Novelization By -Terrance Dicks
(based on a story by Don Houghton)
Read By - Richard Franklin
Released: 6th April 2017
Available On DIgital Download, or on CD - (4 CDs)
Approx Duration - 246 Minutes
This unabridged recording is the latest such release from BBC Audio to cover the novelizations of the Third Doctor Era, following different adventures featuring Daleks, Axons, and The Master (as here depicted in typically brilliant fashion by Chris Achilleos, on the retained book cover).
Mind is a distinctive adventure in that whilst it immediately followed Terror Of The Autons, it was strongly implied that the Doctor, Jo, and UNIT all kept very busy, looking to consolidate their role as a professional group of defence - both for their native country, and the wider world in general. The Master also has kept himself occupied, and (for once) chooses to use a pseudonym in ‘Emile Keller' which gives no hint at his true nature.
The original TV story was for many years notorious for having a paucity of actual colour material, and yet by being in black-and-white it actually took on a more adult and 'horror-surreal' tone, than Don Houghton or Timothy Combe ever intended. Eventually it became 're-colourised' for DVD release, and works well enough in the format it was intended to be shown. Some Doctor Who stories have only mildly above-average scripts, but become strong or even outstanding due to first-rate work by their director. I would certainly place the opening and closing stories from Season Thirteen in that bracket. With Mind, there was a potential story idea to rival the first effort from Houghton, but the tale as transmitted did have some consistency and logic issues. It mattered little, as virtually the whole cast and the production values are as robust as any from the Jon Pertwee Years.
This adaptation comes courtesy of Terrance Dicks; which was the case for so many TARGET books at the time. The first half of the book seems to signify greater effort from the story's original script-editor, in terms of expanding on the characters and explaining the overall set-up of the story. Thereafter, nothing vital is lost, but opportunities to get into the inner thoughts of the principle characters, as well as to really explore the threat to Earth in terms of the missile and the shaky political situation are not really seized upon. However, choosing to keep the titular monster/machine as mysterious as possible is a good move, as much of its creepiness lies in the lack of clarity behind how it is alive, and how it is able to kill with greater ease as the narrative progresses.
Jo Grant in her second story would rarely have such strong material again - only The Curse of Peladon, and most of her final season would again see such heights of maturity, quick thinking and sheer likeability. Whilst Katy Manning never turned in a half-hearted televisual interpretation, she was forced to often portray a semi-helpless damsel, needing aid from the Doctor or one of the supporting characters.
The Doctor’s ‘Moriarty’ is rarely better than here, being both ruthless and generally very sure of himself, with only the autonomous Keller Machine getting him truly flustered. At one point, he is totally convincing when he threatens the Doctor - "You'll do nothing, or I'll put a bullet through both your hearts." Surely this is one of the few ways that a regeneration can be cut off and thus lead to a Time Lord's premature demise. (Turn Left gave us another example). And during the finale, the brutal manner in which the Master escapes a trap laid by the Doctor - partly due to the after-effects of his machine being tested on the hardened criminal Barnham - is a notable moment where a fictional character created for escapism, feels chillingly credible as a threat.
The biggest problem I have with the story - apart from how the Kellar Machine actually helps with the ‘World War Three plan - is the portrayal of the Chinese. The Talons of Weng Chiang has come under fire in the years following its transmission, but this story does itself even less favours. The sheer number of repeated references to a "Chinese Girl" (which is already suspect,given that she is an adult woman) are carried over into this novelisation. There is also some broadly played humour over the Doctor being able to speak to Fu Peng, but the Brigadier completely struggles to understand a single word. Also, the Doctor's somewhat boasting references to meeting Chairman Mao seem to be a somewhat questionable choice of political commentary by Barry Letts and Dicks, and have only become further awkward over the ensuing years. Finally, the TV cliffhanger for Episode Two was risible in the extreme. I could never credit a world-weary diplomat having any kind of phobia of a ceremonial symbol like a 'Chinese Dragon'. That Dicks tries to explain this away as a strong distrust of the Chinese in general perhaps was acceptable when the book was published, but is glaringly dated now. And for good measure, it really makes no sense that the others who intervene on Chin Lee (channelling the Kellar Machine) in this assassination attempt would see the same thing.
In this novel version the Master having a chauffeur of Afro-Caribbean roots is barely acknowledged, but then the original TV story gave no dialogue to the character either, and furthermore he is simply missing by the end of the story. Whether he was hypnotised or simply on good pay was also left to one’s interpretation. This is a more minor reservation I have, however,. The Master really does make a great initial appearance with cigar in hand, whilst cruelly giving his latest destructive orders to the mesmerised Captain, from the comfort of his limousine.
Also slightly disappointing is how economical the author is when it comes to UNIT ‘turning the tables’ at Stangmoor. A fantastic set piece - indicative of the TV production being so polished as to qualify as a borderline TV movie – is condensed to its barest details. This was presumably due to the restrictions of page count that the author had to meet. The Invasion of Time, (previously reviewed on this site), had many moments that could be condensed down, or left without embellishment, as the original story was made in trying circumstances and did not fully justify six episodes. But this 1971 action-thriller had a lot more meat on the bones – partly due to the three major plot threats - and more expansion was needed, instead of the opposite.
But now to turn to some praise. The depiction of all of the principle criminals that feature, is very nicely done by Dicks, with evocative and entertaining back stories. I also appreciated how Professor Kettering was depicted as a virtual quack, and was made far less likable in general than the original TV version. Whilst the Doctor would not have wanted him to lose his life, (and especially in the manner he did), there is consequently a tinge of poetic justice owing to how this man carelessly helped the Master with his scheme, with nary a concern for wider society.
As an audio book, this is a solid effort. Sound effects for the riots, the various high-speed vehicles, and the brutal gun shots, all manage to bring the right feeling of tension or excitement. As for the ‘Mind of Evil’ itself, the audio dressing used for this creepy monster/device is perhaps a little stripped-down compared to its TV counterpart, but still effective nonetheless in selling the threat it poses to both mental and physical well-being.
Richard Franklin does fine work in the overall narration of the story. I found his takes on Jo and Benton better than his previous interpretations of these two roles, (which in the parent TV show were classic cases of the actor and character being very close indeed to one another). He is at his very best when breathing life to the self-assured Third Doctor, and of course to the very familiar Yates persona.
The Brigadier gets a passable interpretation, but will always suffer in comparison to Nicholas Courtney's superlative voice. However Season Eight was a distinctly marked downturn in the character's initiative and general intelligence. (Whilst The Three Doctors had some infamous moments, it did not actually signal anything new at that point). As a result, the rather more lackadaisical take Franklin has on Lethbridge-Stewart is reflective of the change in depiction of this long-standing character in the show's history.
This story is entertaining and a definite change from the standard formula of many a Doctor Who tale. Whilst never getting to the dizzy heights of Inferno - or indeed a good handful of other Third Doctor stories - it is always worth a revisit. This digital and CD production is especially convenient for a person with some other tasks requiring attention, and likewise is a good listen when ‘on the go’. Thus, it ultimately succeeds as being a worthy alternative to one of the better stories, which featured the ‘Earthbound’ Doctor on increasingly prevalent colour television.