Quatermass and The Pit part 1

[Craig @craig Emperor]

So while we wait … and wait … for some new Doctor Who, we thought we’d go back and look at some classic TV. Some of it will be old Doctor Who, some of it will be programmes that inspired Who or were just indicative of the interest in science fiction at the time.

This week we’re starting with Quatermass and The Pit. If you’ve never seen it, you’re in for a treat. It was transmitted live over six weeks, during the winter of 1958-59. In 2000, the British Film Institute put it in their list of the 100 Best British TV Programmes and in 2005 the BBC described it as the first finest thing the BBC has ever made.

I hope that hasn’t built it up too much. Enjoy.

P.S. We’re watching this week by week, as it was originally shown. If you have to jump ahead, NO SPOILERS! Comments should be restricted to the contents of this episode.

[Bluesqueakpip @bluesqueakpip]

Okay, to add to @craig‘s comments:
Quatermass and the Pit was transmitted just under five years before Doctor Who’s An Unearthly Child. The two previous Quatermass serials were both hugely popular; because of this, Pit gained both a larger budget and an agreement that they could run for 35 minutes rather than the standard 30 minutes.

The references to race riots are contemporary; the actual riots had been in Notting Hill in August/September 1958. But pressure had been building for some time; Nigel Kneale very much wanted to make that a theme in his script.

For our music buffs, this is the first science-fiction programme to include electronic music from the Radiophonic Workshop.

‘Live’ didn’t mean that everything was live. The larger budget meant that they could film some location work and special effects shots in advance, allowing the episode to ‘escape’ from the studio. They’d then play the film at the appropriate points in the live production – giving everyone some breathing space to change costume/gallop to the next set.

You may also notice that a lot of scenes are written so that one character either enters slightly later than everyone else or is unseen while other people seemingly talk to him/her – this was to allow the actor time to get from the set of their last scene to the set of their next scene. It feels a bit odd, and a bit ‘slow’ to our eyes; a number of scenes start with the camera on very minor characters busily having a conversation. But it was a technical necessity. You can see another example when the strange object is uncovered at the dig; a seemingly unnecessary scene between Roney and a museum technician is actually there to allow the TV technicians time to clear the mud away from the prop…

Miss Judd is both an example of progress – a female scientist – and an example of attitudes at the time. Roney is Dr Roney, Quatermass is Professor Quatermass – and Barbara Judd is ‘Miss’ Judd; she probably only has a BSc. Normal – scientific women were still expected to be grateful to be allowed to be the assistant of a famous male scientist. Pass the test tube, dear. But let’s give three hearty cheers for the fact that she’s there! And some even louder cheers for her being good at her job…

Roney needs to introduce Quatermass: Andre Morell was taking over the title role from John Robinson – busy with other work. Bow ties, you may note, are cool. 🙂

The other big theme in the script: the use of the then brand new science of space technology as part of a nuclear deterrent instead of for peaceful research. It was a tightrope we’re still walking today. [I often wonder how much our lack of any moonbases is due to military considerations. ] In-story, however, Quatermass (the peaceful scientist) is being edged out by Colonel Bream (the believer in mutually assured destruction).

By the end of episode one we’re set up nicely. Dr Matthew Roney is keen to excavate these anomalous remains – but his work is interrupted by an apparent UXB. Except this is a very odd UXB – firstly it’s like no bomb that the Germans ever dropped, and secondly it’s underneath the several-million-year-old skulls.

Professor Quatermass, meanwhile, is losing control of the British Rocket Group. It’s going to be ceded to military control.

In the background, there’s an ongoing theme of nuclear tension, racial tension and terrorist activity. War, it appears, is gaining the upper hand.

One week till Episode Two… 🙂

[blenkinsopthebrave @blenkinsopthebrave]

@bluesqueakpip

Thanks for that background. I had no idea about the technical factors involved with “live” TV during those years. That explains a lot. Actually, I am surprised at how relatively seamlessly it flows in light of those technical factors.

I was struck, once again, by just how eerie the music is.

