Downe and Out

SON OF DRACULA (1974)

CRAZE (1974)

"I can't live, if living is without you"; chums Harry Nilsson and Ringo Starr in SON OF DRACULA, cinema's greatest musical travesty. Attempting to cash in on the success of Mel Brooks' YOUNG FRANKENSTEIN, the film is also known as YOUNG DRACULA.

WRITTEN by TALES THAT WITNESS MADNESS scribe Jennifer Jayne in the failed hope of casting David Bowie, Freddie Francis' rarely seen SON OF DRACULA - made by Apple Films and produced by Ringo Starr - begins in 1800's Transylvania, where Baron Frankenstein's dwarf assistant (Skip Martin) stakes The Prince of Darkness (Dan Meaden). Merlin the Magician (Starr) discovers that one of The Count's brides is pregnant and will give birth to a son in a hundred years. The offspring Count Downe (Harry Nilsson) is due to be crowned King of the Underworld in 70's London, but in the seventy-two hours beforehand he is vulnerable in deciding his future. Eventually he wants to become human in the name of love - especially that of Amber (Suzanna Leigh) - thanks to the help of the wheelchair-bound Van Helsing (Dennis Price), and despite the plotting of the immortal Baron (a barnstorming Freddie Jones).

Actually completed in 1972, Starr's excruciatingly dull vanity project failed to pick up any distribution. Realising that this comedy actually had no jokes - and hid behind Nilsson's musical numbers and message of love - the ex-Beatle turned to Graham Chapman to re-write and re-dub. However this version allegedly made even less sense, and has never been made public (SON OF DRACULA eventually was shown on a limited run in the States). The film is a pedestrian pantomime at best, with generous amounts of padding (Count Downe foils a completely random attack by a werewolf, for instance). Francis further laces the production with classic interpretations of monsters (Meaden's Dracula actually takes Nosferatu as a blueprint, and there are also appearances by Frankenstein's creature, the Mummy and even a Medusa and a Fu Manchu). In fact the only point of interest are the musicians on show, which includes John Bonham and Keith Moon exchanging drumming duties in Downe's band.

Jack Palance offers Julie Ege to Chuku in the delirious CRAZE.

Coming off this catastrophe, Francis' increasing distain of horror films and its fans made the director/cinematographer admit that his reliance on the zoom lens for CRAZE was due to a "lack of interest." But this Herman Cohen production is far from uninteresting, an exploitation fever-dream ripe with idol-driven mayhem and possibly the greatest array of starlets and seasoned character actors ever to grace a single British horror. Neal Mottram (a potent Jack Palance) is a psychotic antiques dealer who owns Chuku, a googly-eyed African fetish object he keeps in his basement. Mottram believes that by sacrifice to Chuku, the "love God" will reward him with wealth, and his victims include Helena (Julie Ege) who ends up in a furnace, and sex toy-loving Sally (Suzy Kendall in a horrendous curly black wig). As part of his unhinged quest Mottram even hatches an alibi plot, using ex-girlfriend Dolly (Diana Dors) to enable him to murder rich Aunt Nash (Dame Edith Evans); but with the police honing in (and a nod to PEEPING TOM), Neal is impaled on Chuku's trident.

CRAZE has a pathological hatred of women, a stance it shares with source novel Infernal Idol, a brisk 1967 Helmut Henry Hartmann pulp written as Henry Seymour ("she was that slightly seedy suburban housewife type who carried too much weight around the hips and spent too much of the housekeeping money on unsuccessful attempts to look glamorous.") But Francis' movie really goes for the throat, illustrated by Detective Sergeant Wall (Michael Jayston)'s comment on ditzy Dolly ("one would have to be pretty desperate to sail into that port.") Despite Mottram's literal lady-killing, there is a distinct homosexual yearning between the dealer and his younger live-in colleague Ronnie (Martin Potter). Mottram has apparently saved him from "sleeping in Hyde Park hustling old queens," but their domestic arrangement seems characteristically bitchy.

"They're Only Worthless Whores!"

JACK THE RIPPER (1973)
JACK THE RIPPER (1988)

The Ripper File, published in 1975, was a companion to the 1973 BBC JACK THE RIPPER docu-series.

DR Thomas Stowell's article in the November 1970 Criminologist instigated a resurgence of interest in the Whitechapel Murders. Implicating the grandson of Queen Victoria, it set in motion a snowballing of misconceptions welcomed by Stephen Knight's 1976 bestseller Jack The Ripper: The Final Solution. Stowell drew comparisons between the evisceration of the women and the disembowelment of deer shot by the aristocracy on their estates, and surmises that - although not named directly - Prince Albert Victor went mad after contracting syphilis in the West Indies. Three years later, JACK THE RIPPER was a six-part BBC "documentary investigation" into the killings, which mixed period re-enactments with contemporary sleuthing from fictional Detective Chief Superintendents Barlow (Stratford Johns) and Watt (Frank Windsor), characters popular on Z-CARS and its sequels SOFTLY, SOFTLEY and BARLOW AT LARGE.

This cross-pollination discusses suspects, forensic examinations and conspiracies in stuffy ad infinitum, and after five hours concludes there is insufficient evidence to determine who Jack was. Written by Elwyn Jones and John Lloyd, the programme builds a foundation for masonic influence - after all, Watt has read prominent mason Commissioner Warren's autobiography - with analysis of the wall message "The Juwes are The men That Will not be Blamed for nothing." With no substantiation to the Ripper crimes, let alone Freemasonry, this fixation with the scrawl on Goulston Street is one of many blind alleys the broadcast creates for itself. And just when you think no more information could be squeezed in, the show's surprise witness is held back to the final moments: Joseph 'Hobo' Sickert, illegitimate son of suspect/painter Walter Sickert. Self-scripted and shot on Super-8, Joseph recalls his strange genealogy and conveys Royal Physician Sir William Gull (as did Stowell) and driver John Netley, and also surmises threat of revolution.

"You told me to bring you Jack the Ripper. You sign that piece of paper and I will ... tonight!" Michael Caine - as Inspector Frederick Abberline - is the casting coup of ITV's out-of-control JACK THE RIPPER.

After this bombshell, the East London Advertiser sent Knight to interview Joseph. Fleshed out into his "Final Solution," Knight details an elaborate conspiracy theory involving the British royal family, freemasonry and Walter Sickert. He concluded that the victims were murdered to cover up a secret marriage between the second-in-line to the throne, Prince Albert Victor, Duke of Clarence and Avondale, and working class Catholic Annie Elizabeth Crook. Crook and the couple's daughter are consequently spirited away, and a quintet of Whitechapel tarts - privy to the circumstances through the employment of one of their number (Mary Kelly) as the child's Nanny - were disposed of by a team of high profile assassins. However, when Knight's frenzy of misinformation builds to implicating his father more than to Joseph's liking, 'Hobo' withdrew his co-operation and put on record that he had made everything up.

