Starring Patrick Troughton, Frazer Hines & Deborah Watling.
Written by David Whitaker.
Directed by Barry Letts.
The TARDIS lands on an Australian beach in the 21st century. But this is no seaside holiday - within minutes, the Doctor, Jamie and Victoria are under attack.
They soon discover that the Doctor bears a startling resemblance to Leader Salamander, a would-be dictator intent on world domination. Before long, the Doctor and his companions are plunged into a dangerous game of espionage, intrigue and deceit as they face off against the enemy of the world...
Out of all the stories in Doctor Who's fifth season, The Enemy Of The World is a curious beast. Every other story that season is the tried-and-tested base-under-siege formula: the Doctor and companions must stop a monster or race of monsters from attacking an instillation of some kind, be that a monastery, a gas rig or a space wheel. Tomb Of The Cybermen plays out more like a trip into the monster house, but still has recognisable BUS elements inherent within it. The Enemy Of The World, however, is something very different. Instead of containment, David Whitaker's story takes place all across the world, and plays out more like a lost James Bond movie, rather than an episode of Doctor Who. But, as a unique chance to see a very different sort of Who story than usual, there is nothing finer than Enemy, with its gripping plot, well drawn characters and fantastic acting, particularly from Patrick Troughton in his spellbinding double turn as both the Doctor and the story's villain, Salamander.
This story was, of course, famously returned to the BBC archives in October 2013, and I really don't think being lost did this story any favours. It was often forgotten about by people, never really did that well on fan polls, and the only existing episode we had (episode 3) was mostly conversations in rooms about political stuff that didn't really seem to matter. Of course, we were all wrong about that, because Enemy Of The World is a tight little thriller story that isn't afraid to think big. The plot sees the Doctor and his companions embroiled in the machinations of Salamander, a man who seems, on the surface, to want to save the world. However, as they become involved in attempts to stop his rise to power, they start to see him for what he really is: a power crazed depot, desperate for power and determined to achieve it. The gradual reveal of Salamander's ruthlessness is expertly handled: as we get closer and closer to him, we start to see that he is hiding behind a shield of benevolence: that he is everything we've been told he is. In many ways, Salamander is incredibly prescient of several real-life personalities who have been exposed over the years for corruption and other vile acts. He acts all charm and smiles to the public, but always with that real sense of barely-contained menace. He's certainly one of the more 'real' villains that the Doctor has faced in the show's history: everything he does is horribly believable, and the 'near future' setting grounds the show in a reality that the programme had rarely had up to that point. Of course, Salamander's plan is utterly ludicrous, but what would you expect of a Bond villain? Of course, Salamander isn't an actual Bond villain, but he acts very like one. Secret base? Check. Vile henchman willing to do his work without question? Check. Private security force? Check. Secret base which gets blown up at the end? Check. He meets every pre-requisite for a Bond villain. It certainly one of the reasons why people compare this to a Bond movie. And it does indeed feel like the production team decided to go out and actively make a Bond movie: despite the obvious budgetary differences. It's amazing that this story is as enjoyable as it is, considering the limitations of the Who budget, but I think going all out in this instance was absolutely the right move. Sure, you can occasionally see the limitations of the realisation, but the script is so strong that it's easy to look past that. It's interesting that, for a six parter, you never really get a sense that the story drags. The pace for Enemy Of The World, is one of it's strongest assets, as without it, this story simply wouldn't work. Salamander's plan is pretty... well, in typical Bond villain fashion, it's overblown and ridiculous, but, because the story barely stops for breath, moving from one event to another, you never really notice it until you sit down to think about it. And, it is perfectly in keeping with the character and genre that this story is pitching at, so it's keeping within the tone and style. That being said, this story isn't flawless: the ending, in particular, seems to have lost at least a scene between the destruction of the research complex and Salamander's arrival at the TARDIS. It all just ends rather abruptly, to the point where the Doctor isn't actually seen saying goodbye to Bruce or Astrid, despite the fact he's spent the best part of six episodes working with them (Astrid in particular). It just seems a sudden jump in the story, and it misses the chance for a moment of quiet reflection, which I think was definitely needed because of the fast-paced nature of the bulk of the story. It's just that the sudden jump cut is jarring, and I think undermines the final scene because of it. Also, I feel like having those that were trapped in the bunker survive the end was a mistake. Part of the drama of this story is that anyone can die at any time, and I feel it undercuts the rather bleak nature of the rest of the ending. It just seems a trifle too convenient, that's all.