I loved the conference meeting where Quatermass is defeated by military and political bullies. How many times have I sat in meetings like that! Ignorant bullies are easy to spot in real life, but are surprisingly effective in looking after their own interests. At least I don’t have to sit on committees like that any more. Ah, the joys of retirement…

Also loved the clueless teddy boy and his girlfriend!

I am acutely aware of @craig‘s reminder about spoilers, but even in this episode surely I cannot be the only one to be struck by how much the ramp leading down to pit reminded me of another rather well-known science fiction movie…

<@Craig, if you feel my sentence above does drift into spoiler territory, please feel free to delete it.>

 

[Bluesqueakpip @bluesqueakpip]

@blenkinsopthebrave – yes, it’s difficult to avoid spoilers. However, it’s probably not a spoiler to say that Episode One contains enough clues to gladden the heart of the most ardent bonkers theorist. If you don’t know the story, feel free to theorise!

Yes, it’s made very clear to the audience who’s side we should be on. Quatermass is being made the victim of a ‘change of policy’. Again, this was a contemporary critique. Politicians such as Nye Bevan (in opposition at the time) had controversially reversed their position on ‘unilateral nuclear disarmament’. CND itself was set up in February 1958, partly as a response.

Yes, the selection of clueless thrill seekers outside the dig is quite funny. As is the disdain of the reporter, sent to do a vox pop on a highly technical subject. Thank goodness, she says, finally someone worth interviewing! 🙂

[Anonymous @]

I thought this was great — many years since I’d first seen it. This time around, I was struck at just how technically tight it was for something of its age and for the manner in which it was produced (something you could often say of early Who as well, of course — although sometimes sadly the precise opposite was also the case.) I found myself just as fascinated by the background of the early scenes, of seeing a Britain that just doesn’t exist anymore. But I’m sure that’s just a sign of becoming an old git.

You can see the footprints of this show all over Who, I think. And I don’t mean in the obvious Pertwee-era ripped us off kind of way. The sense of creeping unease. The horror deep in the heart of the mundane. The tension between science/inquiry and authority. It’s all there and has been part of Who since its inception. And Kneale has perhaps some justification for saying that he felt the show ripped him off a little.

Have to disagree with most above about the ‘teddy boy and girl’ though. While there’s at least one woman at the heart of the story (albeit in a strictly subservient role), the entire story is told in plummy well-educated middle class voices. The only time we see a working class face it’s to have a smugly superior titter at them at how thick and dreadful they all are. Grrrrr. Afraid to say it irked me greatly (in case that was obvious) :/

[blenkinsopthebrave @blenkinsopthebrave]

@jimthefish

Agree entirely that it was a fascinating glimpse into a world that no longer exist. But, respectfully, have to disagree with your comment on the representation of the working class characters. For a start, there were a number of working class characters represented–the Army sergeant, the police, the old couple that live in the house in Hobbs Lane, and none of them were represented in a condescending fashion. Moreoever, the teddy boy and girl were not the only ones represented as clueless gawkers; there were other, middle class gawkers also represented as clueless, and in an equally funny way. Being clueless cuts across class lines, just as being an arrogant bully is not confined to the higher eschelons of politics and the military. No, I think this show is very astute in its representation of British society in the late 50s.

Signing off, from one old git (confirmed–me) to another old git–self-proclaimed, but not one, really.

[Anonymous @]

I remember watching the movie version as a 12 year old and have to say that, so far, the TV version is much better. Something I’m beginning to appreciate, having recently watched half a dozen or so Hartnell/Troughton DW stories, is how much more atmospheric things are in black & white. Also, unlike a lot of programmes on offer these days, the story has time to develop at a natural pace.

The officer in charge of the bomb disposal squad annoyed me a little with his constantly changing accent. One minute he had a slight Yorkshire (or possibly Lancashire) accent, the next he was incredibly well spoken. Like @jimthefish, I do tend to get a bit miffed with all the ‘BBC speak’ but appreciate that’s how things were in those days.