Made to coincide with the Ripper centennial, ITV's bombastic drama JACK THE RIPPER was a ratings winner, casting Michael Caine as Inspector Abberline and Lewis Collins as Sergeant George Godley. Director and co-writer David Wickes - who had helmed two episodes of the BBC series - stated that he had been allowed unprecedented access to Scotland Yard files, and that his production would be revealing the true identity of Jack for the first time. However, after pressure from numerous Ripperologists Wickes withdraw this claim, but the series still begins with a disclaimer on behalf of the production staff: "our story is based on extensive research, including a review of the official files by special permission of the Home Office and interviews with leading criminologists and Scotland Yard officials." Wickes' announcement that he had filmed several alternative endings lends no credence to the unfolding structure, and was more likely another publicity stunt.

Abberline adopts his usual measured methods with coachman John Netley (George Sweeney) in ITV's JACK THE RIPPER.

Comprising of two ninety-minute episodes broadcast on consecutive evenings in October 1988, the series' revelation that Sir William Gull (Ray McAnally) was the killer is laughably old hat, after threads lead the viewer to the likes of American stage actor Richard Mansfield (Armand Assante), socialist George Lusk (Michael Gothard) and Queen Victoria's clairvoyant Robert Lees (Ken Bones). The melodramatic story also takes great liberties in characterisation: Abberline's alcoholism is present solely for dramatic licence, and George Lusk's depiction as an anarchic troublemaker hides the fact that Lusk was actually a nondescript businessman and church warden. Although the crime scenes are the most authentic part - particularly Mary Kelly's Miller's Court slaying - the rest exists in its own self-important, distorted world, which advances nothing on Knight's book or the BBC serial. When Gull eventually breaks ("they're only worthless whores!,") the surgeon's jolting transformation from kind family man to barking mad is as abrupt as Abberline's bawling.

Back in Black

VAMPIRA (1974)

The cover to the MGM Limited Edition R1 DVD of VAMPIRA from 2011. Upon its theatrical release in the States, the production was re-christened OLD DRACULA by AIP, to cash in on Mel Brooks' YOUNG FRANKENSTEIN.

THIS Jeremy Lloyd-scripted travesty from World Film Services is not so much unfunny but downright insulting. Starting at Castle Dracula - now open to public tours - an aging Count (David Niven, fighting to keep his dignity) and his manservant Maltravers (Peter Bayliss) welcome a spooky photoshoot ("Most Biteable Playmate") from Playboy's London entourage, headed by Pottinger (Bernard Bresslaw). The Bunnies unwittingly give blood so the vampire can restore life to his beloved consort Vampira, who has been in a coma for fifty years after losing her immortality to an anaemic peasant. Finding the triple-O blood group to resurrect the Countess, the transfusion backfires as one of the models is black, a façade which Vampira adopts (as Teresa Graves). Hoping to reverse this mishap, The Count and Maltravers track down the girls in London, using Playboy feature writer Marc Williams (Nicky Henson) as their hypnotised pawn.

VAMPIRA mixes the British sex comedy with Hammer horror and Blaxploitation, but there is no flesh or blood on display. Now awakened, the titular character develops a bi-sexual lust, enjoying her environment and skin colour; not only does this new-found vigour mean her using phrases like "out of sight" and "jive turkey," she also goes to watch BLACK GUNN, dances lasciviously, and is now too energetic for the Count to handle. Unfortunately, this is undermined by a number of dismal dialogue choices, particularly when Maltravers tries to explain Vampira's change of appearance ("you don't think, Sir, the deep freeze wasn't working properly and she's - well - gorn orf?")

In the prolonged party sequence, Count Dracula and Maltravers attempt to swing well past the height of the Swinging London era.

More positively, the cast includes female luminaries Veronica Carlson and Penny Irving as Playboy Bunnies, Luan Peters as Pottinger's secretary, and MONTY PYTHON regular Carol Cleveland as a damsel in distress who is inexplicably helped by The Count. The standout however is Linda Hayden as Castle Dracula's disgruntled German student Helga. Although her Teutonic accent is as questionable as her Gallic attempts in CONFESSIONS FROM A HOLIDAY CAMP, Hayden excels in an almost cameo role, bitten and transformed into a white gowned, frizzy-haired succubus. Initially aiding the dinner guests, Helga is then ceremonially dispatched in an upright coffin in a macabre parody of THE GOLDEN SHOT. 

Mad Science

THE MUTATIONS (1974)

"He'll soon be neither human being nor plant, but with the characteristics and advantages of both: a plant that can move and think, a man who can set down roots." Donald Pleasence and Tom Baker plot and fester.

DIRECTED by Oscar-winning cinematographer Jack Cardiff, THE MUTATIONS uses the template of Tod Browning's FREAKS and poverty row mad scientist pictures to mix with unsubtle 70's British sleaze and an avant-garde score. University Professor Nolter (Donald Pleasence, in a role originally intended for Vincent Price) is experimenting to merge human and plant life. Any unsuccessful subjects are offloaded to Nolter's kidnapping accomplice Lynch (Tom Baker) for a nearby circus "Royal Family of Strange People," which Lynch runs with dwarf Burns (Michael Dunn). The human protagonists - all students from Nolter's class (Tony (Scott Anthony), Lauren (Jill Haworth) and Hedi (Julie Ege)) - and the circus freaks are exploited by the tyrannical Lynch, who hopes that Nolter will cure his own Elephant Man-type deformity. The plan starts to unravel when Tony, after being turned into a human Venus Fly Trap, escapes and ingests a homeless man. With Hedi strapped naked to the operating table, she is saved from Nolter's burning mansion by Dr Brian Redford (Brad Harris), and the freaks take their revenge on Lynch.

Like Browning, real deformed humans are cast for the roles (including Alligator Girl Esther Blackmon and the show-stopping Willie "Popeye" Ingram). Another Browning cue sees THE MUTATIONS lift its party scene directly from FREAKS, and Cardiff must also have been influenced by Universal's 1973 SSSSSSS, which sees herpetologist Dr Carl Stoner (Strother Martin) change young men into King Cobras, whereby botched attempts are exhibited at a circus. Both Nolter and Stoner theorise that humans now need to be in some transformative state, for Nolter to create a "world without hunger," and for Stoner to survive ecological disaster. A deadpan Pleasence mostly recites dialogue from his textbooks and provides an amusing lecture aside referencing genetically recreated dinosaurs, while at home he feeds rabbits to his creations. But Baker is the star: shortly before his Time Lord appointment - and sporting a coat hat and scarf ensemble - Lynch is the Igor to Pleasance's Frankenstein/Dr Moreau. Lynch himself is a freak, but his overpowering self loathing cannot make himself accept his plight; in the film's only touching scene, he visits a prostitute and begs her to say "I love you" for an extra pound.

Scott Anthony - mutated into a Venus Fly Trap - devours his  

monster maker Pleasence in the fiery climax.

