Non-Who Review 1 - James Bond 007: Casino Royale, written by Ian Fleming (1953 Novel)

Released: April 1953

Review:

The book that started a cultural phenomenon. A now iconic leading hero, and the most famous and fantasised, albeit fictional, Spy ever written – James Bond. His mythologised status in British culture, is nearly akin to other folk and fictional heroes like Robin Hood and Sherlock Holmes, and so far, till now, is getting ever stronger. It all starts here.

Casino Royale is both the character’s first thrilling adventure, but also his introduction. The storyline is almost as well known as many other famous literary works. James Bond takes on a Communist – Le Chiffre, a paymaster for Soviet spy organisation SMERSH; and effectively bankrupts him, by beating him in a high-risk game of baccarat at a high-class Casino in North France. The story is a solid and straight-forward affair, with few of the series’ trademark frills that would appear later, bar its exciting plot and character twists in the third act. Casino Royale reads like many of the great travelogue novels of the 1950s and 60s. The text is an easy flowing read, with the plot developing at a decent and fine pace, with no page or time wasted. One can also easily understand the appeal of Bond at that time: the continuous references and descriptions of the expensive food and drink, the sun-kissed European beaches, and classical Hotel fronts. While painting the rich tapestry of Bond’s World in the imagination, it also brings an immersive sense of luxury, the like of which was near-impossible for the usual reader to experience, even now. The lure of aspirational living. Just one of the first things that you notice about the book series.

Furthermore, its fascinating to notice the big differences between this original novel, and the very successful 2006 film adaptation starring Daniel Craig. Even in Casino Royale, the James Bond of the novels, is a very assured, and confident persona. Perhaps an essential quality for a Spy in the field, so you may think, but I feel it never really explains the character’s earlier life, and hides away all sense of vulnerability, even during some of the alarming torture moments. Maybe Fleming was keen to give us James Bond fully formed, as he meant to go on, but it takes away some of the impact of the book’s final twist. This is an aspect, which I feel the 2006 film is a huge improvement on. Not only does it develop more of Bond’s backstory, but it also show’s the character gradually develop into the personality we know, through a series of side incidents, but also through the visceral experiences of the main story from the book, showing their effect on Bond to mould him into the more aloof, assured character we’re familiar with.

Oddly, the changes to Vesper, are almost in detriment. Vesper, Bond’s female ally, is private, enigmatic, but still a feeling, caring and sweet-natured person in the Novel. When her true motives are revealed, her emotional breakdown is very moving, and all too easy to empathise with. In the film adaption though, Vesper is a colder, albeit stronger, and braver individual, who never really commits much of her emotion, even to the audience. Unlike the film also, the Novel has a fairly neat, and concise ending, even if its more downbeat. The 2006 film adds an extra climatic fourth act, to finish the production on a bang, and a more triumphant note. However, unlike the novel it doesn’t come across as organically written.

Although, the novel is still, in context, just the opening stepping stone of this book series. As a result, the narrative, twists aside, is fairly plain and unambitious, for the most part. James Bond has far greater storylines, better development, and moments to come. As Casino Royale is also written in the 1950s, and by a man of the Edwardian era, its perhaps not surprising that James Bond is an ardent sexist. However, what is surprising, is how few times it is called upon during the characterisation of the novel, so in that regard, it feels quite modern for its day. In fact, having been written just a matter of years after the Second World War, both Casino Royale and the book and film series depict an interesting theme of modernity battling the crumbling ruin of tradition and history. Even the Casino itself, is a posh, restored venue, amongst the rebuilding ruins of war-stricken France.

The baccarat game, remains a surprisingly gripping segment of the novel, never being overstated or overblown. Of course, the now infamous kidnap and torture scene, remains a tour de force, and is probably the moment Casino Royale turns from a standard adventure novel, into something greater, more creative, exciting and special. The revelation of Vesper’s true loyalties is one final extra twist that cements Casino Royale as one of the finest thrillers of the 1950s.