I noticed a few familiar faces in the cast. Harold Goodwin (one of the bomb disposal team) would regularly crop up in sitcoms of the 70’s but maybe more well known as Vera Duckworth’s dad in Corrie.
Speaking of which, Mark Eden also made a brief appearance. Whovians will, of course, know him as Marco Polo but for me he’ll always be remembered as the man from Weatherfield who single-handedly took on Blackpool’s Tram System and lost 🙂

[Anonymous @]

@fatmaninabox — Yeah, it was pretty much a sign of the times it was made in but it did stick in my craw a bit this time (and strangely more now than it did when I first saw it when I was 15 or so). Not sure I agree with @blenkinsopthebrave‘s assertion that there are other, more positive, class portrayals though. Police and soldiers don’t count as they’re essentially forelock-tugging do-what-they’re-told-by-their-betters types. And I think the old lady in Hobbs Lane was portrayed as being just as much of a comic hindrance as the interviewees were. But don’t mind me, I’m just being a grumpy old class warrior…. 😉

But it’s not meant to be a piece of social polemic so I’m not going to let it spoil my enjoyment of the piece.

[Bluesqueakpip @bluesqueakpip]

@jimthefish

Police and soldiers don’t count as they’re essentially forelock-tugging do-what-they’re-told-by-their-betters types.

Which is why you’re missing all the social nuances. All the cracks in the rigid hierarchy, which will eventually blossom into the full scale earthquake of the early sixties.

Okay, to do a rundown of the class system as seen by those in uniform.

Police: the two constables are, by their accent, lower-middle class or upper-working class. Their current job is to stop people being blown up; but they’re not being stupid about it. They let the old couple through on the sensible grounds that the bomb disposal people aren’t actually doing anything right now – this is probably the latest in a long line of UXB’s, and they know they’re only likely to go off when worked on.

They are aware that this job is attracting a lot of Very Important People who could potentially drop them in the smelly stuff. The actors don’t appear to regard these VIP’s as their ‘betters’. More as a collection of storm clouds that might p*ss down at any moment. 🙂

Army. In 1958 this will consist of National Service versus Regular. The sergeant and corporal will be Regulars. Realistically, the sergeant will be very aware who the ‘better’ is in this unit; that would be him. He’s the one with the more extensive experience – but what he hasn’t got is the technical expertise. As well as doing the detailed management of the unit, he also has to ‘steer’ Captain Potter if the sergeant thinks he’s about to make a mistake. Within the protocols of military hierarchy, which is always fun. All this is very neatly written, especially given that Nigel Kneale couldn’t do a military wartime service (failed the medical).

You can actually tell from the relationship of the two actors that the sergeant has a considerable amount of respect for Potter’s expertise – and also knows that Potter will listen to his advice.

Captain Potter. Oh, Jim! Did you not get the significance of the grammar school accent? Captain Potter is a symbol of changing times; an officer with a very obvious Lancashire accent. His accent wobbles between his native Northern (John Stratton was from Clitheroe, I think) and ‘more officer-like’. Grammar school boy, possibly even working class scholarship boy, with a commission in one of the technical regiments. His competence was more important than his class.

Colonel Breen. Now he’s the one who wants forelocks tugged in his direction. 😀

One other point.

albeit in a strictly subservient role

No. Really, really no. If Barbara Judd had been playing a strictly subservient role, she’d have been Mrs Roney. It’s very difficult to appreciate exactly how much women were brainwashed into seeing their ‘career’ as ‘wife and mother’ back then. Joan Bakewell has a story about her school -a grammar school – being told at assembly that she’d won a scholarship to Cambridge. They were, the head told the girls, all very pleased for Joan, but they must remember that being a good wife-and-mother was going to be far more important.

So for those girls to then go home and watch a woman doing an interesting and important scientific job – competently – was potentially mind blowing.

[Anonymous @]

@bluesqueakpip — er, thanks for this but I think I actually managed to pick up most of the nuances you mention.

The only real point I was making that, while understanding the historical perspective, I still found (from a modern perspective) the attitude to the teddy boy and girl less hi-larious and just a bit irksome.

[Bluesqueakpip @bluesqueakpip]

@jimthefish – no problem.

Catherine Tate’s Lauren Cooper would be the modern comedic equivalent, I think.

