British actor Peter Bowles passed away today at the age of 85. A graduate of the Royal Academy of Dramatic Arts, Bowles had a career that spanned from 1956 to 2019, during which he appeared in a diverse selection of television shows, movies, and theatrical productions.
Depending upon your own particular interests, you may recall Bowles from one thing or another. To the general public in Britain he is probably best-known for his starring roles in the sitcoms To The Manor Born on BBC1 from 1979 to 1981 and Only When I Laugh on ITV from 1979 to 1982. Offhand I don’t recall having ever watched either of those shows. However I was very familiar with Bowles from his numerous appearances in British genre television over the years.
Throughout the 1960s and 1970s Bowles guest starred on such shows as Danger Man, The Saint, The Prisoner, Department S, The Avengers, The Protectors and Special Branch, often playing villains. In 1975 Bowles appeared in “The Fourth Horseman,” the first episode of the post-apocalyptic drama Survivors created by Terry Nation. Bowles played David Grant, the husband of lead character Abby Grant, portrayed by Carolyn Seymour; by episode’s end David, along with 99% of the human race, had been wiped out by a virulent pandemic, setting the stage for the rest of series.
Another of Bowles notable genre roles was in the Space 1999 episode “End of Eternity,” written by Johnny Byrne and directed by Ray Austin, broadcast in November 1975. Space 1999 was an ambitious sci-fi / space opera which often transcended its low budget and primitive special effects via an effective combination of quality writing & acting, resulting in a number of memorably disturbing episodes. “End of Eternity” is definitely among those. Bowles played Baylor, an immortal alien who the actor subsequently described as “the most evil man in the universe.” The combination of an absolutely chilling performance by Bowles and effective direction & staging from Austin succeeds in making Baylor a genuinely terrifying presence.
It absolutely speaks to Bowles’ skills as an actor and to his versatility that throughout his career he was able to so very successfully transition back & forth between drama and comedy, between playing the sinister villain and the normal, likable everyman.
I’ve decided it’ll be fun to do some random reviews of Doctor Who stories. First up is “The Keeper of Traken,” which originally broadcast on the BBC in early 1981.
I must have first seen “The Keeper of Traken” around 1984 or so, when I was eight years old. Doctor Who was showing Monday to Friday on the local PBS station, WLIW Channel 21, and I had only really started watching the series a few weeks before. So “The Keeper of Traken” was maybe the seventh or eighth Doctor Who story that I ever watched. I don’t know if I’ve ever had a chance to watch it in its entirety since then, until I recently purchased the DVD. It was interesting to see what a difference 28 years can bring to your perspective, as well as how different things seem when you are a long-time Doctor Who fan, as opposed to a complete newcomer to the show.
In “The Keeper of Traken,” the Doctor and Adric arrive at the Traken Union, a series of planets that have existed in peace & harmony for millennia due to the bioelectric Source. The Union is one of the most peaceful groups of worlds in the entire universe. It is so peaceful, in fact, that normally beings of evil intent who visit it are instantly calcified. Such is the case with the mysterious Melkur, who arrived on Traken years before seeking to steal the Source, but instead was transformed into an unmoving statue. The Doctor and Adric have been brought to Traken by the Keeper, a being of immense cosmic power who is nearing the end of his thousand-year existence. Knowing his death is coming soon, and sensing a terrible evil approaching that he is now powerless to stop, the Keeper hopes that the Doctor will be able to save Traken from its impending peril.
I will admit, when I first saw “The Keeper of Traken” nearly three decades ago, I was quite underwhelmed. There seemed to be an awful lot of talking about scientific principles that went completely over my head. When there was some action, it was the Doctor and Adric, who are falsely accused of being agents of the Melkur, getting captured, escaping, running around, re-captured, etc.
The story really did not get interesting for me until towards the end of episode three. The mysterious figure controlling the Melkur statue was revealed as this sinister hooded figure of death, and the Melkur succeeded in taking over control of the Source by becoming the next Keeper. What a cliffhanger! I had no clue who this hideous-looking being was, or how the Melkur could just disappear and reappear like that. After all, I had never heard of the Master. Neither, until this point in time, did I realized that the Doctor was not the only person with a TARDIS. But I was very interested in what was going on. So even though I still didn’t really understand much of what took place in the fourth episode, I definitely enjoyed it.
