SEASON ONE- Episodes 1-6. Written by Terry Nation, Produced by David Maloney, Script Editor- Chris Boucher.
THE WAY BACK- **** Directed by Michael
E. Briant.
The first episode and a very interesting one for all its budget, showing
just how different a BBC Space Opera (their first continuing serial as
opposed to one-off or Doctor Who story) would look compared to its time
travelling progenitor. As a pointer to how the series would progress it
fails. Still, a fabulous set up. The entire season's effects budget was
apparently blown in this one episode and it shows (both here and later
on).
The film work is particularly impressive with rather stylish direction
and for the only episode not to feature Avon, it's interesting to see how
the rather wimpy Blake at the beginning gets his bearings so quickly after
the massacre, even though he spends most of the episode in custody, unable
to influence events. Blake, Jenna and a rather confident Vila are reduced
to supporting characters as we see the machinations of Glynd, Dr Havant
and Morag (good Scottish name) versus the doomed efforts of Varon and the
missus (fancy trying to gather crucial evidence with a Turkish bong!).
Although the sets and costumes are a mite basic, it all serves to build
up the totalitarian atmosphere (paisley and oppression do not mix). Assured
direction, good performances from all and even if we saw the Federation
door-knock for the Salvation Army in every subsequent episode, we'd always
know they were baddies. A very good, if atypical episode, just a shame
that many elements got lost along the way. The butchered version on the
original compilation video is a travesty.
PS- The guard who confines Blake on board the London plays a Minbari
in B5 in season 5.
...
SPACEFALL- *** Directed by Pennant Roberts
The cheapness starts. Mutiny on the Bounty meets that tall extra with
the white hair and black eyebrows that seemed to be in every crowd scene
in the 70's (Last seen as one of Davros' loyal Kaled scientists). He's
a tall prisoner who sticks out like a sore thumb to me. By this time, we've
met most of the Seven here, but this isn't Auf Wiedersen Pet and they aren't
in Dusseldorf. Avon and Blake don't get on too well from the off, and Vila's
idiocy and cowardice only rear their cliched heads twice in the episode
(rather than twice an act). Nova is rather camp- demonstrated by the fact
he decided to take a bubblebath in the middle of an emergency, maybe a
good thing he didn't make it so we wouldn't have episodes where Nova forgot
to teleport Blake up from a crisis because he was scrubbing his back.
Even though most of the action takes place on board the London, Terry
Nation (and to an undetermined extent, Script Editor Chris Boucher) has
packed this episode with a lot of action, or padding, depending on you
point of view. But when you think about it, from the time the London lifts
off from Earth in the dying stages of The Way Back to the time it
reaches its destination in the next episode, eight months in real time,
the prisoners are seen to be wearing the same clothes the whole time. Liberator
makes its debut here, designed by set designer Roger Murray Leach, rather
than the season's SFX designer, Ian Scoone. Scoones is still, to this day
bitching about this turn of events. For years, because my first proper
exposure to the series was the fourth season, I thought the green bit was
the front.
The flight crew are pretty believable, unlike the guards who thankfully
have little to say and nothing to offer. The trio of Avon, Jenna and Blake
work well together, sparking with each other and could have done the series
on their own. The rather bright prison ship interiors contrast with the
alieness of the Liberator with the encounter with the ship's defence mechanism
being particularly effective. Less effective is anything to do with
the transfer tube (or choob as Captain Leyland, serial number BMC P-76,
would have it). Also, I cannot work out how Raiker shoots at Blake twice
with a bruise that's all to show for it. Raiker is the sort of Federation
thug we would see many times over the coming episodes with few being as
good. Very little was trimmed from this ep for the original video release.
And just what did Jenna whisper to Raiker?
Piss off.
Sorry I asked.
...
CYGNUS ALPHA- *** 1/2 Directed by Vere
Lorrimer
By the time the somewhat smelly prisoners arrive in this, another atypical
episode, they've sprouted guest stars. The scenes on the Liberator are
a joy for those who think the best bits of the James Bond movies are the
scenes were Q briefs 007 on his new gadgets. Personally, I love these bits,
padding though some of it is. This story looks very expensive, with the
sets in Vargas' castle rocky enough to be The Thing's home (from the Not-So-Fantastic
Four). Brian Blessed is over the top, Pamela Salem provides Gan's only
love interest of his series tenure and Blake's rescue effort goes pear-shaped
when he only manages to get two crew members off the planet alive. Though
where were Arco and Selman in Spacefall?
