Jon Pertwee’s Doctor is the one most often associated with James Bond, but it’s a Patrick Troughton story, The Enemy of the World, that’s the closest we’re ever likely to get to Doctor Who Meets Bond Movie.
While Pertwee was the Doctor there were only two Bond films produced – Diamonds Are Forever  and Live And Let Die  but when Enemy went into production in 1967 Bondmania was at its height. You Only Live Twice had been released in early June and Enemy transmitted in December and you can see the influence the former had on the latter.
Enemy is a doppelganger story surrounded by monsters – Cybermen, Yeti and Ice Warriors on one side, Yeti, Seaweed Creatures and Cybermen on the other. It’s interesting that Enemy of the World has no monsters at all and Fury From The Deep has hardly any either since, as far as we can tell from what survives, the thing that lives in the gas pipes is hardly seen at all.
Looked at in those terms, you can see a certain symmetry to Season 5 – Cybermen, Yeti, Ice Warriors, James Bond, Yeti, Seaweed, Cybermen – that isn’t otherwise readily apparent. Maybe it was a deliberate attempt to do something cheaper, with only humans in, that led to Enemy and Fury being made instead of a second run out for the Ice Warriors, who won’t be back for quite a while.
I’ve never been a great fan of doppelganger stories, mainly because we all know that in the real world even identical twins aren’t completely identical but that hasn’t stopped fiction utilising the concept for years. And here Doctor Who gets to rip off The Prisoner of Zenda years before the Doctor gets to Tara! As someone who has acted professionally myself, I bet Pat Troughton loved the chance to play something a bit different, even if did mean two characters for the same money! Though quite why they settled on a comedy Mexican I don’t know.
Fiction is replete with stories of world dictators and although Salamander doesn’t have a “666” tattoo on his head, it does seem a strange choice to make The Master of The World a Mexican. Maybe Troughton just wanted the challenge. Accents aren’t always that easy to pull off, even if you have a good ear for them and it’s one thing to put on a funny voice for a line or two to get a laugh, quite another to maintain it consistently. Still, full credit to Troughton for being brave enough to walk that particular acting tightrope in the first place.
I never really cared much for Enemy of The World and when news of the story’s return broke I must admit to being more concerned that there was still one episode of Web of Fear missing than I was about a whole new complete Pat story in the archive. And I cared even less when the Beeb put the bloody thing out as a vanilla release with no extras. There’s no way I am paying the same money for a vanilla release as I am for a disc with extras.
So I didn’t get to see the eps for a full year after their release, thanks to a fan with more disposable income than I have. Once the eps were safely copied to my Hard Drive I began to think about how to Fan Edit them. And the obvious thing to do, since this was clearly Doctor Who doing James Bond, was to edit this as a Bond Movie. I’d already done this with Inferno and I judged the result to be a great success so I decided that this time I would really go for it!
Apart from noting that the Tardis has its “pull to open” panel on the wrong door [!] the thing that strikes you most about part one is how naff the opening sequence is. It’s full of dodgy accents, a bloke who looks like Sir Walter Raleigh, over the top music and nothing to let us know the beach we’re on is in Australia. Okay, so the bad Aussie accents are a bit of a clue but what a missed opportunity.
Instead of Pat chucking himself in the sea we should have had lots of tension building shots of them being observed through the binoculars and in the crosshairs of a rifle so the audience knows they’re under threat when they think they’re just having fun on the beach. Yes there are some nice shots in that beach sequence for a BBC budget, nice one Barry Letts, but the shoot out at Astrid’s gaff is clumsily staged and it’s only when they meet up with Giles Kent that things start moving.
So the first thing to do was to re-edit the beach escape sequence as the pre-credits between the Gun Barrel and the Theme Tune, complete with some suitably dramatic David Arnold music over the top of it, so a rather naff 10m sequence gets cut down to a fast paced and dramatic 3m one. The Gun Barrel was done first and exported as a single file. Then I set up the crossfade into the music cue for the sequence and added in the visuals in 4:3 and exported that as a file.
I then went back and cut the visuals to the music, to make sure the cuts came where I wanted them to. The way to do that was to start at either end of the sequence and work your way in, that way you can work out which bits, including the dialogue, you can do without. It was always going to be a “silent” sequence, all action and little or no dialogue and some gunshot sound effects.
Getting into the beach sequence from the opening Gun Barrel involved a simple Iris Wipe into a shot of the Tardis with its “pull to open” panel now on the proper side of the doors, as a mask over the original shot. Once that was done the final thing to do was to reframe each shot from 4:3 to 16:9 before exporting the recut sequence as a new file and there are 63 individual shots in that opening sequence alone.
After that it was a case of adding in some extra sound effects to tie the whole thing together. And just in case you’re the kind of person who is interested in these sorts of things, in the opening pre-titles sequence the Gun Barrel cue is from Live And Let Die, the Gun Barrel itself is the Sean Connery one and the music for the pre-titles is, appropriately enough, “Hovercraft Chase” from Die Another Day by David Arnold. As if that wasn’t enough the font used is “Skyfall”.
So plenty of Bond references there, and that’s just the opening! Having done the pre-credits it was time to turn my attention to the opening titles.
I knew I wanted to do something a bit different from the usual Pat opening sequence, but, much as I like silhouettes of naked ladies dancing about, that didn’t really feel appropriate for Who. I ended up with something a bit different but it’s a sequence that I think still evokes the feel of a Bond Movie. See if you agree. The next question was when to rejoin the story and the obvious point at which to do that was when they meet Giles Kent. That allowed me to skip the rather naff ambush scene at Astrid’s gaff, which is only the story treading water until they get to Giles anyway. And is it me or is Astrid a bit flirty with the Doc?
One of the things you notice as you watch EotW is how many of the scenes end quite abruptly. Look at the rescue attempt on Denesh in part three for a start, it’s far too rushed, as is the very end of the whole story come part six.
It’s quite frustrating to watch at times and you wonder why important scenes like these were cut short when less dramatic ones were given plenty of space. The whole thing seems rather lopsided and it’s only really when we hit part four that things really start to get interesting, with Salamander’s little underground gang, dressed in what looks like Costume Designer Martin Baugh’s unused designs for previous story The Ice Warriors.
Having done the first three eps, I then went to the end and worked my way back, a technique I’ve used before. The main cut to part six is, as you might expect, all the stuff with Astrid down in the underground base with Mary and Colin and all that lot. Those two are graduates of the Matthew Waterhouse school of acting. She’s as wooden as they come and he’s overacting like he’s in a 1950’s Noel Coward play so the less we see and hear of them the better.
Next thing to do was to join the end of Part Six of Enemy with the start of Part One of Web of Fear, the opening scene of which carries straight on with the resolution of the same scene. They did a similar thing with the transition from The Underwater Menace into The Moonbase. The only disadvantage of joining the two together is that it makes the continuity error between them obvious, something nobody would likely have noticed when they were originally viewed just once and a week apart.
The 71 Edit came out at 1hr 22m 39s and the next thing to do was to reframe all the shots after the opening sequence into 16:9. You can imagine how long that took. After that the final thing to do was to choose the Bond Music cues to go with the action, always the most fun part of these things. And then it took three passes to iron out all the glitches caused by reframing and further trims to get to the final 1hr 20m cut.