for a change? Come on you stuffy corporate media big wigs look at your past to inspire the present. Doomwatch was more than a representation of the golden age of television it was practically the crown jewels.

If you have any further information, source material to plug in any of the season one and season three gaps I would love to hear from you.

What follows is an aide memoir of the season one episodes with a brief story synopsis. Season 2 and 3 reviews will feature at later stages.

I hope you enjoy a look into the series , what it covered and the relevancy not only to early 70’s Britain but also to these torrid times, for those lucky enough it can also be a trip down memory lane - how I envy you !

DOOMWATCH	Broadcast; 9^th February 1970 to 11^th May 1970	Mission Brief	Any Good	Archived
Season One
The Plastic Eaters by by Kit Pedler and Gerry Davis	9th February 1970 @ 9.20 pm – 10.10 pm	A mutant virus that eats plastic	A classic episode 10/10	Yes (Available on DVD region 2)
'Friday’s Child' by Harry Green	16th February, 1970 @ 9.20pm - 10.10pm	Genetic Engineering, Heart Transplant ethic	No sources available	No - wiped
'Burial at Sea' by Dennis Spooner	23rd February, 1970 @ 9.20pm - 10.10pm	Chemical warfare compound dumped at sea	No sources available	No - wiped
'Tomorrow, The Rat' by Terence Dudley	2nd March, 1970 @ 9.20pm - 10.10pm	A breed of super rats with carnivore tastes attack society	Another classic example of classic British sci-fi 10/10	Yes (Available on DVD region 2)
'Project Sahara' by Gerry Davis (Additional material N.J. Crisp)	9th March, 1970 @ 9.20pm - 10.10pm	A wildlife destroying spray and computer privacy invasion	Excellent story, cracking opening 9/10	Yes – (unbroadcast since appearance on UK Gold in the mid nineties (when it was good!!))
'Re-Entry Forbidden' by Don Shaw	16th March, 1970 @ 9.20pm - 10.10pm	Weightlessness that induces paranoia and nuclear devastation	Thought provoking with a downbeat ending 7/10	Yes – (unbroadcast since appearance on UK Gold in the mid nineties (when it was good!!))
'The Devil’s Sweets' by Don Shaw	23rd March, 1970 @ 9.20pm - 10.10pm	Subliminal advertising, receptor controlling drugs.	Another classic episode still relevant in our disposable lemming society. 10/10	Yes – (unbroadcast since appearance on UK Gold in the mid nineties (when it was good!!))
'The Red Sky' by Kit Pedler and Gerry Davis	6th April, 1970 @ 9.45pm - 10.35pm	Sonic sound and hazardous levels of noise resulting in death	Excellent stuff again with gruesome ingenuity. 10/10	Yes – (unbroadcast since appearance on UK Gold in the mid nineties (when it was good !!) was on VHS 1000 years ago)
'Spectre at the Feast' by Terence Dudley	13th April, 1970 @ 9.45pm - 10.35pm	Food poisoning, hallucinatory toxic induced visions, political sabotage.	No sources available	No - wiped
'Train and De-Train' by Don Shaw	20th April, 1970 @ 9.45pm - 10.35pm	Mass deforestation in Somerset, American ‘de-training’ psychological damage.	Horrible glimpses into pesticide effect 9/10	Yes – (unbroadcast since appearance on UK Gold in the mid nineties (when it was good!!))
'The Battery People' by Elwyn Jones	27th April, 1970 @ 9.45pm - 10.35pm	Effects of chemicals on virility, hormone and their genetic effect/damage. Serum that destroys bones in fish.	Another super piece of drama as progression devastates a small Welsh community 8/10	Yes – (unbroadcast since appearance on UK Gold in the mid nineties (when it was good !!))
'Hear No Evil' by Gerry Davis	4th May, 1970 @ 9.45pm - 10.35pm	Manipulating private lives of employees by bugging them and using fear.	No sources available	No wiped
'Survival Code' by Kit Pedler and Gerry Davis	11th May, 1970 @ 9.45pm - 10.35pm	Nuclear weapon negligence and potential devastation.	No sources available	No - wiped. A reprisal can be seen in the follow on story for the season 2 opener . This was Robert Powell’s last appearance as Tobias Wren and Wendy Halls character ‘Pat Hunnisett’.

Regular Cast for Season One; John Paul (Doctor Spencer Quist), Simon Oates (Doctor John Ridge), Robert Powell (Tobias Wren), Joby Blanshard (Colin Bradley), Wendy Hall (Pat Hunnisett)

Semi regular appearences were made by a character called 'The Minister' played by John Barron he epitomised the bumbling public school types who governed in England at the time. This was Quists 'foil' but an amicable one .... at times. Some superb showdowns appear between the Doomwatch team and this character throughout the three main seasons.

Produced by Terence Dudley

Next Time ; Doomwatch has a slight change of personnel as we peek into this superb programmes second season.

XXXI. MACISTE CONTRO IL VAMPIRO (GOLIATH VS.THE VAMPIRES) 1961

2006-11-05T20:09:00.000Z

Maciste contro il vampiro (Goliath vs.the Vampires)

Year; 1961

Director: Giacomo Gentilomo

Music; Les Baxter (American version) / Angelo Franciso Lavagnino

Country; Italy

Duration; 91 minutes

The Players;

Gordon Scott (Maciste(Goliath)) Leonora Ruffo (Giulia) Jacques Sernas (Kurtik) Gianna Maria Canale (Astra)

Alternatives;

Goliath and the Island of Vampires

Goliath and the Vampires (USA)

Maciste vs. the Vampire

The Vampires (USA)

Available; Sinister Cinema DVD-R
Original Ratio; 2:35:1
DVD Ratio; Fullscreen 16mm print edition
Colour * English Language* Dubbed*

It’s been over three months since we began the journey into peplum and like my nasty Nazis re-appraisal it’s time, I feel, we begin to loosen this theme and either change subject or go for differing themes as the celluloid teapot did.

