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The third series of Red Dwarf introduced some radical changes--all of them for the better--but the scripts remained as sharp and character-focused as ever, making this a fine candidate for the show's best year. Gone were the dull metallic grey sets and costumes, gone too was Norman Lovett's lugubrious Holly, replaced now by comedienne Hattie Hayridge, who had previously played Hilly in the Series 2 episode "Parallel Universe". New this year were custom-made costumes, more elaborate sets, the zippy pea-green Starbug, bigger special effects and the wholly admirable Robert Llewellyn as Kryten. The benefits of the show's changes are apparent from the outset, with the mind-bending hilarity of "Backwards," in which Kryten and Rimmer establish themselves as a forward-talking double-act on a reverse Earth. After a modest two-person episode that sees Rimmer and Lister "Marooned", comes one of the Dwarf's most beloved episodes, "Polymorph." Here is the ensemble working at its best, as each character unwittingly has their strongest emotion sucked out of them. Lister loses his fear, Cat his vanity, Kryten his reserve, and Rimmer his anger ("Chameleonic Life-Forms. No Thanks"). "Body Swap" sees Lister and Rimmer involved in a bizarre attempt to prevent the ship from self-destructing. "Timeslides" delves deep into Rimmer's psyche as the boys journey haphazardly through history. Finally, "The Last Day" shows how completely Kryten has been adopted as a crewmember, when his replacement Hudzen unexpectedly shows up. By the end of its fourth year, Red Dwarf had completed its metamorphosis from a modest studio-bound sitcom with a futuristic premise to a full-blown science-fiction series, complete with a relatively lavish (by BBC standards) special-effects budget, more impressive sets, and more location shooting. Despite the heavier emphasis on sci-fi, the character-based comedy remained as sharp as ever. Witness the Cat's reaction to Lister's pus-filled exploding head; Kryten's devastatingly sarcastic defense of Rimmer; or the classic scene that opens the series, Lister teaching Kryten to lie. In "Camille," Robert Llewellyn's real-life wife plays a female mechanoid who transforms into something else entirely, as does the episode, which by the end becomes a delightful skit on Casablanca. "DNA" is heavily sci-fi, with lots of techno-speak about a matter transmogrifier and a RoboCop homage--but in typical Dwarf fashion, turns out to be all about curry. "Justice" sees Rimmer on trial for the murder of the entire crew, while Lister attempts to evade a psychotic cyborg. Holly gets her IQ back in "White Hole," but wastes time debating bread products with the toaster. "Dimension Jump" introduces dashing doppelganger Ace Rimmer--he was to return in later series, with diminishingly funny results. Here his appearance is all the better for its apparent improbability. Finally, "Meltdown" goes on location (to a park in North London) where waxdroids of historical characters (played by a miscellaneous selection of cheesy look-alikes) are at war. Only intermittently successful, this episode is really memorable for Chris Barrie's tour-de-force performance as Rimmer becomes a crazed, Patton-esque general. --Mark Walker
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