Seasons 12 through 14
offer an interesting style of story where classic films, especially horror
films, had their archetype’s adapted into Doctor Who serials. The
Mummy became Pyramids of Mars, King Kong became Robot, The Manchurian
Candidate became The Deadly Assassin
and Invasion of the Body Snatchers became
Terror of the Zygons. This was partially down to Philip
Hinchcliffe as producer and Robert Holmes as script editor who wanted to
emulate the style of gothic horror for the show, annoying critics like Mary Whitehouse. This also made the show much more accessible
to all audiences as the focus was not on children, but the family much more
than Barry Letts and Terrance Dicks, their predecessors. While Holmes wrote for the show several times
during his period as Script Editor, Hinchcliffe never did although he had
several scripts and story ideas that he worked on and tried to get them
submitted during the time of his successor Graham Williams. It wasn’t a surprise when Big Finish got in
touch with Hinchcliffe to adapt one of his scripts from this period of time Valley of the Lost, a story that takes
inspiration from the ideas behind Heart of
Darkness and the idea of a city of gold with an alien twist with the Doctor
and Romana thrown in the mix. However
the adaptation process while keeping the main story, had to change the
companion. Why? Because the story
originally meant to feature Lalla Ward’s Romana and Big Finish thought it would
be better to keep Baker and Ward separate.
They would eventually work together when doing the Novel Adaptations,
but to keep Baker in a good mood they changed the companion to Leela.
The plot is very much in
the style of The Seeds of Doom
working as the Doctor and Leela are attending a conference where Edward Perkins
is proposing an expedition to the Amazon where his great-grandfather
disappeared over one hundred years earlier.
They go on the expedition with Perkins and journalist Valerie Carlton
who make up the main cast where they find the lost city of the Maygor tribe
where an alien called Godrin is being worshipped as a god and Cornelius Perkins
is still alive and hasn’t aged. It turns
out Godrin has placed the area in a time bubble and tricks the Doctor to take
him back to London so he can take over the world. It’s a story that is very in tune with the
Hinchcliffe era of the show as there is a lot of gothic horror elements and
elements taken straight from alien invasion films. The plot however is flawed as the entirety of
the Doctor being duped is extremely convoluted as the Fourth Doctor could
easily have figured out that Godrin is up to something. As a four part story it is extended to two
hours and it really feels very drawn out and split in half very much like Part
Three and Part Four were supposed to be Parts Three, Four, Five and Six divided
to two. Jonathan Morris did the
adaptation and he did very well with the story from the original storyline with
a lot of things similar to the way Hinchcliffe would have bought them.
Tom Baker as the Fourth
Doctor is on the top of his game, but it is odd considering he plays the part
very similarly to the version of the character seen in Season 15. The Doctor is still very dark, but much more
likely to crack a few jokes about the situation and of course makes that lapse
in judgement that made this story become a four part story, when it really
could have just been two or three episodes long. Louise Jameson also serves the story well as
Leela even if the part was originally written for Romana. Either Hinchcliffe didn’t know what Romana
was going to be like or Jonathan Morris rewrote the part specifically for Leela
which is really quite good for the terms of the story. She however is pushed in the background for
Valerie Carlton who is pretty much a replacement for Sarah Jane Smith and Tom Baker
working with the character can obviously feel it. Baker isn’t bad or mean but whenever
interacting with the character he is slightly more irritable, though it’s
probably an expression of grief for the sad passing of Elisabeth Sladen who
passed just a few months before the recording for these stories took place.
To summarize, The Valley of Death is a story that is
honestly really good from Philip Hinchcliffe with a great adaptation for audio
by Jonathan Morris and brought to life by Big Finish Productions. The actual story is really good for the era
and decent enough, but Hinchcliffe does show that he isn’t an actual writer,
but a producer. The story has several
flaws even when there are some great gags and little Easter Eggs to previous
stories and the workings of the team behind this era. It is definitely the weaker of the two
stories in this box set but is still worthy of being part of the return of Tom
Baker. 78/100
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