[Anonymous @]

@bluesqueakpip–

Sorry, that last reply probably came across as rather more spiky than I intended.

I guess what this illustrates is just how valuable TV drama is as a social document — even the things that wouldn’t at the time be considered to be so, like spooky supernatural thrillers and SF shows. They’re great time capsules for the social mores and cultural structures of their times. This is what makes the big gaps in our TV history so maddening – because these things are important and should be valued and it’s vexing that we’re only understanding this with hindsight.

Good call on Lauren, although I’d say that often she was drawn with a lot of love and affection and that can make all the difference. (c.f. with a lot of the creations of say Harry Enfield or Paul Whitehouse who seem to be just there to be sneered at. Which is kind of what I felt with the teddy boy/girl here really.)

[Whisht @whisht]

Just wanted to say thanks for all the social background! Honestly, it adds to my enjoyment of this!

Not seen QatP before in either film or TV versions (or at least I don’t think so). I have seen a Quatermass before (can’t describe it without giving it way) but don’t think it was this.

Yes, its slow which will be even more glaring when I turn on the TV and watch something now, but enjoyable!

And now I have to wait a week???

how archaic!

🙂

[chickenelly @chickenelly]

Just a quick pop in to say I’m glad that the watch-along-with-mother blog has restarted.  Unfortunately I’ve only watched the first half of Quatermass as I got distracted by The Bridge.

Judas that I am, I’m busy reading the bonkers theorising on that programme at the moment.  However it’s finishing this weekend so I will be back in the land of sci-fi…

[Arbutus @arbutus]

Hurray! I have never seen this, although I’ve read about Quatermass of course. Such fun. Like @fatmaninabox, I love the tempo at which these stories move; as with early DW, there is a measured pace that allows a slow, delicious build-up of events and suspense. I also agree with @blenkinsopthegrave, the soundtrack is wonderful! It adds so much to the atmosphere and the sense of drama.

@bluesqueakpip     They are aware that this job is attracting a lot of Very Important People who could potentially drop them in the smelly stuff. The actors don’t appear to regard these VIP’s as their ‘betters’. More as a collection of storm clouds that might p*ss down at any moment.      I think that this was then and is now a very typical view of the “suits” above from the ones that actually get the work done!

So funny that even the paleontologist doesn’t even stop to think that it makes no sense for the bomb to be below the fossils!

 

[Whisht @whisht]

btw, for some perhaps, the fact that the Pit is in Hob’s/ Hobb’s Lane may add to the sense of eeriness and set the scene alongside the music.

The fact that the camera lingered there at the beginning, had the double signage showing how old the lane was and the word “hob” that I dimly knew to something about the sprites/ devil etc.

mind you, may have just been me reading too much into it but this is the DWF so forgive me.

[ScaryB @scaryb]

Thanks everyone for all the background info – fascinating, especially @bluesqueakpip‘s post on how they actually filmed.  Must have made use of background music tricky, as it would presumably have to be sound-balanced live.  It’s also worth remembering that TV back then was still a very new medium.  Much of the time they must have been experimenting with how best to use it. Exciting stuff.

There’s also a sense that the audience would be new to the medium also. While modern  (post music video and advert) TV viewers have learned how to take in a million clues a minute, a 50s audience was still learning what to look out for – hence the very late reveal of the significance of the “bomb” being underneath the fossils.

@whisht “hob” – good spot, I think

@jimthefish

I guess what this illustrates is just how valuable TV drama is as a social document — even the things that wouldn’t at the time be considered to be so, like spooky supernatural thrillers and SF shows. They’re great time capsules for the social mores and cultural structures of their times.

The best SF/fantasy always does reflect back on the society that produces it.  I agree with you that the way they treat the “pleb” characters is a bit on the patronising side (and yes, esp the youngsters in the queue), but I suspect that was in keeping with the times.  But it hardly lets the authority figures off easily. The characters who are clearly the hero figures are the ones who are prepared to speak out, the mavericks/oddballs, a feature that would come to represent the 60s. There is some attempt at diversity eg token black actor, token woman as assistant, range of “colourful” working class Londoners! (Although I find the old biddy with her disabled hubby quite moving – maybe he’s got dementia, post war shock, who knows, but she’s having to cope with it on her own, as many people did).

