Published as Flares in Space!, Infinity #10, 2018.
Just my writing this time, and on the front cover to boot. Public demand will eventually see Series Three published. And Series Four (once I’ve written it). This issue also had a feature on Buck Rogers, which rendered my second paragraph comments slightly awkward.
‘Classically awful…no apostrophe in the title, no sense in the plot’. Blake’s 7 reviewed by Clive James, a man who knows a thing or two about bad television.
Given its official designation as “the BBC’s other Sci-Fi show” Blake’s 7 tends to be met with either indifference or outright scorn. You know the sort of show, modern commentators viewing archive television and bestowing their wit and wisdom upon us, normally along the lines of “look! He’s wearing flares!”. Occasionally a stand-up comedian will deviate from their topical material about Daleks and stairs to tell us that the special effects on Blake’s 7 were rubbish. So the plots, costumes and effects were all dreadful. Why on earth did anyone bother making this drivel, let alone watching it? It’s hardly in the same league as Clive inviting his audience to laugh at Margarita Pracatan, is it?
The visual effects are far better than received wisdom dictates, and I remain slightly confused as to who actually watches SF shows purely for the effects. As I said last issue, Blake’s 7 inherited both the time slot and the budget of Softly Softly, so it’s a miracle that it looks as good as it does. The credit for this must go to the BBC visual effects department who produced generally superb results on a miniscule budget. The model work is especially noteworthy, easily equal to that on the far pricier Buck Rogers in the 25th Century, with the added bonus that you don’t have to watch Buck Rogers. Yes, the odd effect falls short, sometimes very short, but it is nowhere near the carnival of tat certain parties would have us believe. The teleport effects are memorable and delightful in a way that CGI could never be. Overall Blake’s 7’s design is exceptionally good, for my money the Liberator is the most striking spaceship in all science fiction. The interiors are just as impressive, the flight deck complete with Zen (far more interesting than just a standard computer screen), the teleport bracelets, the weaponry, Orac – it’s outstanding.
Another obsession of those reviewing old SF is that “the sets wobbled”. Alright, very occasionally a wall will shake slightly, but it’s neither obvious nor recurrent. Which is remarkable when you look at other 70s television, Fawlty Towers and Some Mothers Do ‘Ave ‘Em in particular look like they were filmed during earthquake season at Television Centre.
So if we can’t deride the effects, what about the costumes? The frequently misused term “camp” is heard so often in relation to Blake’s 7 that you’d think you were watching The Adventures Of Danny La Rue In Space. Is it camp? Not really. In the first two series the Liberator crew wear costumes that wouldn’t look out of place at the RSC and while Servalan’s clothes could be interpreted as camp that’s a side-effect rather than the integral aim of the design. In Gambit, when the production team try to be deliberately camp it’s noticeably jarring. There is a lot of leather on display, but if leather clothing immediately triggers a need to make references to S & M then you either need to see your GP or change your wardrobe. Yes, flares are in evidence, but as fashion is cyclical maybe they’re retro-chic in the third century of the second calendar.
Series One was written entirely by Terry Nation, now we have other writers contributing. The results are slightly uneven, the high points (mostly provided by script editor Chris Boucher) are higher, but the low points are terrible to behold. The relationships between the Liberator crew are intensified with Blake and Avon being far more combative as each struggles for control of the ship. We have a story arc in the search for Star One, and one of the regulars is killed. This was a clever move on Nation’s part, giving added realism to the premise of a small band of rebels fighting the might of the Federation. Having said that, Nation’s original plan to kill off audience identification figure Vila would have resulted in the show matching Threads in the grim stakes. I won’t spoil things by identifying which of the male crew members actually dies, but it isn’t Blake. Or Avon.
So let’s look at the thirteen episodes that form Series Two. It may not be of the same quality as Clive James smirking at self-harming Japanese men, but as Blake will find out, you can’t have everything…
Series Two produced by David Maloney. Transmitted January – April 1979.
