The Mind of Evil
review


Holistic Review: The idea at the heart of The Mind of Evil is both interesting and scary, but unfortunately it's buried under so much irrelevant plot and excessive padding that it seems under-utilized.


Oh, Don Houghton, how far you fall in the space of a mere two stories! Inferno has got to be one of my favorite Pertwee stories, but The Mind of Evil certainly ranks toward the bottom. It's Doctor Who as a political thriller with a social conscience, but for some reason that just doesn't do it for me.

The main problem with The Mind of Evil is that the Master's plan is so terribly complex, which affects the plot in various negative ways. Basically, he wants to start World War Three and destroy the Earth, after which he will take charge of the ruins (how terribly exciting that will be!). In order to initiate the war, he decides to implicate England in the destruction of a European city, and/or destroy a peace conference. In order to do this, he plans to hijack a missile fitted with a nerve-gas warhead. In order to do that, he needs to assemble an army to steal it. And in order to do that, he arranges to take over a nearby prison and persuade the prisoners to help him. And in order to do that, he brings an alien parasite to the prison that will cause riots and create chaos. And in order to do that, he establishes the machine's credibility for prison reform over several months in Europe. And in order to do that, he poses as a respected scientist. Now how's that for an elaborate scheme of events? Of course, alternatively, he also plans to just redirect the power of the machine through his assistant and cause the war by murdering delegates to the peace conference and escalating world tensions. Whichever comes first.

What this means is that we have three basic plot elements: the prison, in which the Master establishes his machine; the peace conference, which is being attacked from the inside; and the missile, which is his ultimate goal. Now, when you think about it, if the Master really wanted to cause World War Three, he could probably manage it with judicious use of the machine alone. There might very well have been an easier way to secure the missile, if he was really bound and determined to use it. (If he has to use both, why not direct the machine's power against the missile's guard escort, then abscond with it while they're writhing about in mental anguish?) Either way, it makes pretty much all three plotlines irrelevant. Now, I could easily overlook this problem if the plot were interesting or fun - after all, it's all about the ride, not necessarily how efficiently we get there. But in this case, all three plotlines are so deadly dull and chock full of padding that it's hard to get excited about any of them.

The Mind of Evil does have one really interesting concept going for it: the Keller Machine, whatever it is, is fascinating, pretty scary, and well-used in the context of prison reform. Its method of killing is quite horrific: a mysterious death by rats, drowning or immolation is pretty terrifying, and it's particularly scary when it develops the means of travelling about independently. Had they ditched the rest of the story and built another one around just the idea of this machine, I think it could have been really good. But the prison subplot is mainly an excuse for two revolts: the first one is thwarted shortly after it has succeeded, and the second puts the prisoners in charge in time to hang around for a couple of episodes until they're needed again, during which time lots of people talk about escaping and the prisoners threaten people in macho ways as often as possible. And of course this allows us to have the obligatory UNIT action sequence, when they retake the prison amid wildly flying bullets. The peace conference barely seems to play any part at all, particularly since the Master's scheme with the missile seems to render it redundant, except to inject some multiculturality into the proceedings. Then we have the missile plot, which is pretty much just unexciting. Even though we have all these storylines built into the plot to provide lots of "justified" padding, there is still apparently a need to pad the individual plots out further. So, after Benton loses Chin Lee, the Master works on bugging the UNIT phones... for almost two and a half minutes. In the prison, of course, one revolt isn't enough; let's have two! In part six, after it's already been well-established that only Barnham's presence is inhibiting the mind parasite, Summers comes in and tries to yank Barnham out just so that this can be demonstrated all over again. As the Doctor says, "You know, this is all very tiresome."

In some stories of this nature (although, granted, not that many), we can rely on the supporting actors to inject some life into the proceedings. Here, though, it just doesn't work. Pretty much none of the supporting characters are all that interesting. The most prominent are Mailer (William Marlowe) who is just plain despicable and disgusting (particularly the moment when he gives Jo a sleazy air-kiss); Dr Summers (Michael Sheard, and bless him, I didn't even realize it was him), who is certainly the most likeable of the lot although he's barely given anything to do; Barnham (Neil McCarthy), who plays a pretty vital role in the story but isn't terribly memorable (certainly not in the way that Tommy would later be, in Planet of the Spiders); and Captain Chin Lee (Pik-Sen Lim, who is a fairly wooden actress; although as she was married to writer Don Houghton, and therefore probably inspired most of the authentic-sounding Chinese elements of the plot, I can forgive her a little).