A lot of the themes were prominent at the time, WWII was still very fresh in people’s minds, a cautious optimism (in UK) about rebuilding and a better future mixed with concern about out of control scientists/military eg nuclear weapons, the MAD policy, the space race. (eg  CP Snow’s The New Men (publ 1954).

I found it gripping, much more so than other later, pacier, bigger budgeted versions, which is probably a lot to do with Andre Morell’s central performance. Not quite feeling it for Roney yet, but I’m warming to him.  Although for a paleontolgist (apart from missing the big clue about location) he’s remarkably careless about trampling over the search site. And why are they spraying water over the “bomb”? Surely they’d be better carefully digging it out – which would be easier with dry soil than mud!

 

[ScaryB @scaryb]

And a Dr Who ref – Mark Eden who plays “second journalist” (04:43 approx) would star as Marco Polo 5 years later 🙂

[Bluesqueakpip @bluesqueakpip]

@scaryb

And why are they spraying water over the “bomb”?

That’s certainly a modern technique; they fire a high velocity water jet at the IED (it’s called a Pigstick). I think the idea is that the high velocity will blow the thing apart – and the water will b*gger up the electrics so that it doesn’t explode while being blown apart.

So it wouldn’t surprise me if they had a similar ‘soak it in water’ technique back in the fifties; equally aimed at stopping the circuitry from working properly.

[Monochrome Dimension @monochromedimension]

Okay, I’ve finally started watching this. Yes I’m far behind everyone else at the moment, oh well. A a few folks were interested in what I thought of the serial because I adore the black and white 60s serials of Doctor Who.

After watching the first episode, I have to say I’m finding this very well done; I’ve watched a movie version of ‘Quatermass’ before so sort of know the story (though I did miss the beginning I think of that version). Of course in serial form they can add a lot more. Wondering why nobody else thought it was weird that the bones were found above the supposed unexploded bomb… surely that’s an indicator that its also been there for a long time? Oh well, gotta have the main character the smartest I guess! lol Anyhow, I’ll post in the other threads once I watch more episodes. As I kind of know the storyline anyhow, I’ll try not to mention any spoilers (though, I guess a number of things could be different in this version).

[PhaseShift @phaseshift Time Lord]

Great call to cover this. I’ve written before that I grew up with tales of Quatermass and its impact from my Father. It was officially a “big thing” in the village he lived in. Miners who had TVs swapped shifts to watch it. One of the village pubs got sick of the empty night and bought a TV for the saloon bar (can you imagine a group of drinkers huddled over one of those very small screens of the time?). There are minutes of Local Council meetings where the meeting was adjourned because everyone wanted to get back to watching it. Watercooler TV before the expression ever existed.

I saw the film first, but this is the version I prefer. It uses its extra time well, even though as @bluesqueakpip writes, some elements had to cope with the practicalities of filming in those days. I’m watching the DVD, and it has been cleaned up a treat.

Andre Morrel, in bow tie, as Quatermass is surely one of those characters who is in the DNA of what the Doctor has become. Affable but a little reserved, with an aspirational morality that draws you to him. He’s also not above using his position and playing “the game”, such as his intervention here to get the Colonel involved with the bomb party for his own purposes. Viewers of An Adventure in Space and Time will have seen Sydney Newman waving a report on Science Fiction at the BBC around in the earliest scenes. You can read it here, Quatermass and another series which came later, A for Andromeda, are referenced in a discussion that would lead to Doctor Who.

Interesting exchange on the Teddy Boy and Girl between @jimthefish and @blenkinsopthebrave. I’ve seen plenty of really toe curling “Vox Pops” over the years as the man in the street demonstrates a sty full of pig ignorance on important matters of the day. I actually find it quite satirical in its way. They’re here for a bit of novelty because it’s in the papers rather than any real underlying interest. You get the same reaction today. What’s more remarkable is the thought that a scientific story like that would be front page news!