REDEMPTION
Written by Terry Nation, directed by Vere Lorrimer.
Does Orac’s prediction come true? Sort of…
The problem with excellent cliffhangers is that they have to be resolved, and most of this episode concerns the mystery of the exploding Liberator. Avon’s solution – to avoid the area of space where it is predicted to explode – is eminently sensible, unfortunately within minutes the Liberator arrives in that very same place. It turns out that the ship was built by The System, a massively powerful network consisting of two women in blue Lycra bodysuits. It’s the Liberator’s sister ship which explodes, so that’s that sorted out. Most of the episode is standard Terry Nation capture and escape material, the highlights being the exchanges between Blake and Avon. Speaking of highlights Cally has a new hairstyle, The System obviously equipped their ships with salons. Oh, and the guards are wearing costumes from Doctor Who’s The Pirate Planet, which sadly isn’t the last time we’ll be seeing something from that story. 4/7.
SHADOW
Written by Chris Boucher, directed by Jonathan Wright Miller.
Just say no to the Space Mafia.
Chris Boucher’s debut episode is a cracker, with Blake attempting to strike a deal with the Terra Nostra, gangsters who cosplay the Third Doctor. Gan in particular is unhappy about working with drug dealers and actually argues against Blake. Orac gets taken over by trans-dimensional aliens (who we don’t see) and traps Cally in some nicely sinister scenes. Peter Tuddenham is now providing Orac’s voice, although he only gets a credit for Zen. With excellent characterisation of the regulars and some impressive directorial touches this is great stuff. And the Terra Nostra chairman has a pet tarantula. 7/7.
WEAPON
Written by Chris Boucher, directed by George Spenton-Foster
Never leave Travis alone with a clone.
Travis returns to the show but now he’s played by Brian Croucher and looks like Bryan Ferry. His Travis is far more volatile than Steven Greif’s, arguing with Servalan and even grabbing her by the throat, suggesting that his sessions with the retraining therapist weren’t wholly successful. Croucher’s performance is superb, easily convincing us of the character’s psychosis. Unfortunately, behind the scenes director George Spenton-Foster took a dislike to Croucher which led to a sour working relationship. Even more unfortunately Spenton-Foster was used for a lot of episodes this series. Elsewhere, Li H’Sen Chang and his hairy chest have stolen IMIPAK which is both a contrived acronym and a weapon of devastating range. Servalan hires a psychostrategist called Carnell, an excellent character whom we sadly won’t see again in the televised series. Apart from the unnecessary introduction of the Blake clones this is another great episode by Boucher. And it contains the show’s only use of the word “sexiest”. 6/7.
HORIZON
Written by Allan Prior, directed by Jonathan Wright Miller
Have you been affected by space fatigue?
The Liberator crew are suffering from shock and stress, with Avon developing back ache. Or space lumbago as Terry Nation would say. Teleporting to the titular planet most of the regulars get captured and put to work in the mines, giving us some rare topless scenes. Blake and Vila, since you ask. Apart from a suggestion that resistance is seen as a genetic flaw this really is quite dull, with long scenes of men in purple clothes being boring. That the official Blake’s 7 fan club named themselves after this episode is the only notable thing about it. 2/7.
PRESSURE POINT
Written by Terry Nation, directed by George Spenton-Foster
We’ve done it- I’ve done it. Bugger.
Blake plans an attack on the Federation’s Control Centre, a massive complex protected by weaponry totally lethal to mannequins. Sadly for Blake it turns out the building is empty, the whole thing being a trap set by the Federation. Even a gloating Travis doesn’t know Control’s real location. He then proceeds to really rub it in by throwing a strontium grenade at Blake’s crew which leads to Gan’s death. Whilst killing a regular was a brave and dramatically important move, the impact of this scene is somewhat diluted by Spenton-Foster’s terribly leaden direction. There are jarring cuts between film and videotape and David Jackson is required to lie at a very odd angle, meaning that we can clearly see Gan’s corpse breathing. And the final shot should surely have been his empty chair on the flight deck, not the Liberator flying away. It’s a very good episode, but with a better director it would have been outstanding. 6/7.