If the plot is a little scattered, David Whitaker makes up for any shortcomings with his characterisation. This story is one of the best examples in Classic Who of strong, well-developed guest characters, all of whom get little moments to shine. Of course, Salamander is the main focus of the story, and he is wonderfully played by Patrick Troughton, who adds the most outrageous accent on top of this already flamboyant character. And yet, somehow, it works. It feels like it's in keeping, in the grand old tradition of Bond villains having silly accents. And Troughton still appears as the Doctor in most of the story, so is basically pulling double duty here. He doesn't flag as the Doctor either: particularly in the scenes where the Doctor is pretending to be Salamander, Troughton is on fire. There's one scene in the final part where the Doctor is pretending to interrogate Jamie and Victoria, where I thought that, somehow, it was Salamander. It's probably one of his best performances as the Doctor, and, considering the high bar he worked at, that's impressive. If Salamander is the Doctor's Blofeld, than Astrid is definitely the Doctor's Pussy Galore, or his Honey Rider. She is a pretty capable, attractive female assistant for the Doctor, and she fulfil the role admirably. I would say that she perhaps has a bit more of the assistants of The Avengers about her: she's more Emma Peel than Tracy Bond, as she isn't afraid to get into fights, and is the one who finds the bunker in the last episode. Such a role for a female guest character was rare at the time, and it's a tribute that actress Mary Peach is phenomenal. She just owns the part, has complete confidence in her own abilities, and holds her own well alongside Patrick Troughton. To be honest, Astrid would have been fantastic companion material, and it's a shame she doesn't join the Doctor, Jamie and Victoria at the end of the story. She's ably supported by Bill Kerr as Giles Kent, who, at first, appears to be a man simply concerned about the threat posed by Salamander, and wants the Doctor's help to stop him. However, as the story goes on, we start to see more and more of his dark side, and we eventually learn the truth: that he was in it with Salamander right from the start. This is a great twist: not only does it pay off some of the character threads that were seeded throughout the episode, but it's also a nice way to reinforce the reality of the world. It's common today: someone sets up a campaign against something, and then it turns out that they have a vested interest in that which they are campaigning against. So, in that sense, The Enemy Of The World is very prescient of the real modern day, even if it's rocket transports and hovercraft transports are an old-fashioned view of today. The rest of the cast form a Who's Who of faces from across the shows history: Colin Douglas (who appears in Horror Of Fang Rock), George Pravda (who appears in The Mutants and The Deadly Assassin), Milton Jones (who appears in The Android Invasion and The Invasion Of Time) and Christopher Burgess (who appears in Terror Of The Autons and Planet Of The Spiders) all appear in this story across it's duration, and all of whom are fantastic. Jones I'd like to highlight in particular, as he plays Benik with the right amount of menace and sadistic pleasure to his work. The scene where he is playing with Jamie's dedication to protecting Victoria is actually pretty horrible, as he's using emotional manipulation to get what he wants. It's beautifully played by both Jones and Frazer Hines, and it's a really powerful scene. It's a shame, however, that Jamie and Victoria don't get more to do in this story: I get the sense that Whitaker probably didn't know that much about their background, and so wrote up the guest parts to compromise. Jamie starts off well, with a couple of fight scenes, and his going undercover as one of Salamander's guards, but after episode 4, he's pretty much pushed into the background. And Victoria fares even worse: she has nothing to do throughout the six episodes, she mostly just asks questions and answers Salamander back. Deborah gives a spirited performance, but it's a shame that she isn't given more to do, especially considering her interesting background. I'd also like to make mention of Griffin, who is little more than an incidental character in episode 3. However, his contributions are some of the funniest, laugh-out loud lines a character has ever been given in Who history. His depressing, bleak commentary on everything is the sort of thing I really appreciate, and the performance is so deadpan, he makes the third episode well worth watching, despite the fact that it's the slowest out of the six.