The exhibition of real biological oddities can be traced back to the 1630's, when Lazarus Colloredo and his conjoined twin Joannes Baptista toured Europe. "Freaks of nature" as a source of entertainment on film adds another voyeuristic quality, freezing their façade awkwardly in time to watch over and over. FREAKS' original cut of January 1932 was met with disgust - one woman at a test screening threatened to sue stating it caused her miscarriage - and remains the only MGM release to have been pulled from circulation before completing its engagements. The picture was also banned in Britain for thirty years, and effectively brought Browning's career to a premature end. However, FREAKS has enjoyed a positive re-evaluation over the years, unlike Michael Winner's 1977 Universal opus THE SENTINEL, which controversially featured deformed humans as denizens from hell. Amid THE MUTATIONS relentless dour atmosphere, when Lynch is killed by flying switchblades then devoured by Nolter's hounds, the "Strange People" at least have a form of closure.

The Love of Darkness

CAT GIRL (1957)
RASPUTIN THE MAD MONK (1966)

"The love of darkness, the craving for warm flesh and blood … it is my legacy to you ... passed on from generation to generation of our family …  for 700 years!" Ernest Milton and Barbara Shelley provide the only sparks to this pedestrian programmer.

PRODUCED by Val Lewton and directed by Jacques Tourneur, RKO's 1942 CAT PEOPLE divided critics at the time, but is now considered a sophisticated classic. Telling the story of young Serbian Irena (Simone Simon), who believes herself to be a descendant of a race of people who turn into cats when sexually aroused, the style of the film concentrates on the theory that unseen terrors are more effective than visual ones (what Lewton referred to as "patches of prepared darkness"). This use of suggestive shadow, and the genre-defining shock Lewton Bus moment, was in contrast to the Universal trend of the time, who would make FRANKENSTEIN MEETS THE WOLF MAN a year later.

CAT GIRL - a British CAT PEOPLE from Insignia directed by Alfred Shaughnessy - barely registers as horror, its stagy and stilted execution making it hard to believe it was released in the wake of Hammer's game-changer, CURSE OF FRANKENSTEIN. Leonora (Barbara Shelley) is summoned to her ancestral estate by uncle Edmund Brandt (Shakespearean actor Ernest Milton, doing his best Ernest Thesiger impression). Recently married to Richard (Jack May), Leonora also brings friends Cathy and Allan (Patricia Webster and John Lee) to the house. Brandt's niece discovers that she is to be united with the soul of Edmund's pet leopard, continuing a family curse which enables mental control of the big cat to "kill ... kill." Under Leonora's control, the leopard savages her husband for having an affair with Cathy, then turns its attentions to Dorothy (Kay Callard), the wife of Leonora's true love Dr Marlowe (Robert Ayres).

Barbara Shelley - the "first leading lady of British horror" - is haunted Leonora. Shelley's looks and stature command the screen, with Barbara playing it commandingly straight.

Aside from Shelley and Milton, the performances are self-conscious (even leopard Chiefy, a performing cat from Southport Zoo, surprisingly lacks menace), and Ayres makes for a particularly characterless 'hero'. Shaughnessy - directing his only fantastic film before creating UPSTAIRS DOWNSTAIRS and planting the seed that would become Pete Walker's HOUSE OF WHIPCORD - couldn't remain positive about the release's own main legacy, lamenting in his autobiography "by using [Barbara Shelley] I fear we condemned a very beautiful and talented actress to a long career in horror films."

Similar to Shelley's Helen in DRACULA PRINCE OF DARNESS, when a hex kicks in, Leonora's sexual repression is unshackled. Now infused with feline aggression, things get weird when she briefly imagines herself turning into a leopard, and eats a budgie (off screen); Leonora's eyebrows also suggest a sudden predatory look (critic David Pirie argues that it is with CAT GIRL that British film heroines started to distort from their emotional norm, even if they are portrayed as mental patients and die violently). In her first starring role Shelley atypically shows off areas of flesh; yet any real charge is smothered by the picture's mundaneness, as a lingering shot of Leonora's naked back sees the camera pan away, leaving the maid to comment on her beauty.

"Everything else is darkness"; the hypnotic stare of Christopher Lee as RASPUTIN THE MAD MONK.

Directed by Don Sharp and scripted by Anthony Hinds, Hammer's RASPUTIN THE MAD MONK casts Shelley again under the spell of Christopher Lee in redressed sets from DRACULA PRINCE OF DARKNESS. After healing an innkeeper's wife and cutting off the hand of the keeper's daughter's suitor, Grigori Rasputin (Lee) is hauled before an Orthodox bishop on grounds of sexual immorality and violence. Preferring to give God "sins worth forgiving", Rasputin is unperturbed by the bishop's claims of Satanism. Heading for St Petersburg, the exiled Monk befriends struck-off Dr Zargo (Richard Pasco) and begins his campaign to infiltrate highest Russian society. This includes gaining influence over the Tsarina's ladies-in-waiting Sonia (Shelley) and Vanessa (Suzan Farmer), but his relentless sexual appetite and pursuit of wealth eventually leads to his death at the hands of Zargo and Ivan (Francis Matthews).

Initially announced in 1961 as THE SINS OF RASPUTIN, Hammer's brisk pseudo-exploration of "History's Man of Mystery" is dominated by Lee's extraordinary performance. Unlike his appearances as Dracula - often off-screen and reduced to set pieces - Rasputin is overpowering from his appearance at the Inn door. Passionately researching the role, the actor even sought advice on how to play a medically accurate death by cyanide poisoning. But the film was hampered by overspends on DRACULA PRINCE OF DARKNESS, foreshortening the script and scope; the production was also under the threat of legal action from Prince Felix and Princess Irina Yousoupoff, Felix being one of Rasputin's real-life assassins. Having successfully sued MGM over their 1932 release RASPUTIN AND THE EMPRESS, pressure from the Yousoupoff's is the reason that Hammer's surrogate assassin Ivan is Vanessa's brother rather than husband, and why Vanessa and Rasputin do not meet in the film's climax.

No Sex Please, We're British

WHITE CARGO (1973)
LET'S GET LAID! (1977)

Even Countess of Cleavage Imogen Hassall and David Jason as an everyman hero can't save the Walter Mitty-inspired WHITE CARGO.

BESET by funding problems and dwindling audiences, the British film industry of the 1970's also had to combat small screen competition from television and domestic video. Furthermore, Margaret Thatcher's first Conservative government cut state funding on productions. Existing in their own parallel universe, British sex comedies of the 1970's are renowned to be unsexy and unfunny affairs, but here are two chronically inadequate examples. Fanatically popular throughout the decade, this sub-genre existed in Britain's most troublesome cinematic period thanks to two major plot devices that required little budget: the cheapest special effect of all - i.e. female breasts - and slapstick.

Ray Selfe's WHITE CARGO - re-written by David McGillivray after The Goodies rejected the initial treatment scripted especially for them - casts David Jason in his first major screen role. Underachiever Albert Toddey (Jason) visits a Soho strip joint owned by Dudley Fox (Raymond Cross) and meets showgirl Stella (Imogen Hassall). Stella is actually an undercover policewomen, and the club is selling girls into white slavery to an unnamed Arabian oil state. A number of scenes are played out twice - firstly with Albert's tendency to fantasise himself as a heroic, slick government agent (initially to be shot in 3D), and secondly the rather less glamorous real outcome. Making use of several recycled sets from the Peter O'Toole classic THE RULING CLASS, WHITE CARGO at least has an interesting cast; in a part originally intended for Ian Lavender, Jason's enthusiasm about his star turn allegedly diminished rapidly during the shoot, and the underused Hassall is the glue attempting to hold the film together. David Prowse also appears as club heavy Harry, who thinks nothing of trading his girlfriend in to the slave market for cash-in-hand.

