Review: The TV Movie

The TVM was transmitted in May 1996 and was a co-production between the BBC (BBC Television and it's commercial arm, BBC Worldwide), Universal Television and the Fox network. How it ever got made with those four egos working overtime is anyone's guess and executive producer Philip Segal deserves a medal for coming out of the production in one piece, and with a fully watchable, entertaining romp beneath him.

It's fast becoming a cliche that the TVM is a fine example of how not to reinvent Dr Who but the truth is that each part of the production partnership wanted the same thing - a successful American version of a British 'classic'. Hindsight is a great thing.

On Broadcast the programme was a complete success... in the UK. It got all the hype you'd expect and fared well in the ratings, viewers seemingly didn't mind too much about the Americanisation, complete with car chase. In the USA the production team(s) had good reason to think that the show fitted Fox's demographic but with all those continuity references (see below) and a plot that involved two outsiders coming into town for a battle that didn't make any sense, they were onto a hiding to nothing.

The American audience were witnessing a pivotal moment in their cultural history. Unfortunately for the people in Hollywood and White City, the moment is commonly known as the 'last ever episode of Rosanne'. Any American people watching Dr Who were likely already fans of the show or at the very least Sci-fi fruitcakes, with dribble running down their chins. Under such circumstances US TV firms run away very quickly but just slower than their advertisers. And they did. After all, the chin dribblers were getting plenty from Fox already and they didn't need to spend millions of dollars on another show for just one tiny group of the population. This show had no legs.

Just as Michael Grade was right to cancel the programme in the mid 1980's so were the powers that be right to leave the TVM well alone. They were probably worried as to where it went next. Outer space? Back in time? Into the future? Who gives a toss? Where's my money?

Segal has spoken a number of times since the broadcast of having to make certain decisions to please the backers. The major one being that Eric Roberts was connected to Fox Toosday Night Movie and therefore was contracted to appear in the show. Ironic then that Roberts' performance is now one of the highlights. His over the top hammy performance was just so spot on and in keeping with the script that you really want him in every scene. Moreover his brief portrayal of Bruce shows that his casting was more than suitable for the show.

You can imagine Eric getting the script of "The science fiction event of the Millennium" through the post. "Yes! I've got a part in panto!" And that's what the TVM is - a big fat slice of pantomime where you get to boo and hiss at the baddie and the goodie is just a girl in a silly wig. Oh that's harsh! McGann does a good solid job here. With it being on telly like, he can't just turn up and read his lines into the microphone so he moves a bit too.

Actually it's a shame he isn't in it from the start but for some strange reason the producers and their four production masters thought it best to make this a continuity fest. Not only do we have the Old Doctor, in the guise of the largely talentless Sylvester McCoy (not doing too badly in his last outing - but all he does is die), we also have mention of 13 lives, Time Lords, the planet Skaro, and the Daleks - and that's just the pre-credits!

Some of the decisions were bizarre but you can understand what they were trying to achieve in keeping the Britishness of the character but Americanising the drama. The problems stem from two areas of the production. The first is the script. Despite explaining the premise of Doctor Who in the first two minutes with a major info dump, Matthew Jacobs decides that the rest of the plot needs no explanation at all. There's some good pacing and wonderful lines for the Master but it's best not to delve too deeply into the story because you end up with more questions than answers.

Dr Grace Holloway takes all this in her stride considering. Within a few hours of killing the old Doctor, Jacobs' script has her snogging the new one, despite the fact that he's clearly just a nutter. Within minutes she's being chased on a police motorcycle by another nutter in an ambulance and she's wittering on about finally meeting the man of her alien dreams. Women.

The other big problem is the over the top direction. Geoffrey Sax does exactly what the script required and deserved. Panto time. And you can't blame him. With 90 minutes to show how exciting Dr Who could be he pulls out all the tricks and goes for the glitzy big shots and special effects.

This was also a chance to free Dr Who from the 'theatre' approach that was the established style for most of its original run and Sax takes it on. The result is a cinematic feel for sure but it resembles a shiny B Movie. Not that I'm complaining because that's part of its charm. It's just way over the top and coupled with the script it makes the film a great throwaway Sunday matinee rather than the start of a long running series.

The movie itself is great fun and I still enjoy watching it, largely for Roberts who makes a perfect Master for a Sunday afternoon. The TVM is categorically not 'bad' television but then neither is pantomime 'good' theatre.

P.S. Is this Character's surname 'Jenkins'. I feel we should be told!

Coming Soon: Revelation of the Daleks