Actually, I thought the Master was such a cool, evil bad guy that I couldn’t understand why at the end of “The Keeper of Traken” he turned into a relatively normal-looking, albeit quite sinister, man with a pointed beard. It was probably at least a couple of years before I had an opportunity to see “Terror of the Autons” and I realized that was pretty much how the Master had normally looked before he had come to his final regeneration.
In any case, re-watching the entire serial of “The Keeper of Traken” in 2012, I enjoyed it a lot more. There was a crucial aspect of the story that totally went over my head all those years ago that I now caught upon, and I realized just what a tragic story it is. On the night of his wedding to Kassia, the Traken consul Tremas is named by the Keeper as his successor. All at the wedding party, Kassia included, know that the current Keeper will soon die. And so Kassia’s moment of happiness is immediately dashed against the rocks, and she realized that her new husband will very soon be taken from her. It is this devastating fact that causes this normally virtuous woman to turn to the Melkur for help, to save her husband from becoming the next Keeper. And that initiates the entire chain of events that leads to so many deaths, including her own horrible demise.
Another element of the story that was new to me was one I feel really did not come through in the final transmitted serial. Writer Johnny Byrne (no relation to the comic book creator) was inspired by the upcoming Millennium which he explained in the extra features on the DVD. He reflected that here on Earth, every thousand years humanity experienced tremendous social, political & religious upheaval. That inspired Byrne to create Traken, a world which for the thousand year reign of each Keeper would exist in tranquility, but at the end of which everything would start to go to hell in a hand basket. Viewing the serial again after watching the “making of” documentary and listening to the audio commentary, it suddenly made much more sense why everyone on this supposed paradise was acting so violent, fearful and corrupt. As I said, this really isn’t sufficiently communicated within the actual television program, but I put that down to budget restrictions, as we only see a tiny part of the Traken world, and only meet a few of its citizens.
Script editor Christopher H. Bidmead should probably be considered the uncredited co-writer of “The Keeper of Traken.” As explained on the “making of” extra, Byrne wrote the first draft of the story and went away on vacation. At this point in time Bidmead made significant alterations to the scripts. This included, at the behest of producer John Nathan-Turner, replacing the original villain, a being called Mogen, with the Master. On his return, Byrne then worked on the final drafts.
Certainly all of the scientific & mathematical elements of the story appear to have sprung from Bidmead, who famously sought to bring a much more “hard science” approach to the show. As I’ve said before, I had difficulty comprehending some of these ideas. What I will say in Bidmead’s favor is that, despite this, everything does come across as possessing an air of legitimacy and accuracy. I am thinking about this in direct contrast to something like Star Trek: The Next Generation, where the scripts sometimes drowned in techno-babble, and it often seemed obvious to me that they were making stuff up to get to a quick resolution. In contrast, Bidmead’s use of scientific principles is presented with a definite conviction, so that even if the viewer does not fully understand what is taking place, it appears to have the weight of authenticity to carry it.
The acting on “The Keeper of Traken” is typically top-notch. Nathan-Turner wanted Tom Baker to significantly turn down the humor of his performance of the Doctor during Season Eighteen. While Baker was reportedly unhappy with this, it did lead to a more subdued, somber Doctor who nevertheless still possesses a definite mischievous quality about him, actually bringing him back in line with his first few seasons on the series. That is definitely the case with Baker on this story, in that he is a rather serious figure, but definitely still possesses his unique sense of humor.
Over the years, Matthew Waterhouse as Adric had been much maligned by many fans. I really think a lot of this has to do with the quality of the scripting he was given the year after this one, when the role of the Doctor was taken over by Peter Davison, and it was decided to make their relationship much more contentious. Here, with Adric spending a lot of time paired up with the Fourth Doctor, the character is perfectly fine. Baker and Waterhouse have a nice rapport, and Waterhouse does a good job at making the character work. I realize that if Waterhouse had been given the opportunity to develop a similar relationship with Davison, instead of Adric being written as whiny & petulant, then he might have continued to be a successful character.