The only sexual charge in LET'S GET LAID! is created by Anna Chen - as 'Oriental Girl' - astride Robin Askwith in a car atop Hampstead Heath.

James Kenelm Clarke's LET'S GET LAID! also has an unnecessarily convoluted plot and fantasy sequences. Bringing together the vanguard of British sex talent - Robin Askwith, Fiona Richmond and a bit-part from Linda Hayden - demobbed wallflower Gordon Laid (Askwith) is given the key to a Mayfair apartment owned by a rich cousin. Laid aids actress Maxine Lupercal (Richmond) in a flat across the hall in disposing of the body of a secret agent, and inadvertently pockets the dead man's cigarette lighter which is actually the potentially explosive PJ46 device. Amidst a police hunt, the attentions of international crook Moncrieff Dovecraft (Anthony Steel) and the complication that Laid has a double in thespian Jimsy Deveroo, the fantasy inserts make no attempt to follow the dull narrative, which includes Richmond cavorting as a Nazi Miss Whiplash.

Drama Nation

DRAMA PLAYHOUSE - THE INCREDIBLE ROBERT BALDICK (1972)

DOCTOR WHO - THE ANDROID INVASION (1975)

"He cannot resist the inexplicable; almost any happening qualifies for his interest so long as it is out of the ordinary." Terry Nation's stab at DRAMA PLAYHOUSE created Robert Baldick.

FORMING part of the third season of DRAMA PLAYHOUSE - the BBC's launching pad for potential series - THE INCREDIBLE ROBERT BALDICK: NEVER COME NIGHT was Terry Nation's first completed work for the Corporation's drama department since his six episodes of DOCTOR WHO - THE DALEKS' MASTER PLAN in 1965. Directed by Cyril Coke, this never-commissioned pilot is a Victorian Gothic with the titular Baldick (Robert Hardy) an eccentric detective/scientist who owns his own steam locomotive and has a pet owl. A fusion of Sherlock Holmes and Fox Mulder, Hardy plays Baldick with suffocating gusto, but there are too many themes in too short a running time to create a satisfying whole. Elements of Victorian literature (loyal assistants, windswept nights) and Gothic fiction (secrets in the woods, ruined abbey, failed exorcism, unruly villagers) are further complicated by the alien artefact sting, a payoff that is not just a narrative anomaly but an unnecessary Quatermass-like "resolution".

Squire Aldington (Reginald Marsh) and Reverend Elmstead (James Cossins) discover the corpse of a young woman in the reputedly haunted ruins of Duvel Woods Abbey. Elmstead visits friend Robert Baldick, in the hope that the unconventional sleuth will assist in this latest of murders to effect Boardington village ("local legend has it that the deaths go back into prehistory.") Aided by his valet Thomas Wingham (Julian Holloway) and burly gamekeeper Caleb Selling (John Rhys-Davies), Baldick delves into local parish records, and discovers that the Abbey has long been associated with human sacrifice. Excavating deeper within the crypt, fear and anxiety grips the group; Thomas is pulled into a chamber below, which is full of human bones and pervaded by a sense of absolute evil. Baldick is convinced that the Abbey contains a distillation of the terrors and phobias of all the people who have visited the enclose, and later studies a strange object he retrieved from the floor: a small metal box containing intricate electrics and runic symbols.

DOCTOR WHO - THE ANDROID INVASION was the second of two non-Dalek scripts Terry Nation turned in for the series (the first was THE KEYS OF MARINUS from 1964).

Although beautifully shot and well received, the programme suffered from scheduling problems which was triggered by a behind-the-scenes tussle over the name of the character. BALDICK was originally to be shown on 6th September, but in the immediate aftermath of the Munich Olympic massacre, it was removed at the last moment and eventually aired at a later than usual time slot on 2nd October. However, the original airdate of 23rd August was quashed by legal ambiguities between the BBC and Robert Baldick Junior, a PhD student whose father Dr Robert Baldick - an Oxford French literature academic - had granted Nation permission to use his name. Unfortunately Baldick Senior died before the broadcast date, and head of drama serials Andrew Osborn eventually conceded that - although it was too late to change the pilot - the name would change if the venture would develop.

For DOCTOR WHO - THE ANDROID INVASION, Nation invented the rhinoceros-like Kraals, who go to finite trouble to create an exact replica of an English village and populate it with synthetic organisms to rehearse an invasion of Earth. Chief Kraal scientist Styggron (Martin Friend) also intends to release a deadly virus to aid resistance, but this is ultimately as unnecessarily convoluted as BALDICK. Themes of duplication and mind-draining are lost in a number of silly plot elements, most of all duping astronaut Crayford (Milton Johns) in thinking he has lost an eye by simply giving him an eye-patch. On the surface this is a minor entry in the Time Lord's greater Gothic scheme of the mid-70's, but it does cover interrogation - The Doctor (Tom Baker)’s subjection to the Analysis Machine - and 1950’s Sci-Fi paranoia; Crayton may be a critical laughing stock, but is a man in identifiable flux.

Bridal Torment

WESSEX TALES - THE WITHERED ARM (1973)
WESSEX TALES - BARBARA OF THE HOUSE OF GREBE (1973)

Thomas Hardy reflected a concern for the poor in society, and particularly the lack of opportunities offered to women. For The Withered Arm and Barbara of the House of Grebe, there is nothing but torment for young brides.

IN his 1888 collection Wessex Tales, Thomas Hardy writes of the true nature of nineteenth century marriage and its inherent restrictions, the stance of women, and a society which could not cope with even minor diseases. Hardy did not explore the sensibility of Jane Austen or the vivid caricatures of Charles Dickens; rather, his poems and novels are filled with characters that are as functional and rustic as their clothes; his dramatis personae follow the hardened edge of nature, the intractable working of fate, and the inevitability of a relentless decline. There is also a sense of enigma, that something beyond our physical appearance is guiding our hand. For many people of a certain age, one such story - The Withered Arm - is remembered as an oddity of their school experience. Often included on English Literature syllabuses, it sits awkwardly between ambiguous morality tale and surreal horror.

Wessex Tales was made into a BBC anthology; the first broadcast was THE WITHERED ARM, and is a masterpiece of the form. In a Southern England rural community, wealthy farmer John Lodge (Edward Hardwicke) returns home with his new young bride Gertrude (Yvonne Antrobus). Gertrude awakes one morning to find four painful welts on her arm, and consults Conjuror Trendle (Esmond Knight) with the reluctant help from weathered milkmaid Rhoda Brook (Billie Whitelaw). Trendle prescribes a ghoulish cure: “you must touch with a limb the neck of a man who’d just been hanged.” It transpires that Rhoda’s son Jamie (William Relton) is the illegitimate spawn of Lodge, and it is he who is the man hanged for a frivolous reason.

In an illustration of Hardy's "magnificent gloominess", Yvonne Antrobus appears as a horrific vision in THE WITHERED ARM.

