Without much debate, it can be said that during Tom Baker’s time as The Doctor in Doctor Who, some of the most exceptional stories were created. These stories stand out not just within the classic era (1963-89) but also in the revival period (2005-present). This is one among many reasons why fans around the world are celebrating the beloved actor’s 91st birthday today, which falls on January 20th.
Although numerous exceptional tales from Baker’s seven-year stint as the Fourth Doctor are considered among the series’ finest, if not the finest – such as the chilling origin story Genesis of the Daleks (1975), the gripping conspiracy thriller The Deadly Assassin (1976), and the witty and delightful City of Death (1979) penned by Douglas Adams – there are two serials from Doctor Who’s 13th season that stand out. These stories not only excel in quality but also share a unique cohesion and distinctly differ from any other story in the show’s history.
Back in August/September 1975, over four weeks, “Terror of the Zygons” made its debut. This was the initial episode of Tom Baker’s second year as the Fourth Doctor. In this storyline, he, alongside Sarah Jane Smith (played by Elisabeth Sladen) and Harry Sullivan (Ian Marter), investigate a series of destroyed oil rigs in Scotland. They uncover an intriguing truth: the Zygons, shape-shifting aliens, are manipulating a sea creature with cybernetic enhancements, the Skarasen, to carry out their ambitious plan to subdue Earth.
wrapping up the season was “The Seeds of Doom,” a six-episode storyline that ran from January to March, 1976. In this adventure, The Doctor and Sarah (now without Harry) stumble upon an alien seed pod in Antarctica, which releases a cosmic weed known as the Krynoid. This invasive species has the power to devour all forms of animal life.
After half a century since their initial airing, both tales continue to captivate audiences – and it’s their exceptional camaraderie that distinguishes these stories from others of the same era. This special bond is what gives these particular stories an extraordinary and delightful character unlike any other.
Without a doubt, both are led by Tom Baker and Elisabeth Sladen, who are widely admired for their exceptional portrayal of one of Doctor Who’s most beloved Doctor-companion duos. As we move a year into their collaboration, it’s evident how well they mesh with each other – their interaction possesses a unique blend of spark and the effortless ease that only genuine friendship can provide. Their on-screen bond is so compelling that even The Seeds of Doom, which has a notorious plot flaw and confusing dialogue between the Doctor and Sarah in its finale, is often overlooked due to the joy and camaraderie Baker and Sladen seem to share during filming, as they erupt into genuine laughter just before the credits start rolling.
In addition to being connected by the same director, Douglas Camfield, these two tales stand out. While Camfield directed numerous serials throughout the series, dating back to the William Hartnell era, it’s his direction of “Terror of the Zygons” and “The Seeds of Doom” that highlight why he is so highly regarded as a Doctor Who director. These stories showcase his knack for setting mood, handling action sequences, and drawing powerful performances from the cast.
The eerie and emotional narrative of “Terror of the Zygons” has been widely acclaimed for its unique mix of tension, terror, and character-focused plot development. Notably, Camfield’s direction significantly contributed to the story’s ascent to a timeless classic level.
In much the same way, The Seeds of Doom demonstrates his skill in creating high-energy, tense scenes, all while giving equal attention to character development and setting. This results in an exceptionally lively and exhilarating classic Doctor Who tale.
In The Seeds of Doom, Camfield’s impact was particularly noticeable. Originally hired to direct another story that got postponed, he had already started scouting locations before the scriptwork for its replacement began. This early involvement is believed to have significantly influenced the shaping of The Seeds of Doom’s development.
The distinctive aspect of these tales is the combination of their director, actors, and the imaginative writing of Robert Banks Stewart, as well as the extraordinary music composition skills of Geoffrey Burgon.
Beyond the realm of Doctor Who enthusiasts, Banks Stewart is widely recognized for his creation of acclaimed BBC crime series Bergerac (1981-91) and Shoestring (1979-80). It was during this period that he was brought onboard by the new script editor, Robert Holmes, as part of an initiative to attract fresh writing talent to the show.
Holmes significantly impacted these two tales – he notably collaborated extensively with Banks Stewart during the production of “Terror of the Zygons,” a time when Stewart was still new to the Doctor Who universe. Also, the first two episodes of “The Seeds of Doom” bear striking resemblance to the 1951 horror film “The Thing from Another World,” which suggests Holmes’s influence at work.
Banks Stewart’s ability to create engaging storylines filled with intricate characters, combining genres, and utilizing vivid, immersive settings is a significant reason why his Doctor Who episodes stand out. These skills, which later led to his success, can be seen in this work as well. For instance, the chilling Scottish setting of Terror of the Zygons, with its mix of folklore and alien invasion themes, showcases this blend. Similarly, The Seeds of Doom exhibits a fusion of elements reminiscent of a James Bond adventure with ecological science-fiction.
Ultimately, both tales are given life through the eerie, evocative music of Geoffrey Burgon, a renowned composer known for his atmospheric and sparse style. His compositions in this instance beautifully match the somber and suspenseful mood of these episodes.
He creatively blended classical elements with clever utilization of limited resources in his Doctor Who scoring, using a modest group of acoustic instruments such as flute, clarinet, harp, violin, cello, and clavichord. Later, he collaborated with Dick Mills from the BBC Radiophonic Workshop, who added electronic effects to achieve otherworldly sounds. This collaboration helped shape the distinctive soundtrack for these adventures.
Despite having Baker, Sladen, and Douglas Camfield contributing to Doctor Who for several years, and Camfield working on nine different stories altogether, neither Banks Stewart nor Burgon would ever contribute to the show again after The Seeds of Doom. A potential third story from Banks Stewart was planned but a scheduling conflict prevented it from happening. On the other hand, Burgon moved on to gain significant fame and awards in both film and television, composing music for Monty Python’s Life of Brian (1979) and winning two Ivor Novello Awards for Tinker Tailor Soldier Spy (1979) and Brideshead Revisited (1981), as well as a BAFTA for The Forsyte Saga (2002-03).
As a dedicated fan, I can’t help but reflect on the unique pair of Doctor Who tales penned by Baker, Sladen, Camfield, Burgon, and Banks Stewart – a creative force that was sadly never to be reunited again. These stories, standing at the heart of one of the series’ most cherished seasons, possess an undeniable charm, essence, and allure that remain distinctively their own.
The unique blend of all these components occurred only once and has not been replicated or reproduced since, creating what many consider the pinnacle of classic Doctor Who.
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2025-01-20 12:34