Score: 9/10

Audio Review 27: Terror of the Sontarans, written by John Dorney & Dan Starkey (2015)

Released: September 2015

Cast:

The Doctor – Sylvester McCoy

Melanie Bush – Bonnie Langford

Ketch – Daniel O’Meara

Anvil Jackson/Technician Gyte – Jon Edgley Bond

Tethneka/Carter/Thing #1 and #2 – Andree Bernard

Field-Major Kayste/Skegg/Stodd – Dan Starkey

Adjutant Commander Klath/Stettimer – John Banks

Glaar – John Dorney

Main Production Credits

Producer – David Richardson

Script Editor – Alan Barnes

Writer – John Dorney & Dan Starkey

Director – Ken Bentley

Incidental Music and Sound Design – Andy Hardwick

Recording –Toby Hrycek-Robinson at Moat Studios

Title Music – Ron Grainer, arranged by Keff McCulloch (Remixed by David Darlington)

TARDIS Sounds – Brian Hodgson and the BBC Radiophonic Workshop

Executive Producers – Nicholas Briggs and Jason Haigh-Ellery

 

Story Summary (SPOILERS!):

The Doctor and Mel arrive in an abandoned mining facility, on a mysterious planet of huge dust clouds, and colourful rocks, only to discover it was recently appropriated as a Sontaran Research Expedition, which has recently gone AWOL. As well as the Sontarans’ tortured alien prisoners, the Doctor and Mel discover a historic human mining expedition, had also perished under mysterious circumstances. For the planet hides an unsettling secret. Underneath all the beauty, lies a deadly force, affecting the mind, and haunting every corner, with ghostly voices echoing in the darkness. If this wasn’t already a challenge for the survivors…the Sontarans bring reinforcements…

 

Story Placement

Between The Warehouse (Big Finish Audio) and Delta and the Bannermen (TV Serial).

Favourite Lines

Tethneka – “You are mere ghosts in armoured shells…”

Sontarans – “Present Arms. Present Legs”.

 

Review:

Sylvester McCoy’s much-loved Seventh Doctor (not least by me), very rarely encountered Robert Holmes’ fantastic warrior alien, The Sontarans in spin-off media, and never in the TV show, so the Terror of the Sontarans presents a fun opportunity to correct that. Furthermore, it does so from a different angle than the one we’re used to. They’ve often been shown in their galaxy-spanning marauding clone army, invading other planets, testing military science and strategies, perverting the natural Worlds and laws around them, just to benefit their sprawling Empire. Terror of the Sontarans showcases them as amoral and partly equal protagonists, just as much under threat of death and disaster, as the rest of the wider cast of characters. Vulnerability is not a side, one associates with Sontarans, so it’s an interesting angle to explore. Or at least it is with one Sontaran – Commander Skegg, who while running a military research expedition, is reduced to a terrified, quivering and deranged state, as a result of a continuous and powerful psychic attack from the indigenous lifeform, of the planet he surveys. While these events tease a potential deeper side to the Sontarans, writers John Dorney and Dan Starkey (famed as the character actor behind Strax), never really go there, merely using his torment to hint at the deadliness of the unseen foe, throughout most of the story.

In fact, the Sontarans overall, aren’t much different, and display much of their loved previous characterisation. They never show real emotion, bar their usual indignation, false pride and arrogance. In the revived TV series, since 2011, the Sontarans have largely been written as comical figures, particularly Strax; which for the most part, has delivered some wonderful comedy moments and witty dialogue, still quotable to this day. The Classic Series of Doctor Who meanwhile, depicted Sontarans more dramatically, as ruthless, proud soldiers, who while largely unimaginative, did possess a streak of deadly cunning within. They too, had a humorous aspect, albeit more one of satire and irony. I loved both interpretations, and have long been a fan of the Sontarans, since 1973 TV Serial, The Time Warrior has long left an indelible impact upon me, as the story that made me love Doctor Who for the first time. However, the more slapstick version of the more recent Sontaran appearances, has felt a bit of a gimmick at times. So, I like that Terror of the Sontarans treads a neat line between the two versions, partly a greatest hits Sontaran if you like. Certainly, I could listen to Dan Starkey’s Sontaran characterisations all day, on this occasion as the eternally peeved Field-Major Kayste.

However, it sometimes feels as if that’s what the story is counting on. The narrative is very well-paced, the Doctor and Mel initially exploring the broken, and rusting mining facility, generating an intriguing atmosphere, which when put together with the colourful descriptions of the wild planet of rocks and dust clouds, ominously threatening from afar, certainly draws you in. The mystery of the planet, and its powerful telepathic entities, is teased throughout, first with the diary entries of the dead miners, but then ghosts, and then glowing gemstones. However, the arrival of the Sontarans on mass later on, does tend to take over the plot somewhat, and delays the real nature, of the true antagonist, who I genuinely found really interesting.