Rhoda’s dream sequence of a grotesquely grinning Gertrude taunting her with her wedding ring - only to have Rhoda angrily grabbing the bride’s arm before awakening - is eerily effective, and in the programme’s standout image Whitelaw holds the distinction of the only actress to ever make milking a cow look ethereally sinister. A mix of jealousy and body horror, Gertrude is the Gothic Outsider not just existing in an unfamiliar world, but an ultimately unwanted one: she cannot bear children.

Directed by Desmond Davis - who would go on to direct the Ray Harryhausen opus CLASH OF THE TITANS - THE WITHERED ARM was dramatised by Rhys Adrian greatly indebted to THE BLOOD ON SATAN'S CLAW. Wandering wearily through the bracken and ploughed earth, Gertrude’s physical affliction makes for close relation to SATAN'S CLAW's yearning for devil skin. The programme is also enveloped by the hanging ethic, unsurprising as Hardy himself was an enthusiastic spectator of such public punishment. This is illustrated by scenes of locals jostling for position to see the noose being made, and an old man selling wooden hanging figures. There is also a cinematic shot of a silhouette of the gallows against the day-for-night sky.

Ben Kingsley and Joanna McCallum play the heights of Hardy's married anguish in BARBARA OF THE HOUSE OF GREBE.  

The sixth and final WESSEX TALE was BARBARA OF THE HOUSE OF GREBE. Lord Uplandtowers (Ben Kingsley) wants to marry Barbara (Joanna McCallum); however, this daughter of Sir John Grebe (Leslie Sands) elopes with handsome Edmond Willowes (Nick Brimble). Marrying "beneath her," Barbara can only gain her parents consent by having Edmond "educated" in Italy for a year, while their lodge house is readied. During his stay in Europe, Edmond is facially disfigured in an opera house fire while saving others; on his return to England, Barbara is repelled, forcing him to leave a farewell letter. After leaning of his death several years later whilst in a loveless marriage with Uplandtowers, Barbara receives delivery of a commissioned statue of a pre-accident Edmond from Pisa. Worshipping this as a shrine, Uplandtowers learns of the original disfigurements and has the statue amended accordingly, at last receiving Barbara's affections.

Dramatised by David Mercer, this unnatural tale of social status was described by T. S. Eliot as "to have been written to provide a satisfaction for some morbid emotion." Barbara experiences love and loss at every extreme level, from its initial blooming to isolation and despair. Edmond's burned reveal is starling: what seems to be a simple mask turns into a full unveiling of face and wig, as if the forced exile is peeling an orange. While captured in their matrimonial hell, Kingsley and McCallum excel, Barbara caressing her model as Uplandtowers simmers to his ultimate victory.

State of Decay

DOCTOR WHO - HORROR OF FANG ROCK (1977)
DOCTOR WHO - IMAGE OF THE FENDAHL (1977)

A fan favourite, HORROR OF FANG ROCK contains many elements from the poem Flannan Isle by Wilfrid Wilson Gibson, which the Doctor quotes from at the end of the story (the poem draws on the real-life mystery of disappearances in 1900). Here is the cover to the 1978 Target novelisation.

PHILIP Hinchcliffe's three seasons as DOCTOR WHO producer registered unparalleled violence and complaints. Incoming producer Graham Williams was under pressure from BBC brass to tone down the horror elements with his premier block of serials - Season Fifteen - which would screen between September 1977 and March 1978. But from the start Williams was embroidered in a number of behind-the-scenes tussles. His first intended serial, Terence Dicks' THE WITCH LORDS/THE VAMPIRE MUTATION, was vetoed late on by Head of Serials Graeme McDonald, because it would undermine the lavish BBC production of Bram Stoker's Dracula then under preparation; Louise Jameson quit as Leela; and in an attempt to re-connect as a children's show and up the comedy, robot dog K9 became a regular companion - much to Tom Baker's chagrin. 

Against this backdrop, it is amazing that Williams' initial broadcast - HORROR OF FANG ROCK - is a triumph. One of the last genuinely scary Classic-era adventures, HORROR OF FANG ROCK sees a shape-changing amorphous jelly (a Rutan scout) crash-land near a desolate Edwardian lighthouse. Initially only populated by a crew of three, soon The Doctor (Baker) and Leela (Jameson) arrive, and survivors from a shipwreck swell the numbers. The alien - one of the race engaged in a perennial war with the Sontarans - is killing its occupants in a quest for life-giving electricity, and The Doctor has been battling to keep it out. But as the death toll rises, realisation hits the Time Lord: "Leela, I've made a terrible mistake, I thought I'd locked the enemy out. Instead I've locked it in - with us." Eventually, The Doctor turns the lighthouse into a laser, knocking out the anti-gravity of the incoming Rutan Mothership.

At the end of Part Two of IMAGE OF THE FENDAHL, the Doctor asks the Fendahl skull if it would like a jelly baby, but actually offers it a liquorice allsort. This was commented on in the 'Watchdog' segment of NATIONWIDE; the DOCTOR WHO production office replied by saying that this was one of the ways the Doctor liked to confuse his enemy.

The realistically cramped lighthouse scenes were shot at Pebble Mill Studios in Birmingham, the only time the series had ever ventured from its London studio base. Strong on atmosphere, this is a tense, claustrophobic tale that makes the most of its small cast and tiny location, but lacks the intensity of the Hinchcliffe Gothic era. Perhaps feeding off their tensions off screen, Baker and Jameson are both outstanding, The Doctor at his unpredictable, arrogant best, and Leela - without her trademark leather outfit - fearless against the threat. The loose background to this teleplay refers to the true mysterious events surrounding the disappearance of three lighthouse keepers from the Flannan Isles lighthouse around 1900. Built approximately twenty miles from the Outer Hebrides, this legend is a mixed bag of allegedly hoax log entries and sea monsters, and even a long-boat of ghosts heading to the Isle on the night the lights went out.

IMAGE OF THE FENDAHL acts as a last stab of gothic horror for the show. In contemporary England, Professor Fendelman (Denis Lill) subjects a twelve million-year-old skull to the effects of his Time Scanner, providing a channel for the malevolent Fendahl to once more terrorise the Earth. The skull is also infiltrating fellow scientist Thea Ransome (Wanda Ventham), who is eventually transformed into the Fendahl core, mutating colleagues into snake-like monsters. The theme of mankind manipulated by an ancient alien again draws from DOCTOR WHO's favourite reference point - the works of Nigel Kneale - but the story is let down by the Fendahl itself; an attractive women with eyes painted on her closed eyelids doesn't really justify a terrifying entity that feeds on death; nor does the climax, where a creature that can teleport itself across space is killed by a handful of rock salt.

Paint It Black

OMNIBUS - SCHALCKEN THE PAINTER (1979)
ITV PLAYHOUSE - CASTING THE RUNES (1979)

Dou (Maurice Denham), once a student of Rembrandt, sells his niece to a Sepulchral for a casket of gold in SCHALCKEN THE PAINTER.

