Vengeance on Varos

Direction and writing in Doctor Who are two elements which rarely come together; we either get a well directed story with poor writing (Earthshock) or a well written story with bad direction, which is the case here. Vengeance on Varos is almost ruined by Ron Jones' absolutely flareless direction. A lot of people will nominate Peter Moffatt for the title of Worst Who Director, but in truth he occasionally was capable of something approaching atmosphere (State of Decay is an admittedly inconsistent example of this). Jones, on the other hand, never rises to a challenge, and he succeeds in sucking the life out of a highly interesting script, with, perhaps incredibly, some well judged edits by Eric Saward.

The most potent example of this is the first scene between Arak and Etta. Never mind that Etta looks about thirty years older than her supposed husband; the really jarring thing about this moment is how slowly it seems to pass. And it isn't anything to do with leaden dialogue- it's because Ron Jones directs the scene unadventurously, a long wide shot of the two arguing. I was sorely tempted to turn it off.

But to do so would mean missing an otherwise fantastic story. The writing, by Phillip Martin, is excellent. He manages to give almost all of the major characters a clear identity. We sympathise with the weary Governor; and we are reviled by the reptilian Sil. Equally, the issues it tackles, most prominently video nasties, are fascinating, particularly so when you look at how creatively and intellectually bereft most of it's Season 22 stablemates are. Occasionally the structure wobbles, but this is largely due to the fact that the series had changed to a slower paced 45 minute format. Is it violent? For a Doctor Who story, yes, but the furore at the time surrounding it was misjudged, as it is farely tame by today's standards. Plus, at least it is provocative, and not a dull Underworld style runaround.

And at least on the acting front, Ron Jones got something right, by casting disabled performer Nabil Shaban as Sil. The remarkable design of the character has something to do with the success of Varos and Shaban imbues him with some truly vile habits, like his hugely grating laugh. The rest of the cast is variable, as usual; Martin Jarvis is excellent, Jason Connery less so in the important role of Jondar, which would have been a hard slog for most actors anyway. Colin Baker really takes control, however, and in some respects we see him acting, rather than simply hamming it up. The scenes in which he feigns death are a case in point. From a production stance, it is competent but not visually resplendent; few stories set in an underground mining colony could be.