Good spot on Hob @whisht. I’ve got a feeling that that’s a name that’s dropping out of the collective vocab gradually.

As @monochromedimension is wearing the face of the Seventh Doctor at the moment its worth pointing out that Doctor Who has referenced the British Rocket Group before, most notably in Remembrance of the Daleks in which someone asks where “Bernard” (Quatermass) is. The British Rocket Group had it’s own problems at the time, we were told.

[Whisht @whisht]

Hi @all

I now realise we watched this years ago!
[gulp – where does the time go??!!??]

I stumbled across this podcast a week or two ago.

Its an easy-going listen.
There’s some nice mentions on the writing (Moffat / Gatiss are massive fans of Neale), as well as where Neale’s character names may have come from, but honestly some of the insights on this forum shine a brighter light!).

But still, Quatermasss and the Pit was great and they I’d happily watch again (hell – I’d happily listen to this podcast again!)

https://www.bbc.co.uk/sounds/play/p07t2gfr

(if you find you’re ‘locked out’ etc I’ll see if there’s a different legal way to listen)

;¬)

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Pipe Flow Expert v7.4
Engineered Software PIPE-FLO Pro v17.1
pix4d v4.4.10
PLCLogix 2015.09.29
PointCab Pro v3.9 R6 x64
Polar.Instruments.Si8000.2016.v16.05
Polar.Instruments.Si9000.2016.v16.05
Polar.Instruments.Speedstack.2016.v16.01
powerlog v9.5
powerlog frac 9.5
prism Interpret v2014
Prokon v3.0 SP DC 02.08.2018
PVTsim Nova v4.2 x64
psse psse v34
PSCAD v4.6.2
PSDTO3D v9.9
PVsyst v7.0
Radimpex tower7 v7.5.20
Romax Designer R18.0
Riegl RiSCAN Pro v2.0 64bit
Roxar RMS v2019
Rokdoc v6.7.0.10
SCADE Suite R17.3
Schlumberger ECLIPSE v2019 Win64
Schlumberger Petrel v2019 Win64
Schlumberger.PIPESIM.2019 Win64
Schlumberger INTERSECT v2017
Schlumberger petromod v2019.1 x64
Schlumberger InSitu Pro v2.0
Schlumberger Avocet Integrated Asset Modeler IAM v2015.2 x64
Senergy Interactive Petrophysics v4.5
Secure Hydraulics v2011
SegdToolbox v1.2
sendra v2015.2
SES CDEGS v15.3
SeisMod 4 SIMO4.2
SheetWorks v19 sp3.0
ShipConstructor v2015
Shoemaster QS v16
shoemaster v17.01
Sherlock v7.212 +Inspect
SigmaNEST X1.6 Powerpack Premium
SimSci PROII v10.2 Win64
Simulation admet predictor v9.0
SNT.QualNet.Developer.6.1.Win
SolidPlant 3D v2017
SOCET SET v5.6
SOCET GXP v4.2.0
SPT wellflo v8.3
SPEAG.SEMCAD.X.Matterhorn.18.2.1×64
Stoner Pipeline Simulator v9.9
Summit Evolution v7.0
TEBIS.CADCAM.V4.0
Schlumberger Techlog v2018
TechWiz LCD 3D v16
Tesseral Pro 2018 v5.0.5
Testif-i v2.07a
Thermo scientific open Inventor Toolkit 10.5.1
TomoPlus v5.9 linux
tomodel v8.0
tNavigator v2020.1
Ticra grasp v10.1
TRC Phdwin v2.10
Trimble EdgeWise v5.1
Trimble Business Center v5.0 Win64
Trimble RealWorks v11.1
Trimble Inpho Photogrammetry 10.0.3 Win64
Trimble Inpho UASMaster v10 x64
Trimble Vico Office R6.0 x64
Ucamco Ucamx v2017
UBC-GIF 5.0
vpi transmission maker 9.8 x64
VPIphotonics Design Suite Expert v10.0
Waterloo AquiferTest Pro 9.0 x64
Waterloo Visual MODFLOW Flex 2019.v6.0
zemax v2019

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