Long before mankind set a foot on the Moon, science was questioning the possibility of life in space. When the first rockets are launched by USSR, people have begun talking about different scenarios, utopias, jokes and ultimately ideas. Hence science-fiction gained a wide angle of view: After robots, now ALIENS. The Czechoslovakian pioneer production "R.U.R(1938)" is a first step of this post-war transitional period trend. The forthcoming year 2011, we'll see a remake of it; hopefully will be recognized.

Quatermass and the Pit is the second continuation of the original "The Quatermass Experiment(1953)" which was also a BBC TV-series. These series are followed by the groundbreaking feature film "The Creeping Unknown(1955)" which has the most successful visuals and mystery run of all versions. The 1958 series were primarily focusing on make the adult audience and the authorities believe what they see and what they experience. With this version, Quatermass had become a pioneer in sci-fi taking a stand for SEEING IS EXPERIENCING, whereas it used to be only seeing is believing.

What's to experience is that Space is being introduced as a non-habitable place due to the differentiation of a space engineer after he's rescued from a space rocket crashed into the ground. Saved by an extra-terrestrial power of a plant cell, his physical differentiations followed by endomorphism, allows him to live in a persistent vegetative state. Escaping from the hospital, by time he turns into an octopus-like creeper and terrorizes the public.

According to an article from Gavin Collinson of BFI(British Film Institute) the writer/creator Nigel Kneale is requested to pen a televisual drama from a one-off sci-fi play. Before Quatermass's exploits had become a national talking point, the fiction part has only been manipulating public's fears of extra-terrestrial menaces by means of the infancy of manned space programmes.

Quatermass and the Pit allows us to experience the impairments of space travel by a salient work in drama. Alexander Moyer's narration is taking the spirit away a little, but overall it's a well achievement. Prof.Bernard Quatermass character is dedicated to his goals on scientific operations, carrying no hesitation and no fear. That's how a belief becomes an experience. If you look at Isaac Asimov's "The Currents of Space(1952)" and "Breakthroughs in Science(1959)" science and fiction were coming closer to each other. Quatermass brings you to this same level.

I can still remember my mother reading a description of this drama from the local newspaper. There were references to ghosts, demons and goblins that seemed to be right up a 7-year-old's alley. I begged to be allowed to watch it.

On a blank screen appeared this simple trailer 'The following program is not considered suitable for people of a nervous disposition' (or something very similar).

It was a piece of bald BBC understatement. British television had only been going for a few years and this was their first crack at a horror drama. It was experimental. The budget was modest, and I am told it was broadcast live.

Well, it would be no exaggeration to say that this program changed my life. Its very beginning set the standard. As strident nerve-jangling chords blasted out, dust dribbled from a stone tablet to reveal the title. Within the next 30 minutes, I went from a comparatively normal child, weaned upon 'watch with mother', to one who was terrified of the dark. It ran for 6 episodes and against their better judgement, my parents let me watch them all.

The scene in which Sladden is left alone in the artifact was particularly memorable. You just knew he was making a mistake. Then came the strange sounds, the disappearing spanner, the hoses and cables roused into life, the teacups and plates that fly at him, and the undulating gravel in the churchyard. It wasn't meant for 1950's kids! My bedroom ceased to be a snug, familiar place, but one of strange shadows and furniture that might easily begin moving without notice. It didn't help that our house was old and prone to creaks. Birds were nesting in the roof-spaces and got into the habit of scuttling across the ceiling.

Today, I have the abridged 3-hour video. It hasn't aged so well. Spooky moments seem few. Arguments appear excessively melodramatic, the conflict rather contrived. It's just too slow for a full sitting and perhaps should still be seen in half-hour episodes. Something for nostalgia buffs perhaps, but no longer to be taken seriously. Even so, that Quatermass oscillation - which begins with a base note and rises to end in what sounds like a brief animal scream - is still the most bizarre and chilling sound in science fiction.

Nigel Kneale seems to possess a quite unique insight into the basis of fear. No-one else comes close. With this story he has attempted to produce a 'theory of everything' incorporating folk-law of imps and demons, good and evil, the paranormal, with invaders from another planet. It almost works. A good quality (British) remake wouldn't go amiss. Though it's unlikely to start me looking under the bed again.

Hard to believe I watched the original on a tiny 12-inch screen though. In my memory it takes up a whole wall.

As a foot note; the Bowater House site at Knightsbridge is in the process of redevelopment. It contained a deep excavation and I couldn't help looking in. Down in the mud there was a huge grey pipe, or something...

Not much here to add to what has been said so well in the previous reviews. Quartermass and the Pit really is that good!

It is a mini-series that looks absolutely great for the time, its expensive budget evident, and the atmospheric photography, imaginative sets and pretty spectacular special effects still hold up today. The pre-filmed material merges with the live material without jarring at all. The music score has a genuine eeriness and very memorable, unforgettable at its best (like with the main theme). Quartermass and the Pit is so intelligently scripted and beautifully paced, with so many quotes that makes one think and with much to say.

The story, as well as having some ahead-of-their-time themes, is fascinating and still resonates strongly, even those who considers their knowledge of science sketchy will find much that is interesting and captivating about it. The direction is adept, the characters are very engaging and easy to root for (Quartermass and Breen are particularly well-written) and the acting is more than excellent. Particularly good are Andre Morrell, whose interpretation of the titular character is definitive, Anthony Bushell, who manages to bring depth to a somewhat unsympathetic character instead of being cartoonish or one-dimensional, and Cec Linder's very likable Roney. Can't go wrong with the likes of Michael Ripper either.

In summary, Quartermass and the Pit really is science fiction television at its finest. 10/10 Bethany Cox