Released
by the BBC.
Written
by Terrance Dicks.
Read
by Anneke Wills.
Something about airports seems to make for very
unusual, somehow disconnected Doctor Who stories. Of the two extant examples,
The Faceless Ones is by far the better structured (the other of course being
limp-celery end to Peter Davison's first season, Time-Flight). The Faceless
Ones transposes the idea of the Midwich Cuckoos or the Invasion of The
Bodysnatchers into the busy environment of Gatwick Airport in 1966, with some
genuinely creepy-looking – and effectively creepily-described - aliens, the
Chameleons or Faceless Ones of the title, stealing the likenesses of airport
and airline staff, offering budget flights and particularly, running tours for
young people to all the hippest European holiday destinations.
The young people never arrive at their destinations, meaning skulduggery at 30,000 feet.
The young people never arrive at their destinations, meaning skulduggery at 30,000 feet.
Which is all very well as far as it goes – we
love a bit of skulduggery at 30,000 feet, and we absolutely adore a
creepy-faced alien reveal and a bit of bodysnatching. That’s all good Doctor
Whoing, and we’ll have a storyful, any time, anywhere.
The thing about The Faceless Ones though is
that for significantly more than half its run-time, it gets you to look in one
direction – at the Faceless airline staff and their bodysnatching plans at
Gatwick – so that that’s really the story in which you’re invested. When, late
in the day it tries to double-down on its peril by waving some thousands of
missing teenagers at you, it feels like it’s trying to have its cake…and then
eat an entirely different cake with no connection to the original cake, that
it’s been holding behind its back all this time. It feels disconnected, and
while you get invested in the face-stealing, bodysnatching creepy aliens in the
first half, The Faceless Ones could really do with some stronger rubber bands
to connect its first plot to its second, because the ‘Missing teens’ plot never
really hits home with the same power as the ‘Aaargh! Creepy faceless people!’
plot – which means you rather stumble around for the second half going ‘Wait,
what’s happening now?’
The Faceless Ones also rather fizzles out when
the Doctor – Spoiler Alert! - pulls off the coup of Being Reasonable About
Things. It's perverse, but most of the time, we want the Doctor Being
Reasonable About Things to be IN Doctor Who stories, but for it ultimately to
fail and for things to blow up. It's almost a narrative requirement, the climax
to all the build-up of chicanery and alien palaver. That probably says
something about the narrative expectations of human beings, but when Being Reasonable
works, it tends to lop some of the excitement and point off the back-end of
Doctor Who stories and make you wonder why they deserved to be told in the
first place.
Telling the story of The Faceless Ones of
course has a very specific point - at the end of it, Ben and Polly, the
companions who had guided a potentially confused audience over the very first
regeneration, left the Doctor and Jamie, to get on with their lives on the very
same day that they first went off with the crotchety white-haired old man with
the unusual police box. So the journey they take between landing at Gatwick and
leaving the Doctor is as much of a reason to experience The Faceless Ones as
the actual alien plot itself. It’s not particularly overwritten in Dicks’
novelisation, their decision to leave, but there’s enough put in to make the
decision feel like fate catching up with them, rather than a random thought
severing an otherwise strong connection between the Tardis team at the end of a
runaround adventure.
The novelisation, by Terrance Dicks feels like
a book written to deadline and demand, rather than a labour of particular love
– there are Terrance Dicks tropes in here, including descriptions of ‘that
mysterious traveller in space and time known only as the Doctor’ which will
stoke nostalgia in older fans who read the books as and when they were
originally released, but there’s also quite a bit of stuff which works as a
visual camera technique, but in novels feels a touch on the desperate side –
including several uses of ‘anticipation’ – ‘What the Doctor didn't know was
that he was walking into a trap’... ‘Had Polly but known, she had good reason
to be frightened,’ and so on. It’s not by any means a deal-breaker in a Doctor
Who audio novelisation, where there are necessary short-cuts to be taken, but
by the third or fourth time, you might be tempted to fast forward through a
narrative that tells you people don’t know the danger they’re in, or the
adventure that’s to come.
Anneke Wills, the original Polly actress who
continues to add depth to the character at Big Finish, is on reading duties
here, and despite a plot which involves much running, hiding, swopping,
switching, and hanging about in airports waiting for things to happen, injects
a good deal of tension and action into her reading, making it an easier listen
at just over three hours than it could be with a less skilled actor in the hot
seat. She has a familiar and close-enough take on the whole Tardis crew to let
you immerse yourself in the action, and Dicks’ characterisation of several of
the airport staff is distinctive enough to give her a solid steer, several
decades since she starred in the show, as to how to make each important
character immediately recognisable – a skill which is particularly necessary in
the second half of the story, when The Faceless Ones stops being one kind of
story and starts being something entirely different and rather more
complicated.
Overall, the Faceless Ones is a Troughton
oddity that starts off by delivering serious science fiction chills and then
develops into a kind of refugee crisis story that evens out our sympathies and
ends with reasonableness winning the day. Add Anneke Wills, who on any given
day is absolutely worth listening to for three hours, and you salvage an arguably
overly complex story from its own fizzle factor by a pace and liveliness of
reading that makes the most of characterisation and smooths over story’s tonal
shift to leave you smiling.
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