However, despite the strengths of script, character and actors, I feel like it's in the production of this story that is its best aspect. Because, despite the levels of ambition on display, the production team clearly have a very good idea of how to stage and shoot such a story. Barry Letts (future producer on the programme) must come in for a lot of credit here, as his directorial style is perfect for this type of adventure. His fast-pace comes through most of all in the camerawork: seriously, it may not look impressive, but when you remember the tight constraints that 60's Doctor Who was filmed under, you realise that it is amazing what Letts achieves here. The camera is either continually cutting, or it's moving, and it gives everything a slick, fluid look that is in total contrast with a lot of other, more static direction throughout the 60's. And he doesn't let the limitations of the studio stop him either: designer Christopher Pemsel should be applauded for his work here, because, despite the limitations of Lime Grove Studios, his sets are beautifully expansive and detailed. They don't feel constrained by the studio space, like was common with some 60's stories, and that helps the movie feel of the whole thing. One thing I loved was the final scene, set inside the TARDIS, which is shot on film. Like in Tomb Of The Cybermen earlier in the season, the whole thing looks MASSIVE. It looks like the recent recreations of that console room for An Adventure In Space And Time, Hell Bent and Twice Upon A Time, it's that big. I wish all the TARDIS interiors had been shot on film, to be honest, because I feel like they would have made it always look as amazing as we Doctor Who fans know that it is. The music is also lovely for this story, really enhancing the drama, despite its operatic, faux-classical style. What's even more amazing is that it was never really intended for this story: it was stock music simply taken from (presumably) the BBC library, a common practice at the time to save hiring a composer. And yet, because of the style of the story, it works splendidly. Sure, there are moments where the limitations of time and money show through, but The Enemy Of The World has a look and a sound that is film-like, and very much outside the norm as far as Who is concerned, certainly in the classic era.
Overall, The Enemy Of The World is an absolutely fantastic Doctor Who story. It's very different to the norm - for season 5, for the Troughton era, for the 1960's, even for Who generally. But that simply works to its advantage, and is aided by a tightly written script, excellent acting, stellar direction and a fabulous production that come together to create something magical. It's a shame this was lost for so long, but make no mistake - this is one of the best Troughton-era stories, up there with The Invasion, The Tomb Of The Cybermen and The War Games. This is something very special indeed.
Written by David Whitaker.
Directed by Barry Letts.
The TARDIS lands on an Australian beach in the 21st century. But this is no seaside holiday - within minutes, the Doctor, Jamie and Victoria are under attack.
They soon discover that the Doctor bears a startling resemblance to Leader Salamander, a would-be dictator intent on world domination. Before long, the Doctor and his companions are plunged into a dangerous game of espionage, intrigue and deceit as they face off against the enemy of the world...
Out of all the stories in Doctor Who's fifth season, The Enemy Of The World is a curious beast. Every other story that season is the tried-and-tested base-under-siege formula: the Doctor and companions must stop a monster or race of monsters from attacking an instillation of some kind, be that a monastery, a gas rig or a space wheel. Tomb Of The Cybermen plays out more like a trip into the monster house, but still has recognisable BUS elements inherent within it. The Enemy Of The World, however, is something very different. Instead of containment, David Whitaker's story takes place all across the world, and plays out more like a lost James Bond movie, rather than an episode of Doctor Who. But, as a unique chance to see a very different sort of Who story than usual, there is nothing finer than Enemy, with its gripping plot, well drawn characters and fantastic acting, particularly from Patrick Troughton in his spellbinding double turn as both the Doctor and the story's villain, Salamander.
