The second story of Season 18, Meglos, broadcast in September and October 1980, is an unusual entry in Doctor Who’s vast tapestry. Written by John Flanagan and Andrew McCulloch, and directed by Terence Dudley, this 110th adventure sees the Fourth Doctor and Romana embroiled in a tale of greed, religious zealotry, and botanical villainy. It’s a story that stands out for its ambitious ideas, even if its execution sometimes falters under the weight of its own concept.
The narrative begins with the TARDIS being summoned to the planet Tigella, a lush world whose underground society is divided between two factions: the scientific Savants and the superstitious Deons. At the heart of their conflict is the Dodecahedron, a powerful energy source that sustains their civilization. Meanwhile, the Doctor’s doppelgänger, Meglos—a sentient, malevolent cactus—plots to steal the Dodecahedron for his own purposes, enlisting a group of bumbling Gaztak mercenaries to aid his scheme. The Doctor and Romana must navigate the tensions on Tigella and thwart Meglos’s plan before it plunges the planet into chaos.
Tom Baker faces the intriguing challenge of playing both the Doctor and his villainous duplicate, Meglos. Baker rises to the occasion, imbuing his performance as Meglos with a sinister, otherworldly quality that contrasts sharply with the Doctor’s charm and eccentricity. Watching Baker relish the chance to play against type is a delight, and his portrayal of Meglos highlights the character’s cunning and ruthlessness. The scenes where the Doctor’s identity is questioned due to Meglos’s impersonation add a layer of tension and intrigue to the narrative.
Lalla Ward continues to impress as Romana, her intelligence and resourcefulness once again taking center stage. Ward’s portrayal emphasizes Romana’s quick thinking and composure, whether she’s outwitting the Gaztaks or defusing the tensions between the Tigellan factions. Her dynamic with the Doctor remains a cornerstone of the story, their partnership bringing warmth and wit to the proceedings. Romana’s ability to hold her own, even in the most perilous situations, underscores her status as one of the Doctor’s most capable companions.
The supporting cast delivers a mix of performances, with standout contributions from Jacqueline Hill as Lexa, the leader of the Deons. Hill, who famously played Barbara Wright in the early days of the series, brings gravitas and intensity to her role, portraying Lexa’s unwavering faith with conviction. However, the Deons’ religious fervor and their conflict with the Savants are somewhat underexplored, leaving the factional dynamics feeling less impactful than they might have been. The Gaztaks, led by Bill Fraser’s General Grugger, provide comic relief, their bumbling antics adding levity to an otherwise serious tale.
Visually, Meglos reflects both the ambitions and limitations of its production. The design of Meglos himself, blending a humanoid form with cactus-like features, is a striking visual choice that underscores the character’s alien nature. The sets for Tigella, with their subterranean corridors and sacred chambers, create a claustrophobic atmosphere that mirrors the societal tensions. However, some of the effects, particularly the portrayal of the Dodecahedron’s energy, feel dated and fail to fully convey the story’s sense of scale.
Thematically, Meglos explores the dangers of dogma and the need for balance between science and faith. The conflict between the Savants and the Deons serves as a microcosm of broader societal divisions, though the resolution of their dispute is somewhat rushed. The story also touches on themes of identity and deception, with Meglos’s impersonation of the Doctor raising questions about trust and perception. These ideas, while compelling, sometimes struggle to find full expression within the constraints of the narrative.
Revisiting Meglos today, it’s easy to appreciate its ambition and the moments of brilliance that shine through its uneven execution. The central conceit of a sentient cactus as a villain is as audacious as it is bizarre, and the story’s willingness to take creative risks is commendable. The Doctor’s interactions with Meglos, both direct and indirect, provide a fascinating exploration of heroism and villainy, while Romana’s steadfast presence ensures that the narrative never loses its emotional core.
The climax, which sees the Doctor and Romana outsmarting Meglos and restoring stability to Tigella, ties together the story’s disparate elements in a satisfying conclusion. The destruction of the Dodecahedron serves as a poignant reminder of the costs of greed and hubris, while the reconciliation between the Savants and the Deons hints at the possibility of a brighter future for Tigella.
Meglos may not be a perfect story, but it remains a memorable and thought-provoking entry in the Doctor Who canon. Its blend of high-concept science fiction, ethical dilemmas, and moments of levity exemplifies the show’s enduring ability to entertain and provoke reflection. As the Doctor and Romana depart for their next adventure, Meglos leaves behind a legacy of creative ambition and a reminder of the series’ capacity for reinvention.
No comments:
Post a Comment