With a boring and padded plot stuffed with uninteresting characters, fortunately we can rely on the regulars to get us through it. I actually like Jon Pertwee more than usual as the Doctor - overall, he's imperious toward all the right people and has a wonderful take-charge attitude. I always enjoy his insistence on critiquing the lecture to Jo while the professor is still talking! And of course when the professor calls him on it, the Doctor just turns right around and puts him on the spot too! It's somehow satisfying to watch him take out his moral outrage on the people who refuse to listen to him, and I still really enjoy his disdain for self-important bureaucrats ("Because those idiots in authority won't let me, that's why."). On the lighter side, I love the scene at the very beginning in which he is waving and generally clowning around to the closed-circuit camera when the guard comes out of the gate! Pertwee demonstrates some enjoyable facial expressions throughout - in particular, he gives Jo a great look when Kettering calls him unsophisticated. Unfortunately, he's pretty sharp with Jo at times, too ("But I prefer to work that way!") - it's clearly still early on in their relationship. But they do get a nice moment when the Master comes to visit them in their cell and they both shush him - and then Jo wins the game of checkers! But poor Katy Manning is not generally well-served by this story. Jo is basically superfluous to the plot, contributing nothing significant to the narrative whatsoever. Mostly she just hangs around the prison, either waiting for someone to tell her what to do, or cooling her heels in a locked cell. Fortunately, she does get to act heroic throughout: she attacks Mailer and seizes his gun during the first riot, she loses her temper at the convicts who don't bring them any breakfast, she whacks the guard with a tea tray before karate-chopping him and then kicking the second guard, and she tries to put Mailer out of action and give the Doctor a chance to escape as they descend the staircase in the prison. Additionally, she defends the Doctor to the prison staff, and she befriends Barnham, which turns out to be vital because he's the only person who can blanket the effects of the mind parasite. So she isn't completely bereft of good characterization, it's just that she doesn't really get much of a chance to strike out on her own. And she does look nice in her black sweater and brown pants, although her leather jacket is a little strange.

Nick Courtney turns in a nice performance as the Brigadier, both commanding and overall likeable, and he does a great job in his role of Brigadier Delivery-Man! Love the accent, and the outfit. The Brigadier also demonstrates his excellent marksmanship during the attack on the prison. Benton is as likeable as always, although the Brigadier spends an awful lot of time belittling him in the beginning. His determination to help in the attack on the prison is great. He is a bit rude to poor Barnham, though, but of course it was all a plot excuse to get Barnham down to the Process Chamber. Mike Yates even gets a nice heroic jaunt when he single-handedly tracks the Master and his goonies to their lair, where they're keeping the Thunderbolt missile. Unfortunately, he then gets captured for an episode and a half, but in the end he's able to let the Brigadier know where they've gone. On the villainous side, there's Roger Delgado, who is enjoyably evil but not in a particularly standout way. It's nice to see another story in which the Master inadvertently bites off a bigger scheme than he can chew, and he has to rely on the Doctor to bail him out. But his motivations are somewhat confusing - at one point, he shackles the Doctor beside the Keller Machine with the intent that it will kill him; but then, when it almost succeeds in doing so, the Master then revives him and tells him what a lucky escape he had! What's up with that? And speaking of confusion, just before the Keller Machine incident, the Master threatens to shoot the Doctor in both hearts - but he should know full well that as the Doctor will merely regenerate, that will hardly get him out of the Master's hair. The Master does get a nice moment to display his inhuman strength, though, when he physically restrains Mailer, and I do love that his deepest fear is the the Doctor will regard him as a mere object of ridicule... it makes their relationship that much more interesting.

Turning my attention to design... The mask the Master wears is just hideously bad - I'm not sure it would have even fooled someone from across the street, much less close up. But whoever designed the creature did a great job; I'd love to see it in color, because it sure is gross in black-and-white. As for the special effects, there aren't many to speak of, but they're almost uniformly poor. The CSO background even looks bad in black-and-white, and at one point, the staticky effect that's used in later episodes to indicate the parasite's killing spreads to the walls and a table! I do, however, like the modelwork used at the end to depict the missile and building blowing up. (but it's a shame that they didn't move the missile away from all that expensive equipment that the building was housing!) The stuntmen do a nice job, though - the one who flips over Yates' chair deserves particular mention. Not much to speak of in the way of incidental music here, although I like the piece that's playing when the Brigadier and his men drive up to Stangmoor.

Minor points:

The first episode moves pretty well and seems relatively promising, but by episode three I pretty much lost interest. It certainly has its good elements, but by the end I was just breathing a sigh of relief that I'd managed to slog through the whole thing. If you don't know what's going to happen, it's probably reasonably exciting, but when you take a step back and consider just what each plot element contributed to the overall story, then it seems like a lovely central idea lost amid a jumbled mess of padding.


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