The first time Doctor Who dared to ask: Are You My Mummy?
When it comes to classic Doctor Who, few stories are as iconic as Pyramids of Mars. First aired in the crisp October of 1975, this four-part serial from thirteenth season, Tom Baker’s second, is a gothic-tinged tale of ancient gods, cosmic horror, and temporal intrigue. If you’ve ever wondered what happens when Egyptian mythology meets British Ripping Yarns sci-fi, this is the adventure for you. So, wrap yourself up in a scarf and let’s delve into the sands of time with Pyramids of Mars.
The Doctor (Tom Baker) and Sarah Jane Smith (Elisabeth Sladen), en route to UNIT headquarters in 1980, are unexpectedly diverted to 1911, albeit landing in the same place which for the TARDIS of this era is still pretty good. Here, they stumble upon a priory in which lurk a fellowship of fanatical zealots intent on releasing the malevolent Sutekh (Gabriel Woolf), the last of the Osirans. Trapped for millennia, Sutekh is desperate to break free and wreak havoc upon the universe and to this end he has possessed famed Egyptologist Professor Marcus Scarman (Bernard Archard) to aid him. To thwart Sutekh’s ambitions, The Doctor and Sarah must navigate deadly traps, confront animated mummies, and travel to the catacombs of Mars before it’s too late.
Tom Baker, fully in his pomp as the Doctor, has fully perfected his mercurial balance between whimsy and gravitas and the superb, almost series-defining chemistry between him and Elisabeth Sladen elevates the entire production, evidencing why their partnership would become one of, if not the most beloved in the show’s history. Sladen’s portrayal of Sarah Jane is resourceful and courageous, complementing Baker’s Doctor perfectly and their interactions brim with warmth, humour, and mutual respect, creating a duo that continues to resonate to this day. Sarah Jane Smith would, of course, go on to become almost as iconic to the series as the Doctors themselves with her character’s intelligence, bravery, and compassion setting a high standard for companions, making her a role model and a fan favourite.
Gabriel Woolf’s Sutekh is another highlight, his chilling voice work imbuing the character with a menacing presence that raises the story’s stakes. The atmospheric setting of the priory, coupled with Egyptian-themed rooms and artifacts, crafts a unique and immersive backdrop for the unfolding drama and the production values, particularly the set design and special effects, impress for the era, adding to the serial’s lasting appeal. Robert Holmes’ script is sharp and engaging, expertly blending science fiction with gothic and cosmic horror to explore themes of the corrupting influence of power and the interplay of destiny and free will.
If Pyramids of Mars has a weakness, it’s in the unevenness of its pacing. The first and fourth episodes move with the urgency of a sandstorm, propelling the story forward with gripping intensity while, at times, the middle two episodes slow to the shambling gait of an Egyptian mummy. This deceleration could cause the tension to dissipate, but luckily the story has already wrapped the audience in enough narrative bandages to keep them entombed in their seats until Sutekh makes his move.
Pyramids of Mars is an important milestone in the series’ legacy. Its exploration of ancient alien gods and the blending of mythology with science fiction have influenced numerous subsequent stories and the themes of power, fate, and the fine line between science and mysticism resonate in later episodes, such as The Impossible Planet and The Satan Pit, let alone Sutekh’s diabolical return in The Legend of Ruby Sunday.
Pyramids of Mars also benefits greatly from the excellent contribution of guest star Michael Sheard. Sheard’s portrayal of Laurence Scarman adds emotional depth and a human touch to the story, balancing the cosmic stakes with personal tragedy. His performance stands out, making his character’s journey both compelling and memorable. Sheard would go on to become a frequent guest star in Doctor Who, with notable appearances in stories such as The Mind of Evil, The Invisible Enemy, Castrovalva, and Remembrance of the Daleks.
In Pyramids of Mars, Doctor Who delivers a masterclass in blending science fiction with gothic horror and the serial stands as a quintessential example of the series’ strengths, showcasing the mystique of the Time Lords and their eternal battle against ancient evils. The story’s use of historical facts, combined with science fiction, creates a rich tapestry that is both educational and entertaining. Robert Holmes’ script is a knowing homage to the pop culture of the time, particularly the influence of Hammer Horror films, which adds an extra layer of charm and nostalgia. The narrative’s intricate plot, laced with Egyptian mythology and cosmic horror is captivating, making it a standout entry in the Doctor Who canon.
While the serial’s production standards may seem dated by today’s standards, this doesn’t detract from its overall impact. The ambition of a series that operated on a shoestring budget but consistently reached for the stars is evident throughout. The special effects, though limited, are used creatively to enhance the story’s atmosphere. The writing is sharp, and the performances are stellar, with Tom Baker and Elisabeth Sladen delivering some of their best work. Gabriel Woolf’s portrayal of Sutekh remains one of the most chilling performances in the series. Pyramids of Mars exemplifies how Doctor Who, despite budgetary constraints, has always managed to produce compelling and imaginative storytelling that continues to resonate with audiences.