THE first incarnation of the BBC's A GHOST STORY FOR CHRISTMAS strand ended with pretentious episode THE ICE HOUSE in 1978. The two programmes here attempt to carry on the tradition, the first often confused as an official entry, and the second directed by the series' talisman on ITV. Actually screened as part of OMNIBUS, Leslie Megahey's SCHALCKEN THE PAINTER is a fictional exploration of real life seventeenth-century Dutch artist Godfried Schalcken. Adapted from Sheridan Le Fanu, Schalcken (Jeremy Clyde) is a student of Gerrit Dou (Maurice Denham) and admirer of Dou's niece Rose (Cheryl Kennedy); Schalcken is as lifeless as the canvas he devotes himself to, and loses Rose's hand to deathly stranger Vanderhausen (John Justin).

If the story has a message at all, it is that females can become detached objects and property; when Rou's niece is bound to the cadaverous Vanderhausen, it serves as a metaphor on the cruelty of woman as breeding stock. The slow narrative and detached composition has flatteringly been likened to Kubrick, but the programme stands more as a companion piece to another OMNIBUS adaptation, Jonathan Miller's WHISTLE AND I'LL COME TO YOU. Whereas Miller takes M.R. James and reflects supernatural image as mental breakdown, Megahey sees Le Fanu's tale as an artist's shattering loss of hope.

CASTING THE RUNES was released on Network DVD in 2007. This disc also included ITV Schools' rare adaptation of Mr Humphreys and His Inheritance, and the documentary A PLEASANT TERROR: THE LIFE AND GHOSTS OF M.R. JAMES.

In M. R. James' Casting the Runes - first published in 1911's More Ghost Stories - Edward Dunning is a researcher for the British Museum, who has recently appraised The Truth of Alchemy by occultist Mr Karswell. He begins seeing the name John Harrington wherever he goes, and learns that this individual had also reviewed Karswell's work, but died in a freak accident. Following the celebrated 1957 film version NIGHT OF THE DEMON directed by Jacques Tourneur, the story was adapted twice on British independent television: in 1968 as a third season MYSTERY AND IMAGINATION, and again as an eleventh season PLAYHOUSE.

Directed by A GHOST STORY FOR CHRISTMAS regular Lawrence Gordon Clark, CASTING THE RUNES was another attempt at a contemporary updating. Shot on videotape and 16mm film, the central protagonist is a woman, Prudence Dunning (Jan Francis), the producer of an investigative television programme that is critical of the practises of Karswell (Iain Cuthbertson). With a limited running time, this take suffers from scenes which have previously been so effective in other adaptations - there is no séances, and no Halloween garden party - and what remains creates an imposing but underdeveloped demonologist; Karswell is reduced to building a model dolls house and putting a live spider in one of the beds to satisfy this particular brand of curse.

Possession!

DOCTOR WHO - THE ARK IN SPACE (1975)
DOCTOR WHO - THE MASQUE OF MANDRAGORA (1976)
DOCTOR WHO - THE HAND OF FEAR (1976)

An adult Wirrn from THE ARK IN SPACE. Originating from Andromeda, these aliens are "almost too horrible to think about."

ALTHOUGH the script for what would become the DOCTOR WHO adventure THE ARK IN SPACE was commissioned during Barry Letts' show running tenure, it fell to incoming producer Philip Hinchcliffe and script editor Robert Holmes to bring this classic tale of bodily possession to life. Screened as the second story of the programme's Season Twelve, and scripted by Holmes from an original draft by John Lucarotti, it tells of the insectoid Wirrn Queen laying eggs inside cryogenically-preserved humans on the future space "ark" Nerva; when the eggs begin to hatch and the monsters start to absorb homo sapien knowledge as well as their bodies, The Doctor (Tom Baker), Sarah Jane (Elisabeth Sladen) and Harry (Ian Marter) team up with revived humans to lure hatched Wirrn into a shuttle craft and blast them into space.

THE ARK IN SPACE's body horror is played out in Roger Murray-Leach's brightly lit, clinical sets, and its claustrophobia and trails of green slime couldn't have been further from the atmosphere of the previous serial, ROBOT. Noah (Kenton Moore)'s unnerving cell-by-cell mutation into an insectoid not only recalls the fate of Carroon in THE QUATERMASS EXPERIMENT, but provides a bridging point for body-destruction explored in major motion pictures such as ALIEN and THE THING (the shuttle craft finale also provides a nod to Ridley Scott's film). The Wirrn grubs and flesh of Noah's transforming hand were constructed primarily from then new bubble-wrap packaging and sprayed green, and to further illustrate the show's queasy hue, the opening titles to Part One were green-tinted as an experiment but consequently dropped.

THE MASQUE OF MANDRAGORA is one of the most literate of all DOCTOR WHO's; not only is Mandragora the latin for the plant Mandrake, which in folklore is said to have magical qualities, the serial has also been equated to Hamlet's discussions on the supernatural.

The Fourteenth Season of DOCTOR WHO opened with two stories that also explored the Hinchcliffe/Holmes brand of control. THE MASQUE OF MANDRAGORA is a sumptuous costume drama set during Renaissance Italy (which was actually filmed in Portmeirion). The TARDIS lands unwittingly carrying Mandragora energy, that possesses an underground cult - the outlawed Brotherhood of Demnos - intent on dragging the world back to the Dark Ages. Portmeirion's locations fit in perfectly for 15th century Italy, as the architect for the Welsh village - Sir Clough Williams-Ellis - was inspired by the Italian harbour town of Portofino. This mixture of history and black magic come to life in Louis Marks' intelligent scripts, using the Madragora Helix to symbolise superstition that would be negated by science ("the dawn of a new reason"), and Barry Newbery's design for the wood-panelled console room is a thing of beauty.

THE HAND OF FEAR is set on contemporary Earth, and sees Sarah Jane possessed by the fossilised hand of Kastrian Eldrad (Judith Paris/Stephen Thorne), a criminal who was destroyed in space as punishment for attempting to wipe out his own race. Sarah Jane hijacks a nuclear reactor where radiation recreates the creature; regenerated, Eldrad persuades The Doctor to take him back to Kastria, but the planet has been destroyed by King Rokon (Roy Skelton) in case Eldrad should ever return. At its conclusion, The Doctor receives a summons from the Time Lords, forcing him to leave Sarah on Earth; this action would result in the ground-breaking THE DEADLY ASSASSIN.

Judith Paris as the reconstituted Eldrad in THE HAND OF FEAR.

Disembodied hands have a long tradition in pop culture. Amicus in particular enjoyed the malevolent severed organ, and here the impressively realised digit is brought to life by Steve Drewett and CSO. But this is a serial for the women; in her female form Eldrad presents a ruthless beauty, and Sladen is threatening while under the influence, then feistily accepting in her farewell scene. In fact, THE HAND OF FEAR is the perfect story to showcase the most popular of the Time Lord's assistants. Sladen appeared in eighty episodes between 1973 and 1976, and through subsequent audio dramas, reboot appearances and spin-offs, new generations could also fall in love with her grounded yet infectious charm. Sladen's swift death from pancreatic cancer in April 2011 left the Whovian community in shock, and BBC Four fittingly showed THE HAND OF FEAR as a tribute to Sladen's timeless appeal.

