For Tony
Fyler, the quest is the quest.
It’s
difficult, on the surface, to understand why Underworld is so generally
unloved, always coming in the final chunk of stories any time a fan favourite
poll is published.
Could
it be that the story wears its mythological origins and underpinnings a little
too brazenly on its sleeve? Well, yes possibly – The Horns of Nimon often
suffers from a similar fate, the sense among fans that the writers haven’t
worked hard enough to keep their story’s underskirts from showing. The tale of
the immortals, inspired by the gods, looking for their destiny, stolen
blatantly from the story of Jason and the Argonauts, even to the names –
Jackson for Jason, Herrick for Heracles, Orfe for Orpheus, the P7E for
Persephone and so on, and especially the idea of a journey into the Underworld
of the title, all feels as though it went from pitch to screen without a great
deal of love or care in between.
The
‘Bristol Boys’ – Dave Martin and Bob Baker – turned in scripts like that
relatively frequently, but in each of them, however unformed or underbaked the
concept might have been, there were nuggets of joy – The Three Doctors was a
lot of faffing around with gelloids (yes, really), but in the meantime, it
gifted the series a chunk of Time Lord history that has become the bedrock for
our understanding of the planet for over forty years, and introduced us to one
of the founders of Time Lord society in the person of Omega – as well as
seeding in the meta-universe the idea that Doctor Who could celebrate its
anniversaries with something a bit special. The Mutants was at least a couple
of episodes too long and had a sterility in the writing and production that
makes it to this day one of the most tedious experiences in Classic Who, but it
had a solid anti-racist, anti-imperialist and anti-Apartheid theme – and it had
it in the mid-70s, when British TV was still showing The Black And White
Minstrel Show and Love Thy Neighbour. The Invisible Enemy, bless it, was a Time
Lord re-run of Fantastic Voyage, but almost coincidentally, the story gave us
the genius idea that was K9, and so, for all its obvious nickery from Greek
myths, there’s another solid chunk of Gallifreyan history built into Underworld
that has been easily adopted as part of the planet’s legend ever since – the
origins of the doctrine of non-intervention that so bored and infuriated the
Doctor that he stole a Tardis and ran away from home to see the universe. In a
lot of ways, Underworld is the pre-origin story of Doctor Who, and might be
expected to act as a kind of lesson to the Doctor about his interfering ways.
It
doesn’t, obviously: this is Tom Baker’s Fourth Doctor we’re talking about, and
he’s rarely if ever in doubt of his own dilettante, exploratory path through
time and space, righting what he sees as wrongs, but still – were it not for
the Time Lords acting like gods with the Minyans, not only would Jackson and
his crew not have spent a hundred thousand years looking for their race banks
on board the P7E, and not only would the inhabitants of the Underworld been
made to suffer in darkness for pretty much as long, but Time Lord society
itself would never have become the strictly non-interventionist thing it did,
and the Doctor would never have run away from Gallifrey. Given that we’ve seen
in at least two Eleventh Doctor series finales the consequences for the
universe if that chain of events hadn’t taken place – worlds not saved,
dictatorships not overthrown, the universe itself not saved from total heat
death and the like, the gift to the canon that Underworld gives should put it
beyond the hatred and calumny of fans for all time.
That’s
clearly not going to happen though. Quite apart from the severe referencing of
the Jason myth that makes up the core of the storyline, there are those
production values. Those design choices. The general sense that as well as
being produced on a shoestring, it was written with the expectation
that the audience’s imaginations ran on shoestrings too.
The
fact that once we get beyond the relatively reasonable, well-paced first
episode there’s so much CSO, and so little of it actually works, is probably a
key issue in terms of fans’ disdain. Wobbly sets are one thing. Sets which
disappear as actors walk through them is quite another. It’s on record that
Underworld was an experiment for using CSO techniques as a replacement for
studio sets and even some location shooting. On the one hand then, it’s
probably just as well that the idea didn’t work anything like as well as was
hoped. But on the other, it does leave Underworld looking like little enough
else in the canon of Who to make it stand out – and not in a good way.
Then
there are the costumes. In many cases – particularly on Underworld itself -
it’s as though the costume department literally threw some monochrome rags
on the characters, sewing shiny metal rings in here or there for supposedly
menacing faces on what are basically balaclava helmets. Overall, the production
values on Underworld rather strive to convince the viewer that there are no
production values on Underworld.
For
all that, there are two stand-out performances in the story – Tom Baker and
Louise Jameson as the Fourth Doctor and Leela, here feeling much more united as
friends than in previous stories. It’s only when you watch the beginning of
Underworld that you realise quite how rare shots of the Fourth Doctor actually
flying the Tardis are, and also, how good at them Tom Baker really was, given
that rarity. Check out Louise Jameson doing superb sulky savage teenager acting
when she’s ‘pacified’ as if by a Justin Bieber poster, and when the Doctor
brings her round from her sop-fest – ‘You’re laughing at me. You’re all
laughing at me. I’ll smash your stupid smirks off your stupid faces…’ –
absolutely joyous.
The
dialogue between the Doctor and Leela throughout the course of Underworld shows
that while the Bristol Boys had a talent for core ideas, and historical padding
that added immeasurably to the canon, it’s actually in characterization that
their truest skills really lay. If you can overlook the faintly obvious
storyline, the ludicrous costumes and the gorblimey overuse of CSO to within an
inch of the audience’s patience, Underworld can be good fun as a masterclass in
carrying on regardless (the quest for the actors is clearly the quest to keep
taking things seriously against the bluescreen 70s nothing of their
environment), and in the development of the relationship between the Doctor and
Leela as it heads towards its denouement in The Invasion of Time. Perversely
enough of course, in the Oracle, the Doctor is again triumphant against another
computer with ideas above its station, enslaving the humanoids in its care and
setting them against each other – a dilemma familiar to Leela from her home
world under the schizophrenic rule of Xoanon In Face of Evil.
There
are very few senses in which Underworld is classic Doctor Who. But in one of
the best Doctors, and one of the best realised companions, both working at the
very height of their powers even against all the odds of experimental
production techniques and exhausted budgets, it deserves a re-watch on its
anniversary. Settle in and go beneath the surface, to find the real pleasures
of Underworld in the layered performances of its leads.
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