Although the transition between video and filmed studio sequences jars
more than Jean-Michel, the fight scene is expertly staged, much better
than if a multi-camera video studio was used. One resource advantage Blake's
7 enjoyed over Doctor Who (possibly the only one) was that each episode
had a compulsory film allocation (whether it was location work or at Ealing).
Compare some of the filmed fight sequences in the first three episodes
to see how much better fights and gun battles looked when filmed from one
angle at a time at opposed to five (see The Web). One thing, when Brian
Blessed's Ice Warrior is teleported into space and explodes, why does the
edited version on the compilation work better than the original here? This
might be sacriligious to some but if about an average of a minute was strategically
trimmed off each episode to tighten things up, you'd notice how much better
the series stands up today.
...
TIMESQUAD- ** Directed by Pennant Roberts
The first dull episode, written as a last minute replacement is remarkable
for no other reason than it's the first 'mission' and that Cally is introduced.
Lacklustre is not too strong a description, but to be fair, the dialogue
is good and everyone gets something substantial to do in this episode (an
achievement). It's just that it is a pretty anonymous outing, lacking in
any major plot advancements other than Cally's back story and the introduction
of Vila's lock-picking skill. The attack on the Federation complex is running
throughout a location, rather like the last five minutes of a typical Starsky
and Hutch or Policewoman. The Federation is fairly faceless as are the
frozen carrots, without any speaking antagonists either on Saurian Major
or on the Liberator. The ending (climax doesn't fit) is so utterly cheap
in what reeks of a cheap episode ("But they built a whole ship," I hear
you ask. Big deal, they used the same
set/ model at least another three times). The reactor explodes in a huge
explosion, first knocking over a few guards before blowing up the whole
complex. Then we see footage of a flare masquerading as the destruction
of the complex. Whoopee for the first major success of Blake and his rabble!
Six humans can run the ship properly even though their are only five flight
positions. Gan's time was up from the start it seems. This is also the
last time the Federation guns fired without a decent sound effect.
...
THE WEB- ** 1/2 Directed by Michael E.
Briant
The premise and characters have now been set up, the crew numbering
seven, with the series proper beginning here. For the first, but alas,
not the last time, Cally would be taken over telepathically. Despite the
cliche, this is an interesting episode up until the eponymous Web weaves
its way around the Liberator (fairy floss, anyone?) The story itself is
all right, just that it's Star Trek (You...can't...do...that!). The Decimas
are a strange way to get the viewer's sympathy, especially after those
comedians in the Design department (VisFX passed the buck) came up with
the waif look for Saymon. I've heard of tight budgets but pathetic is not
an insult, just a statement of fact.( If Novara's voice sounds familiar
it's because he was the Supervoc in Boucher's Robots of Death script for
Doctor Who, also directed by Briant. Small
world (large project). The exterior work is interesting, if
rather brief while the model work, free of wobbles is let down by the rather
plain realisation of the Web. The concept of surface gear makes its debut
here which must have made things easy when episodes were being made in
big batches rather than individually. An average episode with a dilemma
for Blake handled undramatically. Bad Dialogue: "You're
very practical."
...
SEEK-LOCATE-DESTROY ***1/2 Directed by
Vere Lorrimer
An important episode, although not obviously so, with the introduction
of Servalan and Travis as the series' main baddies (although Servalan was
originally meant as a one- shot male character). The Federation now has
a face for the viewers to hiss at, although it would take a another appearance
before Jacqueline Pearce would begin to upstage a very good Stephen Grief
(an excellent actor, especially as gangster Harry Fenn in Citizen Smith,
the role which landed him Travis). Everyone but Jenna gets something to
do, even if some of Gan's efforts seem pencilled in at the last minute.
We seem him grappling with the actual cypher machine for several minutes
when suddenly he rips off a previously unseen metal hatch and simply yanks
out the cypher. Watch it again and it makes more sense as Gann in rips
off another panel to get access to the cypher. The Federation knowing about
the teleport suggests there have been a few encounters in between episodes,
even though Blake first sets a course for Centero at the end of Timesquad,
and again in The Web. This is Travis's shot and Stephen Grief almost
walks away with it. A talky piece with a fair deal of action, shows what
Doctor Who's 25 minute format robbed us of. A comparison between the full
and compilation version is interesting with a lot of the interpersonal
conflict removed in the expurgated version, whether it be between the crew
of the Liberator or Federation personnel. A good episode.
One last thing. The drugs that Ensor provided for the crew's radiation sickness had been sitting there for forty years. Haven't these people heard of the dangers of expired medicine?
...
