Watching new Who

[Paul McDermott]

I'm struck by something watching Enemy Ep 1.

It's funny to think how the people making and appearing in the show then would have thought that the shows recorded would soon be lost seemingly forever and that this would cause such a cry of despair and anguish for so many that some of us would do our damnedest to leave no stone unturned in searching the entire world for the last traces of copies, but not until very nearly the year in which the programme was set, would they finally be found intact and released worldwide, to universal record sales figures, acclaim and delight!

If they knew all that then, my gosh whatever would the stage fright have been! I doubt even one of the TARDIS crew would have come out of the police box and onto the beach!

KENT: Incredible. Absolutely incredible.

DOCTOR: I'm not a specimen in a glass bowl, you know?

Can't help but watching on some level, as though that's exactly how it is! Like somebody actually caught a real pixie in a jar and sat it atop the table in my living room!

In deference to the Doctor's understandable bleating though, I think the only possible response is one of his own lines a little further on, by way of explanation:

DOCTOR: (...) Sad really, isn't it? People spend all their time making nice things, and other people come along and break them.

Happily, the combined efforts of a united multinational taskforce of like minded people working hard to turn opportunity into success in less than ideal circumstances has wrought a repair job that will never be forgotten.

Indeed, I'm sure they know this all too well, and for them these words from Tomb surely carry a special personal meaning:

DOCTOR: (...) So remember, our lives are different to anybody else's. That's the exciting thing. There's nobody in the universe can do what we're doing.

As I return to yet another rewatch, I say: we salute you!

[Paul McDermott]

A few more observations to share, compare and contrast re Enemy Ep 1, after watching it yet again.

Love the music, presumably it's stock? Very cinematic I think!

The telephone door on the TARDIS is on the wrong side.

Did it get assembled wrong on location, or was this a decision to offer a different look or set up something for later, even in a subtle tonal sense?

When Anton hangs up on Astrid, the phone rings again. How come?

If not an accident, was this possibly a nod to earlier conventions of radio communications?

Interestingly, there's handsets of nearly the same style as seen in The Prisoner, but these are corded.

Should we take this as a sign of the BBC's limited budget compared to the colour film series of the commercial competitors?

Why does a hole in the helicopter's fuel tank cause an explosion, at some point, long enough for a chat and a flight and a rest first?

Yes, narrative. And David Whitaker. What else?

I'm used to seeing old cop shows where people sneezing near cars cause them to go off like the Hindenburg.

In the absence of an Osirian god holding back the exothermic reaction for No Good Reason, how come that didn't happen here?

Moreover, when Anton and his window killing henchman swipe it, how come it takes off at all when it's been losing fuel all this time it was parked?

Perhaps when Astrid says fuel, she means coolant. If it was a badly designed atomic engine that powered the runabout, maybe this could explain what happened.

Finally, Astrid's jacket.

She was wounded in the arm, but apparently not too badly. A graze, most likely. There's some bleeding.

Nevertheless, there's no hole in the left sleeve of her jacket that I can see.

If the helicopter is an old banger, I think there may be an answer.

Her jacket could be issued to her through her employer, and is based on a new kind of self-healing fabric they are subjecting to internal trials.

In that instance, the stuff it's made of is new and costly, and thus not what is generally found wrapped over the fuselage of an aging chopper.

Luckily the stuff seems to work, or Donald Bruce would have surely pressed the advantage when he arrives in Kent's office.

[Paul McDermott]

By jingo, more on Enemy Ep 1!

In the part taking placing at Kent's office, I noticed something that I don't understand - maybe some of you can help me out.

Troughton is seated, and just got done saying "(...) a number of attacks."

If you look behind him, just as we throw to Kent to reply, to the bit of wall behind Victoria and Jamie, it seems just for a second to wave slightly.

I'm wondering what's going on there.

Is it a trick of the light?

Is it a curtain or a flat that's had an unhelpful bit of wind at a bad time?

Or is it some kind of artifact from the t/r process or even filming itself?

Hardly earth-shattering, but I saw it and figure if I can, somebody else has and knows what it is...

If so, please tell me - or at least, your best guess! Thanks in advance!

[Paul McDermott]

Hey y'all - sure would love to have some kinda back and forth on these eps!

