Trains in Science Fiction 2: Survivors (Terry Nation 1975 – 1978)

Two things.

This won’t be the last time I talk about ‘Survivors’. Not by a long shot.

But this will be the last time I make the distinction between the desolate, savage and truly shocking series, ‘Survivors’ from 1975, and the glossy, glib, Doctor Who-lite remake from 2008.

We only talk about the original Survivors here. I say so.

‘Survivors’ is the third most famous creation from Terry Nation after the Daleks and Blake’s Seven. A virus wipes out 95% of the population of the world. This is portrayed with unrelenting bleakness. Three quarters of the cast are killed off in the first episode. In fact no cast member is ever safe in ‘Survivors’ with major characters being culled every other episode. Only one original cast member makes the whole three series.

Post apocalyptic and ruined worlds always tick my box. If good science fiction is about ‘what ifs’ then the destroyed earth has to be the ultimate premise. Threads, Day of the Triffids, Soylent Green, Logan’s Run, I love them all.

‘Survivors’ deals, with starvation, looters, rape, rabid dogs, martial law, fascists and small pox, occasionally in the same episode. We live in a time when the word ‘dark’ is used to describe a Harry Potter movie, but for once there is no other word. ‘Survivors’ is truly dark.

Let me give you some for instances.

In the episode ‘Law and Order’ a mentally challenged boy is wrongly accused of rape and murder. Our ‘heroes’ debate over what is to be done with criminals in a world without courts and prisons. They have a show of hands and take the boy outside and shoot him, then find out he didn’t do it.

In the episode ‘Corn Dolly’ Charles proposes that the women should let him impregnate them for the future of the human race. Two women fall pregnant but then die because they eat rotten fish.

In the episode ‘Revenge’ Vic, who has previously been permanently crippled and left for dead by Anne, tries to commit suicide. He then seeks revenge but then pleads with Anne to finish the job and by slaying him with a sickle.

One of my personal favourites is ‘A Greater Love’. Paul travels to a ruined Birmingham to gather vital medical supplies where he contracts a new fatal plague. On his return he is treated in quarantine by his rubber suited girlfriend. She declares her love for him as she administers a fatal injection.

Trains are used prominently three times in Survivors.

In the first episode they are used to demonstrate the broken links of the crumbling society. Train stoppages are shown as one of the first tears in the fabric. Great Malvern Station in Worcester is used as a location and doubles as 'Brimpsfield'.

In the second series Ruth travels to London and discover a dirty, broken London living in the rat infested London underground stations, Hanwell Station and Camden Station are used.



A lot of fans don’t like the third series but really this is where ‘Survivors’ gets most bizarre and feral. The cast are now dressed in rags and ride on horseback. The first steps to recovery and infrastructure are shown via the revival of a steam railway. The Severn Valley railway is used and the beautiful Headstone Viaduct is shown in another Series 3 episode.

The series is a long way from faultless. Producer Terence Dudley appears to not know what continuity is and thus decides to do away with it completely. The acting can be decidedly middle class and stilted. The dialogue can clunk. Although I love the slow ponderous pace, this may prove sluggish for the modern viewer.

What makes ‘Survivors’ fantastic though is it’s total singularity. It sets out with a goal, to tell you how absolutely foul the majority of people become in times of crisis and their complete determination to survive. It never blink’s from this intent, it never wavers.

'Survivors' can be bought pretty cheaply in a box set.

Flash Forward versus Primer

Flash Forward (2009 Dir: David S. Goyer) versus Primer (2006 Dir: Shane Carruth)

When you see ‘Lost’ on the TV schedules and think, ‘who the fuck is still watching that?’ the answer is me. I sometimes suspect that the producers are rabid Hefner fans that are providing me with a personal service. I haven’t met anyone else who is still watching it.

I know they make it up as they go along, I know it will never truly make sense but for me it has an almost Becket-like sense of ennui. Meaningless idiot narratives looping endlessly, pseudo science and mythology, time travel theory for toddlers. It’s like catnip for geeks.

What I didn’t need was another ‘Lost’. ‘Flash Forward’ may be one of the few TV programs to jump the shark half an hour into its first episode. Both ‘Lost’ and ‘Flash Forward’ use endless expositional dialogue to explain the simplest ideas behind time travel as if the world had never seen ‘Back to the Future Part 2’.