TRIAL
Written by Chris Boucher, directed by Derek Martinus.
Travis on trial, justice Fred Elliott presiding.
In the first of three plot strands Travis is put on trial for war crimes, though being a Federation trial it is of course rigged against him. In a nice touch Rontaine and Bercol from Seek-Locate-Destroy return to act as commentators and Tosh Lines from The Bill is a court guard who used to serve under Travis. There are some lovely scenes between the two former comrades and the whole trial plot is simply great drama. Meanwhile aboard the Liberator the crew are deciding whether to part company, everyone acknowledging that Blake’s fanaticism caused Gan’s death. Boucher’s dialogue is superb, asked by Jenna what he knows about guilt Avon replies “only what I’ve read”. In the third plot thread Blake takes a sabbatical on a jungle planet where he meets Zil, one of the shittest aliens you’ve ever seen. Imagine a four-foot newt that speaks likes Tubbs from The League of Gentlemen and you’re getting there. This aside, it’s another excellent episode from Chris Boucher. 6/7.
KILLER
Written by Robert Holmes, directed by Vere Lorrimer.
When a Keep Out sign isn’t enough.
Robert Holmes is rightly regarded as one of Doctor Who’s greatest writers, so it’s exciting to see him turning his hand to Blake’s 7. As it happens Killer is an alright episode, but not very special. There’s nothing particularly wrong here, it’s just unmemorable and not helped by following two excellent stories. It is reasonably graphic, the blister make up on the plague victims being pretty disturbing. Pleasingly Vila gets to use his intelligence and discover that Avon’s old acquaintance Tynus has betrayed them, and the concept of plague as a deterrent is interesting, but maybe appropriately given its placing in the series, this is a thoroughly middling episode. 4/7.
HOSTAGE
Written by Allan Prior, directed by Vere Lorrimer
It’s a trap. It’s another trap. Etc.
Allan Prior proves that Horizon wasn’t a one-off by turning in another underwhelming script. To be fair there are a few funny lines, Vila’s “perhaps he’s a fast healer” in particular. But very little happens, Blake, Avon and Vila all get captured after falling into a very obvious trap, Travis misses out yet again on his chance to kill Blake and there are some baffling fight scenes where our heroes choose to throw rocks at the murderous Crimos (I know) rather than shooting them. Kevin Stoney appears briefly to suck all the life out of his scene with Servalan, and the exploding body from Cygnus Alpha is reused. Much to Jenna’s annoyance Blake rekindles his relationship with his cousin Inga, just try not to think about their respective ages and how old Inga would have been when the relationship started. All in all nothing to write home about and rather a waste of John Abineri. 3/7.
COUNTDOWN
Written by Terry Nation, directed by Vere Lorrimer.
Terry’s back, with some top space writing.
We begin in the middle of a rebel raid on Albion and it’s exciting stuff, resulting in the triggering of a time bomb. And that’s it as far as the plot goes. But you know what? This is a great episode, showing that sometimes a simple concept can be dramatically satisfying. The excellent Tom Chadbon helps Avon to defuse the timer whilst giving us some back story regarding Anna Grant, more of whom next time. Because Terry Nation’s the author we get “space hours” and “space heaters” but we’re so used to this convention that it’s become rather an amusing affectation. Two plot lines irritate though, firstly Vila getting Blake’s location muddled up despite knowing that Blake’s in mortal danger. Vila may be many things but he isn’t a moron. And Nation had a problem with Michael Keating’s performance? Glass houses Terry, glass houses. Secondly, Avon and Grant try to defuse the bomb whilst great chunks of melting ice crash down upon them, hardly ideal conditions for such a sensitive operation. Teleporting the bomb to the Liberator and defusing it there or jettisoning it into deep space never crosses their minds. Yes, doing so would have dissipated the tension but how about a line explaining why the device couldn’t be moved? Instead the audience are left wondering why the bomb is being tackled by the space Chuckle Brothers. 6/7.