“The Keeper of Traken” also introduces Sarah Sutton as Nyssa, although she did not become a regular character until episode two of the next story, “Logopolis.” It is a nice debut for the Sutton, and she does a good job. I’d have to say that Nyssa’s introduction is one of the character’s strongest stories. Like Adric, I don’t know if she was as well served by the writing the year afterwards. But you can definitely see that there was a lot of potential to the character here, and Sutton really brings it out.
And then we come to Anthony Ainley as Tremas. It is really weird watching Ainley here, because at the end of “The Keeper of Traken” the Master uses the power of the Source to take over Tremas’ body, and from that point on Ainley played the Master, usually as a very over-the-top, scenery-chewing supervillain. So seeing Ainley as Tremas was an interesting contrast, because he is the complete opposite of the Master, a benevolent, kindly figure who loves his wife & daughter and enjoys discussing scientific discoveries with the Doctor. Ainley turns in a low-key, subtle performance, and it really shows that he was capable of playing more than just sneering bad guys. It is a shame that Ainley was never allowed to bring any of that depth to his portrayal of the Master until his final outing in “Survival” eight years later. In any case, Ainley’s nuanced performance as Tremas really drives home just how much of a tragedy it is when the Master murders him to gain a new lease on life.
Speaking of the Master, Geoffrey Beevers does a superb job portraying the renegade Time Lord in his corpse-like state. It is a mostly vocal performance, for much of the time the Master is hidden within the seemingly-inanimate Melkur statue (actually the Master’s TARDIS). When the Master is finally revealed, Beevers is acting behind heavy make-up. But he totally makes the performance work.
Watching “The Keeper of Traken,” I was reminded of Bidmead’s description elsewhere of the Master as “the devil incarnate.” The thing about the original Master, as played by Roger Delgado, was that, yes, he was a murderous sociopath. But he could also be charming and charismatic when he needed to be. And here he really is the metaphorical serpent in paradise, gradually luring Kassia from the path of righteousness, until she finds she is in way over her head, at which point the Master reveals his true, malevolent side. Subsequently, when the Melkur first becomes the new Keeper, the Master acts in a very pleasant, reasonable manner, because his access to the Source is not yet solidified, and he needs to put everyone off-guard with his charm and false humility. But once he is fully entrenched in his new position, he lets his true colors show, becoming a sadistic, cackling fiend. Beevers’ delivery of his lines is wonderfully seductive and diabolical, and he totally succeeds in making the Master a memorable arch-foe.
As I mentioned earlier, even as an eight year old, I thought Beevers’ rendition of the Master was superb, and there was that disappointment when Ainley took over the role. I understand why the Master was revitalized and given a human appearance once again, as there is only so much you can do with the character as a walking corpse. Nevertheless, I always thought it would have been nice to have Beevers reprise the role. So it’s been a pleasure to have him return to playing the Master in several of the Doctor Who audio adventures from Big Finish, where he’s definitely recaptured the sly, mocking villainy of the character to excellent effect.
I will admit, I do not know if “The Keeper of Traken” would be as memorable a production if it was not for the inclusion of the Master. That said, it is definitely an above average entry in the Doctor Who canon. In addition to the strong acting, there is a lot going for it. The set and costume design are rich and vibrant. Roger Limb’s musical score is very effective. And the direction by John Black is solid. All in all, the serial is of a pretty high quality. Perhaps if more of Byrne’s ideas for exploring the upheavals brought on by the Millennium would have made it to the screen, it would have been an even stronger story. Nevertheless, in most places it works very well.
One last item about the DVD. Ainley, who passed away in 2004, apparently was not especially fond of publicity. I don’t believe he was a recluse, because he made a number of appearances at Doctor Who conventions. But for whatever reason, he was reluctant to give many interviews or participate in any DVD “making of” features or audio commentaries. The commentary on “The Keeper of Traken” is, as far as I know, the only DVD extra he contributed to before he passed away. Byrne, who is also on the commentary, does a good job at engaging Ainley, getting his thoughts on various aspects of the production. It’s definitely worth listening to for Ainley’s thoughts on the story, as well as his portrayal of the Master in general. Ainley was quite informative, and sounded like he had an enjoyable time recording the commentary, so it’s a shame he did not participate in any other DVD extras.