Doomwatch

Just now rewatching the (existing) series episodes on Talking Pictures TV. I was an avid watcher as a school kid in the early 1970's. I'm still suffering PTSD from seeing Toby Wren blown up! The stories are quite inventive, with multiple sets. Unfortunately the thing that lets it down is the character development and the never ending sexist stuff, which at the time was considered edgy but ends up being tiresome.

What saves the series is somewhat understated acting by John Paul, Robert Powell, Wendy Hall and Joby Blanshard. I'm afraid Simon Oates doesn't stand a chance with the ham-fisted way his character is written.

And the ascots/cravats! The TrimPhones, the hair styles. They all take you back to the early 1970's; culturally not the best of times.

What on Earth have they got in their hair? How can anyone wear those shirts? A character seriously called 'Joby'? Top marks though for effort with effects on a limited budget. Having said all that the plot and storyline is very good and sadly rather plausible.

...but for all the wrong reasons. I find this series very difficult to love, and believe me I've tried. I bought the whole boxed set, optimistically hoping I'd enjoy it more than on my previous viewing many years before. Generally I love 70s tv, I don't mind the poor effects or the slow pace. But Doomwatch is like the tv equivalent of Radio 4 plays: lots of boring men pacing up and down in offices, shouting at each other, being terribly EARNEST and CROSS, addressing each other by their surnames (unless it's a woman of course), saying "Damn it man!" and either comforting hysterical sobbing women or being patronising towards them. The scripts are often concerned with 'terrifying' issues of the day which we now accept as 'normal life' (Tower blocks! Plastic! Jet lag!) It's all rather humourless and preachy, and the acting style is frequently pitched at borderline hysteria which can be extremely grating and often had me reaching for the volume control. Having said all that, it's well made in most respects, just very much of its time - a 'criticism' which can be levelled at many examples of archive television of course, but plenty of those stand up better today than Doomwatch does.

I remember loving this series the first time round but I have forgotten the details of all of the episodes so I can enjoy it again for what seems like the first time on TPTV in the UK, January 2025.

Will a cravat through a ring worn like a scarf by a man ever make a comeback, I do hope not.

I've only seen two episodes so far but considering the subjects covered over fifty years ago they are still relevant today, sadly. As there is plenty of subject matter these days, AI, genetic engineering, controlling billionaires, crazy politicians, a new series could be made to draw attention to the dangers that are ignored these days, probably until it's too late.

As the subject in episode three covers, in part, the dangers of AI, this programme was half a century ahead of its time.

Doomwatch (1970) is a chillingly prescient film that blends science fiction with ecological horror, capturing the unease of a society teetering on the edge of environmental collapse. With its eerie atmosphere and subtly dystopian tone, it feels less like a movie and more like a warning-one that echoes the growing concerns of its time and still resonates today.

The story revolves around a team of scientists investigating strange occurrences linked to a top-secret research project, where the boundaries between human progress and nature's wrath begin to blur. As the team unravels the dark truth behind the experiments, Doomwatch taps into our primal fears of unchecked technological advancement and the unforeseen consequences of tampering with nature.

The film's pacing is deliberate, with a slow-burn tension that builds steadily as the characters move closer to discovering the full extent of the threat. The power of Doomwatch lies in its understated dread-the kind of menace that doesn't announce itself with explosions or monsters, but rather simmers beneath the surface, leaving you with a sense of creeping inevitability.

The performances are solid, with the cast striking a perfect balance between professionalism and panic as they face a force far beyond their control. The film's atmosphere is aided by a haunting score that underscores the tension and unease, and the visuals-gritty and practical-add to the sense of realism that makes the horror all the more unnerving.

While it may not be a traditional horror film, Doomwatch delivers a powerful commentary on mankind's impact on the environment. It's a film that doesn't shout its themes, but rather lets them settle in like a dark cloud, leaving you with the uncomfortable realization that the real horror might not be science fiction at all, but the path we've already set in motion.