VOICE FROM THE PAST
Written by Roger Parkes, directed by George Spenton-Foster.
Is this the worst story ever? Probably.
I’ll come straight out and say it, this is terrible. It fails on every conceivable level, plumbing hitherto undiscovered depths of awfulness. The opening shots of the crew doing yoga should put you on your guard, and yet the story constantly shocks you with its sheer dreadfulness. Am I being too harsh? I present the following as evidence. Avon karate-chopping Blake during a therapy session. Vila acting so stupidly the character becomes a joke. The dreadful CSO asteroid. Travis and his silly French accent. Le Grand’s appalling overacting. Reintroducing Glynd from The Way Back but having him played by a different actor, who bears absolutely no resemblance to the original. Servalan neatly sums it up by referring to “your pathetic plot”. And at the conclusion Blake forgets the whole story. Lucky him. 1/7 (and that’s being generous).
GAMBIT
Written by Robert Holmes, directed by George Spenton-Foster.
Orac breaks the bank at Freedom City
After the atypically pedestrian Killer Robert Holmes is back on form with an unusual story that just about remains within the boundaries of Blake’s 7. Aubrey Woods runs a corrupt casino in Freedom City assisted by John “affirmative” Leeson. Woods is a delight, with his appearance being that of an effeminate robotic Jon Pertwee. The plot might notionally concern Blake trying to locate Star One but the story is all about Avon and Vila using Orac to con the casino. It’s not clear why they do this, we know that the Liberator already contains fabulous wealth. And they’re not damaging the Federation as Freedom City is neutral territory, hence Travis can work there as a bodyguard. That aside and despite some very abrupt editing, this is great fun, the Avon / Vila combination never fails to please. And you get Sylvia Coleridge dressed up like Marlene Dietrich, if that’s your sort of thing. 6/7.
THE KEEPER
Written by Allan Prior, directed by Derek Martinus.
Something’s stirring in the Tents of Goth.
This starts out promisingly with a nicely directed Liberator scene featuring lots of movement amongst the crew. Sadly this doesn’t last, as soon we visit the worst place in the universe – the planet of the bearded men. Bearded men in caves. Bearded men in caves lusting after Jenna. The bearded men are led by Bruce Purchase, fresh from his appearance as the Pirate Captain in Doctor Who. Purchase, a sort of Tesco Value Brian Blessed bellows his way through the trite dialogue whilst his soothsayer cackles drearily. I suppose having the location of Star One imprinted in the court jester’s mind is a good twist, albeit not a logical one. But it’s the only vaguely interesting thing in a story which manages to be both stupid and boring. 1/7.
STAR ONE
Written by Chris Boucher, directed by David Maloney (uncredited).
Our next door neighbours pay a visit.
Star One is the Federation’s control centre, situated on the border between the human and Andromedan galaxies. Blake has become obsessed with destroying it at any cost. Unfortunately, the Andromedans have got there first. Chris Boucher cleverly starts the series finale quite low key, focussing on the maintenance crew on Star One, and instilling a creeping sense of dread as we realise that all but one of them have been replaced by Andromedans, who don’t like us humans one bit. Travis is giving them a (robotic) hand, disabling the mine fields which will ultimately lead to the destruction of humanity. Blake overcomes his earlier qualms and shoots Travis, although it’s up to Avon to finish the job. The episode is quite visceral, with blood splatters and bullet hits. The final scenes on the Liberator are remarkable – Blake tells Avon that he has always trusted him, and with the Federation fleet hours away the Liberator must take on 600 Andromedan ships. The series cliffhanger –
Vila : “Avon, this is stupid!”
Avon : “When did that ever stop us? FIRE!”.
The whole episode is simply outstanding. 7/7.
Next time – it’s all change aboard the Liberator, and just what links Blake’s 7 with a 1976 hit single?