It is with pleasure that we end on an absolute high note with Gentilomos’ exercise in peplum horror Goliath vs. the Vampires. The film is an absolute treasure trove of adventure from its action packed start to its thrilling finish.

I had always been fascinated by this film for two reasons. The lurid poster featuring some cool action sequences that genuinely features in the movie. Secondly it was executively produced by Dino de Laurentis productions.

As the company had also been responsible for two brilliant pieces of psychedelic pop-art hokum e.g. Barbarella and Diabolik, both landmarks in cult cinema; I anticipated something decent enough. I was not disappointed in the slightest.

Both Diabolik and Barbarella were ‘mature’ orientated versions that wouldn’t shy away from mild drug or sex content. Although Goliath doesn’t feature such taboos due to its vintage there are some smashing glimpses of gruel.

I noticed that instead of cutting away the camera tends to linger a bit and catches a few drops of the red stuff. Not really gratuitous but quite surprising for this type of film. Gentilomo seems to steer away from the pure fisty-cuff violence and adds a few touches of sadism as well.

Arrows in the eye, a throat slitting and a grim bit of fantasy where a ships galley, full of women are ‘bled’ into a goblet to quench the vampire masters thirst. The sequence is quite sadean as women are forced to hold out their arm whilst a slit is applied and a subsequent ‘milking’ amongst screams of protest and is also seemingly exploitational in its atmosphere.

Gentilomo fuses horror with sword and sandal successfully; it’s a shame Freda never took a leaf out of his book for his Maciste all’ inferno made a year later.

There are essences of surrealism such as in the unique race of blue people and the vampires’ army of ‘organic’ faceless humanoids. These soulless servants of the tyrant I found to be cracking inventions lifting the movie out of the norm.

Gordon Scott struts his stuff in the role of ‘Goliath’ (Maciste for purists) and out of his outings I have seen so far this appeared to be one of his very best. Scott is fortunate to be surrounded by a decent supporting cast that play their roles with such relish, especially the female villain Astra, with her complete flippant disregard for human life.

Hercules vs. the Moon Men was another of Gentilomos’ babies and although was an o.k. watch never achieved the all time highs of Goliath vs. the Vampires.

There are similarities it has to be said when comparing the two. Gentilomo seems to favour the apparitional villain, the brainwashed maiden and the favour to have one dominant primary colour, in the moon men it was green in this it is the colour blue. This gives opportunities to create fantastic hues of cobalts, aquas and navys but between the two Moon men comes out as the inferior.

Another triumph for me was added value visually where not only do we see the usual impressive locations but a Middle Eastern flavour too.

To round off we are also treated to a thunderous soundtrack by Les Baxter and Angelo Franciso Lavagnino accompanying the sturdy, well told screenplay this truly is a must have for the genre fan.

Look out also for the audacious inn sequence where a bevy of beauties circle their naval to a swinging sixties middle eastern ‘beat number’, sounding like a cross between Syd Dale and a ‘bikini’ film tune. Completely out of place in time but perfectly in keeping with feel and content.

I acquired a decent little print from Sinister Cinema. Of course I would like to see this version anamorphic, widescreen and 5.1 but despite these luxuries being absent it did not mar my enjoyment of this in anyway at all. I loved this film just as much in a lesser quality.

Whatever the reasons for this films delay I would think this would be a winner especially if marketed in the same way as Hercules in the Haunted World, Diabolik and or Barbarella.

Ploughing his field Goliath is asked for help to save a drowning boy Giro. This he does and returning on his way back to his village they both notice intense black smoke. To their horror they realise that their homes are being burned to the ground in a brutal ransacking.

Upon arrival they both notice it’s too late. The village is decimated, Goliaths mother bids him farewell off the mortal coil due to fatal sword wounds, Giro discovers both his mum and dad have been slaughtered and the female population decimated as they had been kidnapped for slavery and food for his fanged lordship.

Goliath and Giro learn from survivors that this is the work of raiders working under the diabolical commands of Kobrak the vampire.

They head for the kingdom of the Sultan Abdul, he is in fact a decent enough fellow but comes across negatively as he is so under the thumb by Kobrak; he cannot do anything but submit to his requests.

Looking after the Sultan is the villainess of the piece, the sultry Astra who is a bit of an ‘Ilsa’ to the harem keeper on the quiet.

She is also under the influence by the fiend and acts as his 'mole' resulting in a few deaths as he prepares for domination. To goliaths disbelief he finds out the captive women are to be drained of blood to fuel the vampires’ blood powered robots.

He joins forces with friendly native Kurtik and a race of blue people when he falls through the sands during a desert storm , eventually Gladiator manages to rescue Giulia, his love and after building up a bit of a legion they all decide to end Kobraks tyranny and take on the humanoids.

After facing many challenges of strength and tests of mortality our hero faces his ultimate endurance as Kobrak changes his form and Goliath faces a combat to the death with himself ……..

What a movie people!

When the vampire is revealed this is not a disappointment and sports decent effects. The featureless men also add to the hauntingly sinister milieu. You simply have to check this one out and again I have to mention that it is pitiful this isn’t available in a decent print or available in the United Kingdom.

By using Sinister Cinema (Link Hit) you will not only receive a decent watchable print but equally important you get to see a rare film in a full version (I think it is, all of the graphic snippets are intact) therefore this will never be forgotten. Highly recommended !