HOSTAGE ** Written by Allan Prior , Directed
by Vere Lorrimer
Starts off well enough with probably the most energetic space battle/attack
on the Liberator featured in the first three seasons, even if the throng
of pursuit ships is for the most part represented by a few lights and a
star filter. The new footage is sometimes good and sometimes poor with
the pursuit ships wobbling like Marlon Brando on a treadmill if they have
to move during a static camera shot. In Blake terms its reasonable, though
there's at least some new footage of Federation pursuit ships. But then,
what is the rest of the episode about? The boys get captured, the girls
stay on the ship, the crimmos wear pieces of polystyrene although the Head
Crimmo is played by a better actor than the one portraying Travis. Brian
Croucher's almost cockney accent is appalling compared to his predecessors.
You're almost waiting for Travis to slip into cockney rhyming slang ("These
are my criminal psycopaths, also known as Derek Nimmos!"). Inga is the
most derivative Leela rip-off without the sex-appeal or Louise Jameson
(Did anyone say Hyawatha?) though at least her dad gets a better deal from
actor John Abineri, who replaced Duncan Lamont who died between location
and studio work forcing a remount of all exteriors featuring him (the poor
bugger died and you're worried about a remount?). In fact \, Abineri was
the second replacement when the original turned up drunk (No Kevin Lloyd
had already made his only appearance in the show). The crimmos are an interesting
idea completely wasted with only one of them given any character and the
actor playing Molok would have made a better Travis-type character than
Croucher.
Mutoids mark two make their debut here although I don't think much
of their hairdresser. They come off looking like first-time transvestites
(if you don't know what a first-time transvestite looks like, watch Hostage
again). At the same time, a Mark one Mutoid sticks to Servalan like glue.
Ugly glue.
The story is not much cop while the direction is (Keystone, unfortunately).
Poorly written and direly directed by Vere Lorrimer, especially the climactic
battle between Blake, Avon and Travis (which wasn't refilmed but should
have been). The one noteworthy storyline concerns Avon's contacting Servalan
over Travis' whereabouts and his subsequent guilt but that's a bit much
to sustain 50 minutes of drama, isn't it? Lastly, what are these crappy
silver surface kits? What happened to the more colourful, more flattering
and less lens-flare friendly suits from last season?
...
COUNTDOWN ***1/2 Written by Terry Nation,
Directed by Vere Lorrimer
The creator returns in not a bad outing. For one thing, Avon's character
develops in a way unthinkable a few episodes previously although it fits
his character seamlessly. Starting with another decent filmed battle sequence,
the stuntmen earning their wages here, we have an old (script) banger in
the bomb ticking away and of course, Jenna and Cally have their bottoms
hard wired to the teleport. Del Grant (Derrick?) is Anna Grant's brother-
Anna Grant being Avon's former lover and 'runner' though the twists of
next season's Rumours of Death weren't even a glint in the script editor's
eyes. Besides, it's all a bit above old Tel, sorry, Terry.
A very good story with above-average production values for the season,
good performances from the cast and a corker of a script. Definitely one
of the season's best efforts in a season of extremes. One appalling aspect
of the production is whoever dubbed on the teleport sounds missed most
of his/her cues with alarming regularity and worse, got most off the sound
effects mixed up completely. That is the one production flaw in an episode
with ambitions that did not exceed the resources. It's not a cheap episode
just that solid writing and planning means everything comes together
with ease. Kudos to Vere.
...
VOICE FROM THE PAST *1/2
Written by Roger Parkes, Directed by George Spenton-Foster
Oh, how the pendulum swings. Voice from the past doesn't have a totally
bad plot, just totally crap direction from the master of badly-directed
Blake's (no direction would be a more apt description). Vila, on his own
personal pendulum between guile and gullibility, is weighted toward the
latter here with Blake under the influence of a VHS cassette even though
Blake would have welcomed the proposals without the continued use of the
course interceptor. The rivalry between Servalan and Le Grande conjures
up images of the two in a burning log cabin or fighting in a pond. Ven
Glynd, looking very different from his first appearance in the pilot episode
is enigmatic enough, perhaps pointlessly so. The continuity of having Ven
Glynd return is wasted after Blake accepts his rather pitiful half-apology
in a second. But Shivan is duff. A crappy costume with a crappy French
accent from Brian Croucher leaves one with the feeling of 'why?' It seems
as through the whole convoluted plot was left at the first draft stage
without anyone bothering to polish up the crappy bits in a rewrite.
A script full of holes accompanied with dire direction leaves this episode
along with Horizon being in the bottom few episodes of the whole series.
