Malcolm Hulke’s Doctor Who and The Green Death adapts the final story of Doctor Who’s tenth season written by Robert Sloman & Barry Letts, directed by Michael E. Briant, and featuring the Third Doctor as portrayed by Jon Pertwee and his companion Jo Grant, portrayed by Katy Manning. This story was Jo’s final appearance as the Third Doctor’s companion on film. The story takes place in the Welsh town of Llanfairfach, a former coal town now hosting a growing petroleum company. A group of scientists have set up nearby, developing alternative energies – like solar and water – as well alternatives to meat to better protect the environment, especially as the petroleum company’s work creates a great deal of environmentally-toxic byproduct (pg. 26). This sets up a premise in which the storytellers may examine the growing issue of environmentalism. Meanwhile, a series of strange deaths in which the victims turned green attracts UNIT, including Brigadier Lethbridge-Stewart, the Doctor, and Jo. Further investigations reveal the truth of the petroleum company as well as the creatures its careless dumping have created.

Though the story shows a great deal of foresight in its focus on environmental issues, it features several lines that appear to perpetuate stereotypes about the Welsh. They appear anti-intellectual and superstitious (pg. 13-14) and the writer even describes them, “Like many Welshmen he was short and dark eyed” (pg. 37). Though the story acknowledges their relative powerlessness and feelings of English interference, Hulke undercuts this with his use of English stereotypes about the Welsh. The evil computer running the petroleum company resembles elements of modern corporate culture, with its lack of concern for workers. Stereotypes notwithstanding, Hulke writes clearly and his adaptation of The Green Death will find a welcome place on any Doctor Who fan’s bookshelf. ( )

Back in the mid-70's, the "Doctor Who" production team decided to make an environmental statement. The result was "The Green Death" which thanks to the visuals of a horde of giant green maggots is firmly entrenched in the memories of "Who" fans of that era.

Watching the story and hearing the audio book of the Malcolm Hulke novelization are two very different things. As with most of his "Who" adaptations, Hulke doesn't follow the scripts beat for beat. The telling of the story is clearly meant to be stronger on character and setting than it is on the pure driving action of the televised version. The romance between Jo Grant and Clifford Jones feels more authentic in the novel, though it was reasonably well executed in the six-part adventure. And the horror of what is being created by the evil chemical company is more effectively conveyed on the printed page.

The novel works better when it comes to BOSS, though this portion of the story is clearly dated. I'm sure in 1974, BOSS, a giant computer bent on global domination, seemed cutting edge. But in the post "War Games" era, BOSS's plans are less exciting than they may have been in the mid-70's. But as with all "Who," it's a product of its era.

Of course, this novel is probably most well known for the sequence told from the third person, maggot point of view. The sequence has been exaggerated among the fan community for its silliness and it actually does help drive the plot and create some atmosphere for the novel.

As far as "Doctor Who" novelizations go, this is one of the stronger ones of its era. Malcolm Hulke does a nice job adapting the scripts, all while adding his own flourishes to make the story his. ( )

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The Malcolm Hulke novelisations have been a bit hit and miss for me, so I am very glad to end on a high note. Where some of his other books are rather irritatingly written down for a younger readership, Doctor Who and the Green Death is written much more maturely - at one point Jo offers to pose topless for Professor Jones, which is rather prophetic in view of later developments in Katy Manning's career. (In fairness, their romance is one of the best constructed narratives of romantic companion departure in the whole of Who; perhaps the only serious rival is Vicki/Troilus in The Myth Makers.) For once, Hulke's political themes are well-judged and match the tone of the narrative, and although we lose the full mania of the screen version of the mad computer, BOSS, we also (as so often from this era) lose the dodgy special effects. A particularly good effort. ( )