If the plot is a little scattered, David Whitaker makes up for any shortcomings with his characterisation. This story is one of the best examples in Classic Who of strong, well-developed guest characters, all of whom get little moments to shine. Of course, Salamander is the main focus of the story, and he is wonderfully played by Patrick Troughton, who adds the most outrageous accent on top of this already flamboyant character. And yet, somehow, it works. It feels like it's in keeping, in the grand old tradition of Bond villains having silly accents. And Troughton still appears as the Doctor in most of the story, so is basically pulling double duty here. He doesn't flag as the Doctor either: particularly in the scenes where the Doctor is pretending to be Salamander, Troughton is on fire. There's one scene in the final part where the Doctor is pretending to interrogate Jamie and Victoria, where I thought that, somehow, it was Salamander. It's probably one of his best performances as the Doctor, and, considering the high bar he worked at, that's impressive. If Salamander is the Doctor's Blofeld, than Astrid is definitely the Doctor's Pussy Galore, or his Honey Rider. She is a pretty capable, attractive female assistant for the Doctor, and she fulfil the role admirably. I would say that she perhaps has a bit more of the assistants of The Avengers about her: she's more Emma Peel than Tracy Bond, as she isn't afraid to get into fights, and is the one who finds the bunker in the last episode. Such a role for a female guest character was rare at the time, and it's a tribute that actress Mary Peach is phenomenal. She just owns the part, has complete confidence in her own abilities, and holds her own well alongside Patrick Troughton. To be honest, Astrid would have been fantastic companion material, and it's a shame she doesn't join the Doctor, Jamie and Victoria at the end of the story. She's ably supported by Bill Kerr as Giles Kent, who, at first, appears to be a man simply concerned about the threat posed by Salamander, and wants the Doctor's help to stop him. However, as the story goes on, we start to see more and more of his dark side, and we eventually learn the truth: that he was in it with Salamander right from the start. This is a great twist: not only does it pay off some of the character threads that were seeded throughout the episode, but it's also a nice way to reinforce the reality of the world. It's common today: someone sets up a campaign against something, and then it turns out that they have a vested interest in that which they are campaigning against. So, in that sense, The Enemy Of The World is very prescient of the real modern day, even if it's rocket transports and hovercraft transports are an old-fashioned view of today. The rest of the cast form a Who's Who of faces from across the shows history: Colin Douglas (who appears in Horror Of Fang Rock), George Pravda (who appears in The Mutants and The Deadly Assassin), Milton Jones (who appears in The Android Invasion and The Invasion Of Time) and Christopher Burgess (who appears in Terror Of The Autons and Planet Of The Spiders) all appear in this story across it's duration, and all of whom are fantastic. Jones I'd like to highlight in particular, as he plays Benik with the right amount of menace and sadistic pleasure to his work. The scene where he is playing with Jamie's dedication to protecting Victoria is actually pretty horrible, as he's using emotional manipulation to get what he wants. It's beautifully played by both Jones and Frazer Hines, and it's a really powerful scene. It's a shame, however, that Jamie and Victoria don't get more to do in this story: I get the sense that Whitaker probably didn't know that much about their background, and so wrote up the guest parts to compromise. Jamie starts off well, with a couple of fight scenes, and his going undercover as one of Salamander's guards, but after episode 4, he's pretty much pushed into the background. And Victoria fares even worse: she has nothing to do throughout the six episodes, she mostly just asks questions and answers Salamander back. Deborah gives a spirited performance, but it's a shame that she isn't given more to do, especially considering her interesting background. I'd also like to make mention of Griffin, who is little more than an incidental character in episode 3. However, his contributions are some of the funniest, laugh-out loud lines a character has ever been given in Who history. His depressing, bleak commentary on everything is the sort of thing I really appreciate, and the performance is so deadpan, he makes the third episode well worth watching, despite the fact that it's the slowest out of the six.
Overall, The Enemy Of The World is an absolutely fantastic Doctor Who story. It's very different to the norm - for season 5, for the Troughton era, for the 1960's, even for Who generally. But that simply works to its advantage, and is aided by a tightly written script, excellent acting, stellar direction and a fabulous production that come together to create something magical. It's a shame this was lost for so long, but make no mistake - this is one of the best Troughton-era stories, up there with The Invasion, The Tomb Of The Cybermen and The War Games. This is something very special indeed.
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