Roger Parkes would provide two more stories and they were both a
lot better than this bag o' *****.
...
GAMBIT **1/2 Written by Robert Holmes,
Directed by George Spenton-Foster
Overrated tosh with Holmes' work on Blake's 7 having a much lower strike
rate than his Doctor Who CV would indicate but then, check the Director's
credit. Glitter is everywhere, so much so Gary Glitter sued for custody
(that was before his PC broke down). With, um, eccentric costuming, busy
sets, laboured direction from a man who should be kept away from jodhpurs
and a German accent contribute to a wasted episode- one that could have
been good. The one that got away. Worst of all is President Clinton as
Cleverdic (remember Claws of Axos?). Ooops, that's Paul Grist as Cevedic.
The single worst guest spot this season is overacted so badly it would
take Denis Carey playing a drunk Cybersurgeon to upstage him in the crap
stakes. Ooops. Denis Carey is in this too, and he sure is crap. So is the
cameo by Blake's Lawyer from the first episode. And Travis sucks, too.
Surprisingly, Servalan doesn't fare too well either, looking like a three
dollar hooker ( if you don't know what a three dollar hooker looks like...)
Also poor is the music played over the speed chess sequences. Yuck!
On the other hand, it's a well written story (albeit handled badly
by the director). Robert Holmes has always been a dab hand at interesting,
if not snappy, dialogue but the delivery by some of the cast leaves something
to be desired but I don't want to talk about it any more. With western
allusions (20 litre hats) on a par with a really bad Battlestar Galactica
episode and some poor choices, the only thing that shines is the fact Cally
and Jenna finally get something to do- their faked cat-fight is a hoot.
Also hootable is the camaraderie between Avon and Vila, for once bickering
is banished in the name of greed. Orac shrinking himself over pride is
ridiculous but then so is the concept of two square metres of perspex and
three 'D' Cells being worth 100 million credits. Would have been great
given almost any other director.
...
THE KEEPER *** Written by Allan Prior,
Directed by Derek Martinus
How can so many stars be associated with Allan-many-Prior-convictions?
The story makes sense, is interesting with a decent twist something for
everyone to do in what is probably the nearest thing to a Jenna and Vila
episode. The filmed battle scenes are a damn sight better than those in
Hostage
but then the duel between the rather-sickly looking brothers Rod and Gola
could have used a bit of film to liven things up a bit. The one thing that
gets me is not just about this episode but the last few episodes as a whole.
In Hostage, Servalan offers Travis a truce, which she uses in Voice
from the Past, but then the next episode she wants him dead, but then
they're working together here. Travis seems to hate Blake more than the
schizoid woman trying to kill him. That's loyalty. That's stupidity. That's
Waylon Smithers. At least we see him betray her.
...
STAR ONE ****1/2 Written by Chris Boucher
Directed by David Maloney
Near perfect season climax. Beautiful exposition, good direction, decent
modelwork, Travis getting bumped off permanently and an Intergalactic War.
I love this episode as everything good about Blake's 7 with only the odd
niggle rather than any outright flaws. The sense of dread from start to
finish as things escalate beyond the Liberator crew's expectations is wonderful
and could show Babylon 5 a thing or two (it might just be me but they seem
to win everything (I suppose the later seasons will probably prove me wrong).
The arc storyline of the second season worked a lot better than the key
to time even if at times it was easy to miss (Killer, Voice from the
Past). It also highlights how directionless Season Three is overall
with only one episode having anything to do with fighting the Feds as opposed
to stumbling into various dangers. Niggles? If nobody knows where Star
One is, how did the technicians get there (and they haven't been there
thirty years and how to they get replaced after their death (unless Lurena
is to end up as sandwich filling or the hat that gets passed around, so
to speak)?
The way Blake's injury and subsequent incapacitation is handled doesn't
fire the imagination, neither does Gareth Thomas' performance from the
time he's shot. Watching the episode, you can almost tell the exact instant
that Gareth Thomas decides/ discovers he won't be coming back as the regular
lead. Durkin is too good a character to be used only once. He and Servalan
would have made ideal sparring partners the following season with Durkin
as the President's conscience. The alien invasion fleet of a bottle of
shampoo, two hubcaps, a piece of toast and an egg-beater didn't fool anyone
especially when the rest of the model work is so good. Tense as a man with
three mortgages who's been made redundant on the same day he finds out
he requires expensive medical treatment, his car's been stolen, his ex-
wife has a life partner and his daughter joins the cast of Home and Away.