Maybe a separate thread with a spoiler tag header lest those who've yet to catch them get things spoiled?

Or is this no longer interesting on account of them not being missing any more?

Anyways, another watch and I continue to marvel at Enemy Ep 1.

The supporting cast are just great. I think they looked at Pat T and thought, let's bring our A game.

I now know what happened to the chameleon circuit - Troughton ate it.

Just looking at his range of expression and fluidity of states, it's a delight. And stovepipe hat off to the RT, for doing such a super job that lets us see his marvelous talent so clearly.

Anton's a hoot. I think he'd have coped a lot better if he'd switched from Fruit Loops to All Bran in the mornings, with the traditional cold milk instead of rum poured over them!

[Steven Christopherson]

I'm stunned by Enemy, it's more than has ever been said about it. A bunch of grubby me people using whatever means necessary to slice their way to the top. Pat's turn as Salamander is repellent and the story itself would've given Mary Whitehouse a run for her money.

[Charles Daniels]

In episode 6, at 10 minutes and 1 second in, or 10 minutes and 2 seconds in, somewhere in there, there is some serious distortion visible on Astrid's face.
Just wondering what kind of damage that was.

[Paul McDermott]

Dunno Charles, but thanks for the heads up. I'll keep any eye out for it in five weeks time!

[Simon B Kelly]

Oct 17, 2013 9:02:15 GMT Charles Daniels said:

In episode 6, at 10 minutes and 1 second in, or 10 minutes and 2 seconds in, somewhere in there, there is some serious distortion visible on Astrid's face.
Just wondering what kind of damage that was.

Can't see any distortion on my copy. Are you sure it's not just the device you're playing it back on? Viewed it on my iPad, Macbook and Apple TV and all look fine to me...

[Simon B Kelly]

I took a screenshot for closer examination. There are some specks of light reflecting off Astrid's face but presumably they're from the lights on the walls?

[Charles Daniels]

Oct 18, 2013 12:11:02 GMT Simon B Kelly said:

Oct 17, 2013 9:02:15 GMT Charles Daniels said:

In episode 6, at 10 minutes and 1 second in, or 10 minutes and 2 seconds in, somewhere in there, there is some serious distortion visible on Astrid's face.
Just wondering what kind of damage that was.

Can't see any distortion on my copy. Are you sure it's not just the device you're playing it back on? Viewed it on my iPad, Macbook and Apple TV and all look fine to me...

I talked to one other person who saw it. will try to get a screen cap. think it is only a fraction of a second

[Paul McDermott]

After far too long, finally I've had a chance to watch Enemy ep 2!

There's so much to enjoy, isn't there?

Troughton's movements in gauging the threat posed by Bruce, and his expressions that we can see as he's figuring out how to play him, just great. Not exactly the sort of thing that comes through on audio! Explosive, charming, devious, cruel - the role of Salamander must have been a bit of a mixed blessing for Troughton. As we all know, they worked pretty long hours in those days. Getting the parts of the lead and the villain must have taken it out of him even if the treat of being able to flex his acting muscles in this unique way made it worthwhile. It might also have helped to remind the wider viewership, not just the civilians but those in the industry as well, the incredible range he possessed.

Milton Johns as an officious uptight functionary. Maybe his agent kept turning down the action hero parts, and he took what was offered until he honed the skill?

The shirts that Benek and Denes wear are curious. The visible chest hair suggest a sort of muted disco era influence, albeit without medallion or sink plug accessory!

Did Astrid have an earpiece when she was on the radio to Kent? Or was audio meant to be piped in over her scene on the bench but was skipped for time?

The clear detail of the sets do not detract for me, as I've heard they do for some with the DVD releases. (I wonder if the VidFIRE treatment will be offered to those of us who got Enemy and Web off iTunes, or if this will be a DVD exclusive?) The transition from Jamie walking up the path following his successful job interview, to his being with Victoria and Astrid by the bench, seemed good enough. Understanding how the show was made by being able to see more due to a clearer image gives me a greater appreciation and respect for the process and those who made it happen.