"It's a Creepy Business, Darling"

WORST FEARS (2016)
HORROR ICON (2016)

The Nucleus DVD of WORST FEARS not only tidies up the anthology, but also completes the mockumentary HORROR ICON.

THIS direct-to-DVD portmanteau collects seven shorts - all but one written by David McGillivray - and surrounds them with new framing footage by Jake West featuring The Storyteller (McGillivray himself). The tales, made between 2004 and 2011, are kept fresh by their different locations - filmed in Marrakech, Lisbon, Nice and London - and underpinned by a typically home-grown seediness and array of familiar faces. This Nucleus Films version is the second attempt at a WORST FEARS splicing, the first - a "horror hostess" cut with news presenter Juliette Foster in the role - premiered at the Electric Picture Palace, Suffolk, in 2007, and was instantly disowned by McGillivray's director Keith Claxton. In this revamp, McGillivray seems at home in the re-shot linkage, his camp façade wryly adding gravitas to the tales to come.

Tincture of Vervain stars "Her Ladyship" Fenella Fielding, disappointed with a provincial group of elderly witches ("I thought you'd like a bickie"); Wednesday has an Eastern European cleaner falling into the clutches of Anna Wing and Victor Spinetti; In the Place of the Dead sees a Djinn literally devouring a disastrous marriage; Mrs Davenport's Throat mixes airport arrivals with Herschell Gordon Lewis; Child Number Four is a creepy child yarn based on Gavin Smith's The Scarecrow; After Image tells of a photographer learning his true fate; and the secret of a strange apartment is revealed in We're Ready for You Now. 

Are you prepared to face your worst fears? David McGillivray - described by Starburst as "a bit of a legend" - is The Storyteller.

Known for his self-deprecating sense of humour, McGillivrey refers to himself as a "prolific writer, mostly of hack journalism, but also lowbrow films, plays, and radio and television programmes" who "is becoming increasingly unreliable, grouchy and difficult to work with.” Originally a critic for Monthly Film Bulletin, his life-long involvement in theatre was a gift when making the shorts contained here, enabling him to have a list of contacts long enough to fill gaps when they inevitably appeared (especially as no one was paid. The Scarecrow in Child Number Four, amazingly, was even played by passing acquaintance David Brett, of Flying Pickets fame).

The DVD also includes HORROR ICON, which started life in 2007. Now completed and edited by West, this faux documentary attempts to track down the elusive figure of David McGillivray, a long-standing shadow over the heady days of 70's British horror and softcore. Interviewees either refuse to talk about McGillivray or are uniform in their distain, charting a parallel universe that implicates the writer and producer in Columbian drug smuggling. This one-note joke wears thin even though the piece is only thirty minutes long, but it is fun to see Norman J. Warren diss McGillivray, and hear Pete Walker instantly put the phone down on just the utterance of the name of his partner-in-crime.

Spearhead into the 70's

DOCTOR WHO - SPEARHEAD FROM SPACE (1970)

Autons attack!; their featureless facades a metaphor for characterless, mass-production. Fragments of the plastic-hungry Nestene Intelligence, the Autons brake out of a shop window and fire their wrist guns down a mundane British high street.

AFTER the optimism of the 1960's, Britain in the 1970's is most remembered for its economic disorder, power cuts, IRA bombings and riots. Post-war affluence was indeed fading, though David Bowie's dictum "one isn't totally what one has been conditioned to think one is" also illustrates a period of individualism and complexity. As late as 1971, women were banned from going into Wimpy Bars on their own after midnight on the grounds that the only females out on their own at that hour must be prostitutes; yet only eight years after that rule was lifted, Margaret Thatcher was in Downing Street. Despite all this eclectic nonsense, it was great decade to be a kid: hours pouring over Figurini Panini football stickers and STAR WARS bubble-gum cards, space hoppers, BAGPUSS, View-Masters and Cadbury Curly Wurly.

One of the highlights about growing up in the 70's was experiencing DOCTOR WHO's most vibrant era. Jon Pertwee's initial adventure - SPEARHEAD FROM SPACE - burst onto the screen in colour, arguably the first serial to go for the viewer's jugular. Even though Pertwee was known as a comedy actor, he portrayed the Time Lord as a technology-orientated man of action, who was also keen on "moments of charm." The serial would also signify the plagiarism to come (here, more than shades of Nigel Kneale's QUATERMASS II), but this four-parter did introduce the Autons and a new gritty feel; even UNIT, at the start of their long integration, had blood on one of their cracked windscreens. SPEARHEAD FROM SPACE begins with the TARDIS arriving on Earth in the middle of a meteorite shower, actually hollow globes containing the Nestene Consciousness. This disembodied alien has an affinity for synthetics, and agent Channing (Hugh Burden) has infiltrated the plastics factory to form mannequin-like replicas of establishment figures with the aim of colonisation.

Scientists-in-arms: Jon Pertwee and Caroline John.

The dawn of the 70's not only stifled a hopeful future, equality of the sexes was still a brooding issue. The self-titled Second Wave Feminists fought their corner in a Britain that was renowned for its CARRY ON view of women, and this anger spilled over at the 1970 Miss World contest at the Albert Hall. After compare Bob Hope fuelled the flames by making a number of crass comments ("I'm very happy to be here at this cattle market tonight"), he was bombarded with flour and stink bombs. Newsletters and publications such as Shrew, Spare Rib and Women's Report gathered a momentum of ideas, which developed the theoretical differences between socialistic feminism and the more radical format; as the decade developed, the liberation movement was addressing sexual stereotyping in education. 

With the Time Lord exiled on a near-contemporary Earth, DOCTOR WHO introduced a new female companion; but rather than the screaming, threatened norm, Liz Shaw (Caroline John) was a disciplined scientist and meteor specialist. Shaw could understand the Doctor more on a level footing, but producer Barry Letts decided that she was too intellectual to provide a dramatic balance. Lasting only a handful of serials, Shaw was either too far ahead of the time, or a character who writers struggled to fully relate to. Consequent feministic traits were very haphazard in 70's DOCTOR WHO: sassy, independent reporter Sarah Jane Smith (Elisabeth Sladen) regressed to rescue fodder; leather-clad Leela (Louise Jameson)'s usual reflexes were to kill; and we had to wait for the first incarnation of Time Lady Romana (Mary Tamm) for the Doctor to have any scientific sparring partner again.

"A Living Hell That Time Forgot!"

THE LOST CONTINENT (1968)

Actress/singer/songwriter Dana Gillespie - playing Sarah - makes the biggest impression, thanks to her 44-26-37 assets. Gillespie had previously appeared in the striptease exploiter SECRETS OF A WINDMILL GIRL and Hammer's THE VENGEANCE OF SHE.  