Your stupidest friend is three times smarter than the writers of ‘Flash Forward’ however and you just end up shouting at the TV, “You can’t do that! It doesn’t work like that!”

The premise of Flashforward (everyone glimpses 2 minutes of their own future in six months times) is a scaffold made of balsa wood. Things don’t have to be believable for me to like them but they do at least have to adhere to their own internal logic. Four episodes in and the main characters still haven’t thought of things you thought of in the first two minutes.

May I suggest a time travel film that is twice as clever as you? ‘Primer’ is a 2004 film by Shane Carruth that was made for 7000 dollars. It is intelligent, slightly terrifying and mind numbingly difficult to follow. Two friends are making a machine that lowers the mass of objects but accidentally achieve time travel as a side effect.

The characters immediately think and do all the things you would think and do if you had a time machine but haven’t been mentioned once in 45 years of Doctor Who. At first they cheat on stocks and shares to make money but soon they become obsessed with creating time paradoxes and tampering with timelines and the subsequent causality. The plot becomes unfeasibly complex with bearded faces from the future, time machines within time machines, and ruminations on the endless possibilities and ramifications of what they are doing.

It’s like ‘The Tomorrow People’ remade by David Simon. In fact it is the ‘Wire’ like impenetrable dialogue and naturalistic acting which mesmerises you. ‘This can’t happen’, you think, ‘but if it did, it would happen like this.’

The film is made for almost nothing, shot guerrilla style in parent’s garages, apartments and storage warehouses. The look is stark, bare and refreshingly un-CGI. Likewise the soundtrack is minimal, acoustic and beautiful.

It’s a film made for DVD, as only with repeated viewing, pauses, rewinds and migraines does it start to reveal its magnificence. Predictably, as with ‘Flash Forward’ you find yourself going ‘Hang on a minute!’ when it doesn’t conform to your own notions of time travel cause and effect. The film has thought of everything however and you are wrong.

After about the fourth viewing you’ve started to get what’s going on.

This isn’t just a film, it’s a comittment.

Here is a bit of it.

Trains in Science Fiction: Deathline (1972 Dir: Gary Sherman)

These obsessive interests are havens; they are warm duvets on November nights.

When two merge, the resulting ellipsoid in the venn diagram becomes the mother lode.

Deathline is not quite science fiction, although what else can you call a group of stranded London Underground workers who evolve and mutate into a family of cannibals? It was promoted then, and packaged now, as a horror film (in America the film was called ‘Raw Meat’). Blink and you’ll miss Christopher Lee’s cameo, an obvious attempt to associate the film with the British Hammer series.

It really isn’t a horror film either though. Like many of my favourite films it doesn’t know quite what it is. It almost climaxes too soon with a blistering title sequence, featuring blurred neon, overloaded Moog, funky Helvetica and prostitutes.

Here it is if you don’t believe me.



You want to see all of it now don’t you?

The film was shot largely on location at the Russell Square and Warren Street Underground Stations. Writer/Director Gary Sherman takes his time with the camera and plot. Many tense minutes are spent slowly panning over the monster’s lair in the imagined abandoned ‘Museum’ station. As the cannibal tends to his dying family we are made to feel sympathy for him. This is a beauty and the beast story. He hesitates before eating the pretty heroine but the only words he knows is a garbled version of ‘Mind the gap’.

The best thing about the film is Donald Pleasance, but then Pleasance is the best thing about any film he is in. He plays a surprisingly realistic Policeman in an unrealistic London. The disappearances on the underground seem to be a minor annoyance to him. In fact even though his character has plenty of screen time he does nothing to advance the plot or find the underground train monster. We get a expanded look into the life of what could have been a bit part. It’s as if all the scenes from ‘Rosencrantz and Guildenstern Are Dead’ had been inserted into ‘Hamlet’.

In my imagined version of the 1970’s Donald Pleasance continued to play, Inspector Calhoun in a whole series of London set horror films. He wouldn’t investigate, or ignore, pirate zombies on the River Fleet, phantom Route Masters and ghost dogs along the Greenwich Foot Tunnel.

At the time of writing ‘Deathline’ costs about £5 on Amazon. Go get it.