Fariah is terrific! And for 1967, pretty incredible. A plum role for Carmen Munroe, she's no one note ninny but another strong and layered female role with much to intrigue even a bored viewer eager for Daleks and outer space. I'd have welcomed her as a new companion, although compared to the relaxed pals of Jamie and Victoria I'd imagine she'd have brought more of an edge to it. She's confident, capable and cultured - rather as though she'd popped over from The Avengers or the SSS! I do hope we get to hear from her on the DVD extras!

Poor old Hungary! Wasn't that long before broadcast that they'd been on the receiving end of the Soviet military machine. And now, Salamander gives them what for again, this time with volcanoes! Even that rotter Bruce was dismayed!

[Paul McDermott]

A few more things I've noticed whilst rewatching Enemy ep 2:

In the scene which introduces Denes having his chat with Salamander, there's some cuts which seem to me to be slightly off. There's a focus on the radio telephone (looks like a transistor radio to me but what do I know - in 5 years they'll probably be all the rage) when in the doing we miss a reaction from Troughton. And in another, too. I wonder why.

Near the end, just after Salamander has grabbed his binoculars to survey the damage wrought by his predicted eruptions, there's someone standing in the darkened room behind him, just visible in the window. Now, who might this be? Could it be Colin Douglas, awaiting his cue? The lights go on in that room when he enters the balcony, showing off some set dressing. Or could it be a member of the production team, at work doing something or other?

Just realized Pertwee got his frilly shirt some years after Troughton wore one as Salamander. Talk about following in the coat tails of his predecessor!

[Simon Collis]

Oct 26, 2013 7:47:59 GMT Paul McDermott said:

A few more things I've noticed whilst rewatching Enemy ep 2:

In the scene which introduces Denes having his chat with Salamander, there's some cuts which seem to me to be slightly off. There's a focus on the radio telephone (looks like a transistor radio to me but what do I know - in 5 years they'll probably be all the rage) when in the doing we miss a reaction from Troughton. And in another, too. I wonder why.

Near the end, just after Salamander has grabbed his binoculars to survey the damage wrought by his predicted eruptions, there's someone standing in the darkened room behind him, just visible in the window. Now, who might this be? Could it be Colin Douglas, awaiting his cue? The lights go on in that room when he enters the balcony, showing off some set dressing. Or could it be a member of the production team, at work doing something or other?

Just realized Pertwee got his frilly shirt some years after Troughton wore one as Salamander. Talk about following in the coat tails of his predecessor!

Why the cuts? It was Barry Letts' first story and according to volume 1 of his bio (if I remember right), a bit of a pig to film. Likely it was to cover something or a mistake that just wasn't corrected due to lack of time.

The person behind Salamander I didn't notice - if I did I probably thought it was a guard.

[Paul McDermott]

Aha, I've only got the audio book version Simon but it's been a little while since I gave it a listen.

But sure, there would be teething problems and technical difficulties, as with anything.

Douglas Camfield's pep speech statement about Doctor Who being the most complex show in Britain - and therefore, the world - seems apt.

I'll take another gander at the lurker in the back later. I'm thinking it's Colin Douglas, but perhaps a bit more action with the pause button and magnifying glass will make things certain.

[Paul McDermott]

Another few viewings and I'm convinced that hovering behind Troughton in the other room but visible slightly in the window at the end of the ep is Colin Douglas, awaiting his cue to enter.

From the other end of the ep, it looks like some boom mike shadow and possible camera shadow going on in Benek's office between about 5:40 and 6:00.

A little earlier, there's a drop in sound strength from Debbie Watling - possibly a mike position problem?

Wonder why Astrid goes off to sit alone on a canvas chair for her radio chat to Giles once Jamie's off to fox Salamander? Surely the bench in front of her would have served just as well, even if she was going to cast aspersions on her new allies during the call?

It's curious also that Giles is on her TV telephone in ep 1 before she's made the call. Maybe it's her desktop pattern, or he's coincidentally ringing her on an unrelated matter?

The tatty looking wall outside Benek's office may be what will be considered fashionable in five years or so. Then again, maybe this sort of ramshackle hastiness is an art installation that only high ranking functionaries can afford, reflecting the impermanence and peril of the geologically unstable times whilst harkening back to a style in interior decorating not seen since 60s BBC sets?