AFTER Michael Carreras hastily made PREHISTORIC WOMEN in the wake of ONE MILLION YEARS B.C.'s worldwide success, he would also be responsible for this Hammer fantasy loosely based on Dennis Wheatley's 1938 novel Uncharted Seas. On his rusty tramp streamer Corita, Captain Lansen (Eric Porter) has a cargo of illegal explosives (ten tonnes of water-sensitive Phosphor B) and an array of motley passengers (including a deported ex-mistress of a Third World president (Hildegard Knef), a blackmailer (Benito Carruthers), an alcoholic pianist (Tony Beckley) and an exiled abortionist (Nigel Stock)). When the ship becomes stranded on the floating swamp of the Sargasso Sea, the travellers must face such terrors as man-eating seaweed and a stranded Spanish galleon complete with Grand Inquisitor (Eddie Powell) and boy king "El Supremo" (Daryl Read).

Featuring imaginative sets and water tanks specially constructed at Elstree, THE LOST CONTINENT is a fun but convoluted picture which drowns under its own hyperbole ("SEE BLOOD-BEASTS battling over female flesh! TORTURE PITS for forbidden lovers! SACRIFICE to giant jaw-snapping molluscs! HELPLESS BEAUTIES attacked by crazed-kelp-monsters!"). It's really three films in one, a "ship of fools" tale, an adventure yarn, and an unintentional monster movie parody that relishes its kaiju-like creatures and cleavage. Originally released in America shortened by eight minutes, this truncated version actually replaced the longer cut in British circulation; DVD releases have restored this largely inconsequential footage, but there is one delirious scene where resident blonde Unity (Suzanna Leigh) is called a "hellcat" and almost punched during sex.

Gillespie's extensive musical output has encompassed pop, folk, rock and latterly blues. After performing backing vocals on 'It Ain't Easy' from David Bowie's Ziggy Stardust, she recorded an album produced by Bowie and Mick Ronson in 1973, Weren't Born a Man.

The Lost World subgenre is a popular staple of pulp novels and cinematic spectacle. H.Rider Haggard's King Solomon's Mines and the Hollow Earth work Symzonia; A Voyage of Discovery are often considered its printed paper springboard, exploring strange environments typically un-European. But THE LOST CONTINENT was a box office failure, released between Lost World picture peaks such as MYSTERIOUS ISLAND and the affection given to the Amicus/Edgar Rice Burroughs adaptations of the 1970's. Indeed, 1968 was a sobering year for fantastic cinema, a time with little regard for such a dynamic but ultimately empty release.

"We Must Adjust the Truth"

DOCTOR WHO - THE DEADLY ASSASSIN (1976)
DOCTOR WHO - THE ROBOTS OF DEATH (1977)

"Only hate keeps me alive"; opera singer/actor Peter Pratt brings a resonant voice to the black-shrouded, decomposing Master in THE DEADLY ASSASSIN.

GOTHIC as entertainment is usually traced back to Horace Walpole's The Castle of Otranto (1764), a novel which kick-started a darker supernatural genre that lived amongst decaying settlements and subterranean crypts. Oscillating between romantic sub-plots and conventional reality, Gothic fiction places heavy emphasis on atmosphere and loss of humanity/identity; women are often cast in distress but typically portrayed as the heroine of the piece, while men struggle with a Jekyll and Hyde-type duality. When Philip Hinchcliffe (producer) and Robert Holmes (script editor) took over DOCTOR WHO in the mid-70's, there was a seismic shift away from what Holmes described as "straightforward, dull, children's stories." In the seasons that followed, the Time Lord would experience more oppressive environments and explorations not just of hauntings and possessions, but also early trappings which would latterly be known as body horror. These tales also effected the Doctor himself, changing from the adventurous dandy of Jon Pertwee to Tom Baker, an actor who embraced the outsider at odds with himself and the galaxy.

Holmes' scripts for THE DEADLY ASSASSIN take on board Richard Condon's bleak brainwashing political novel The Manchurian Candidate. The Doctor (Baker) is accused of the assassination of the Time Lord President, but it is in fact a plot by a dying Master (Peter Pratt). Having used all twelve of his regenerations, the Master aims to control the hierarchy so he can obtain the Sash and Rod of Rassilon, which act as keys to the Eye of Harmony, the source of all the Time Lord's power. When the Doctor links his mind into the virtual reality of Matrix (pretty novel for 1976) - which has accumulated the wisdom of his race - he wins a struggle with a hooded opponent revealed to be Chancellor Goth (Bernard Horsfall), who has been used as a pawn. The Master has now gained access to the Eye of Harmony and aims to give new life to his decaying, putrid husk of a body; but in a climactic fight with the Doctor, the Master falls into a crumbling Citadel chasm...

ROBOTS OF DEATH was fittingly chosen to represent the era of the Fourth Doctor at the BFI's 50th anniversary celebration of the show.

THE DEADLY ASSASSIN provides a number of firsts for Who lore: a regeneration number set at twelve; the absence of a companion for the Doctor; the portrayal of a layered society of ranks and chapters (very different from the glimpses seen in THE WAR GAMES and THE THREE DOCTORS); and trivia such as the TARDIS listed as a Type 40 capsule. But for many this spoilt the mystery of the Time Lord back-story, revealing Gallifrey as a planet akin to the doddering House of Lords, or a crusty Oxbridge society (one Time Lord even complains about hearing and hip problems). But within the Matrix the adventure is an irresistible, surreal experience, giving the show its most notorious and sadistically violent moment: the drowning of the Doctor at the hands of Goth as a cliff-hanger to episode three. Providing such a lingering, powerful image for children to mull over for a week was too much for the National Viewers and Listeners Association linchpin Mary Whitehouse, and the scene was shortened for repeats.

Written by Chris Boucher, THE ROBOTS OF DEATH is another tale of duality and deception ("nothing is inexplicable, only unexplained"). Mixing Dune and Ten Little Indians as well as inverting Asimov's First Law of Robots, the TARDIS materialises on a sandminer combing an alien world for minerals. The massive vehicle is run by a small human crew aided by three classes of robots (Dums, Vocs and a Super Voc), and the Doctor (Baker) and Leela (Louise Jameson) come under suspicion when the crew are killed by an unseen assailant. With the aid of undercover agents Poul (David Collings) and robot associate D84 (Gregory de Polnay), the real culprit is revealed as Dask (David Bailie), a scientist raised by robots who has been reprogramming the automatons to murder and to consequently form a superior order ("I see; you're one of those boring maniacs who's going to gloat, hmm? You going to tell me your plan for running the Universe?").

Social activist Mary Whitehouse CBE frequently singled out mid-70's DOCTOR WHO as particularly damaging to young minds. Yet the celebrated "fear factor" and "hiding behind the sofa" mainstays of the programme acted as a liberating and engaging emotion for viewers, who always had the reassurance of the Doctor to guide them through.

Developed under the titles PLANET OF THE ROBOTS and THE STORM-MINE MURDERS, the programme raises above its "people killed off in an enclosed environment" foundation by adopting a highly distinctive art deco production design, a tight script, earnest performances, and effective, lethal robots. Of all the influences listed for Ridley Scott's ALIEN over the years - from the B-movie theatrics of IT! THE TERROR FROM BEYOND SPACE to the otherworldliness of Mario Bava's PLANET OF THE VAMPIRES - don't forget that Boucher's serial has a claustrophobic mining setting and an undercover robot.