The Bloom is revealed to be a gestalt living-mineral species, that lives off thought and emotion. The aliens’ first embodiment in the coloured gemstones, first made me think of Marvel’s now well-recognised so-called Infinity Stones, but I was excited when it appeared to be something altogether more imaginative. The gemstones are merely part of a living silicon-based alien entity, originating from mineral elements on the planet, including the equally colourful dust clouds. The Bloom evolves its being, and its intelligence, through the other physical life it can spiritually communicate with, and more threateningly possess. Other fans have mentioned this as being quite traditional and repeated territory for Doctor Who, but as I’m listening to many of these audios out of order, the only references that immediately come to mind are the Kastrians from The Hand of Fear, and the god-like Kwundaar from the audio Primeval. Within Terror of the Sontarans, however, it still feels like a very fresh concept.

Having said that, the nature of the Bloom is held back till part 4 and is mainly used as a new monster of the week to dispose of in double-quick time, without delving deeper into its unusual nature. In relation to the Sontarans as the titular Terror, the Bloom poses an interesting character development in the Sontarans, affecting them by inducing emotion, wild madness, and by Sontaran standards, lack of discipline; but again I feel this is never really fully explored, as a successful opponent against the alien warriors. In that sense, the story comes across as creating two plots, one involving the Bloom, and the other, a welcome revisit to a Sontaran satire; and not really satisfyingly completing either, as each one merely cancels the other out, by the end of events. Similarly, to The Invisible Enemy, the whole climax is dully resolved with a literal bang.

Even more strangely, the Doctor, despite being fairly active in the plot, investigating the shadows and mysteries, in a quiet Troughton-esque fashion; has very little impact on the overall story. Ironically, its largely the Sontarans that are driving the narrative, and the Doctor seems often stuck on the sidelines. While this does ring true with the early Season 24 character of the 7^th Doctor, I can’t help, but occasionally hanker for the more decisive character of Season 25.

Mel, on the other hand, in a very welcome change, sees a lot of the story’s action; once again, wonderfully written against the stereotypical image of the character from her Season 24 TV adventures. Gloriously, Mel holds her own against the Sontarans, and fairly early on, unites all the friendly characters together, against the troubles they face; and proving more than a match for the macho pretences of the Sontarans’ humanoid prisoners.

Speaking of which, these victims, of years of experimental torture, at the hands of the Sontarans; survive, at times, with an amusing variety in states of sanity. Written in-keeping with the more light-hearted tone set by the Sontarans, the collected prisoners represent, less of a dramatic representation, than a motley crew of Douglas Adams-esque characters, with an unusual collection of gimmicks. Anvil Jackson is a wannabe Flash Gordon, hiding a life of regret and insecurity, while Ketch is a circus performer, who can contort his way out of almost any difficulty; Tethneka, the calm spiritualist; and Stettimer, a raging Lobster warrior, and perhaps written homage to Brian Blessed’s glorious larger-than-space performance as King Yrcanos in Trial of a Time Lord: Mindwarp. While they’re entertaining, these aliens are ultimately all just cannon fodder for the ongoing plot.

Equally entertaining, the performances are all full of fun and enthusiasm. Sylvester McCoy and Bonnie Langford delight with an effortlessly warm and charismatic turn, that is far more nuanced than how they were often directed in the TV series, but bring with them all the wonderful chemistry from the best moments of their time together during Season 24 (1987). The undoubted stars of the show, however, are the Sontaran actors, John Banks, and the play’s authors – John Dorney, and Dan Starkey, who are all clearly having a whale of a time. Dan Starkey, always giving an expert and joyous performance as the famed monsters, that is hard not to love, getting their personality quirks down to a tee.

The sound design is also very impressive and makes it very easy to visualise the action; and I just love the music by Andy Hardwick. It reminded me of some of his best scores during the early 8^th Doctor audios. Admittedly, the music does fade into the background, being partly lost amongst the rest of the effects, but on its own, it is very atmospheric and excitingly reminiscent of 80s and 90s Sci-fi Electronica.

Atmospheric and fun, pretty much sums up Terror of the Sontarans. Overall, it’s a very enjoyable romp in a very typical Sci-fi setting, that entertains, with a welcome immersion back into the amusing and fascinating hierarchical World of the Sontarans. All the while presented in a loving evocation of Season 24, with an intriguing, and impressive alien World. I felt a great shame, it ultimately turns into largely something of a run-around with little consequence, but I had a very good time, nevertheless.

Score: 8/10