The Day of the Triffids is one of the finest examples of British science fiction on television. The performances are less acted and more inhabited, the atmosphere coiled tighter than a rationed gas ring, and the effects - well, let’s call them charmingly shoddy. It’s ridiculous to suggest it’s anything less than a stone-cold classic.
And, 40 years on from its original broadcast, Douglas Livingstone’s adaptation of John Wyndham’s magnum opus remains a talking point. The BBC’s 1981 version, we won’t discuss 2009’s attempt which sunk without a trace, was rewarded with a Blu-Ray release in 2020 and prompted much discussion, even if a lot of that was due to criticism of the restoration.
But back in 1981, a full 30 years on from the publishing date of the original novel, what did the critics make of the BBC’s latest science fiction offering? The Day of the Triffids was part of the BBC’s £33 million drama lineup for 1981 and, as ever, would be under scrutiny from the viewers and the press. There was also the Star Wars issue. Ever since Star Wars had redefined special effects in 1977, anything less than a stellar visual spectacle would be ridiculed, regardless of the budgetary constraints.
So, did the critics hold back? Was there a chance, much like today’s fans of vintage post-apocalyptic dystopian science fiction, they would appreciate the craft and aesthetics of a story which, in 1981, reflected the public’s paranoia of an apocalyptic event? Well, some did. Others, less so.
Celia Andrews, writing in the Western Daily Press, claimed the opening episode had affected her so much she had to head outside in the rain to check on her creeping marrow. John Duttine’s performance was regarded as skilful, and one which allowed the tension to be slowly ratcheted up. However, Andrews was also keen to state half-hour episodes of television were old fashioned, a format which viewers had already grown out of by 1981.
Very early on in Andrews’ review, she took issue with the special effects. Writing, with a sentiment which would become a recurring feature of almost all criticism of the series, Andrews expressed her feeling that “It came close to the ridiculous because of the difficulty of presenting a giant weed with a 10-foot sting with any degree of realism.”
A week later, and up in Newcastle, Harry Thompson of The Journal told readers The Day of the Triffids had him hooked. Although, saying that, he had never imagined the Triffids of Wyndham’s novel would appear onscreen resembling rampant artichokes or even outsized shallots. Overall, though, Thompson was less critical of the special effects, going on to say “a forest of them is really spectacular and special effects have been brilliantly inventive.”
Meanwhile, over at The Daily Mirror, Hilary Kingsley continued the theme of poking fun at the Triffids by referring to them as “over fertilised rhubarb.” But, more importantly, the excellent script was being brought to life by John Duttine and Emma Relph. Kingsley was suddenly enjoying Thursday evenings.
Thursday evenings appeared less enjoyable in Liverpool, with Len Capeling of The Daily Post taking great umbrage with the series in the paper’s programme guide ahead of the third episode. Not pulling any punches, Capeling furiously scribbled the following “If I describe this series as appalling, it’s because I’m giving it the benefit of the doubt. Worse things could, and have, been said. I feel sorry for the talented John Duttine. It must be difficult keeping a straight face.”
Following the fourth installment of The Day of the Triffids, Philip Purser of the Sunday Telegraph was kind enough to admit the series was holding up well. But he had one bone of contention: the Triffids. Not, for once, their design, more the fact they barely featured aside from a token appearance at the end of each episode. A fair point, but one which would be excellently countered, as you’ll see, just a week later.
Richard Last had been suitably charmed and delighted by The Day of the Triffids and gave an enthusiastic review of the serial on 9th October 1981. In the pages of The Daily Telegraph he disclosed he was a huge fan of Wyndham’s novel, and the BBC’s adaptation had been “an unqualified success.” Having enjoyed its sober, low-key approach, Last felt the absence of the Triffids said much more about the themes at play in The Day of the Triffids, namely that Wyndham had been looking to explore mankind’s response to a holocaust. Whatever the cause of said holocaust, be it plague, nuclear bomb or Triffid, the real story would lie in the way society reacted.
Up in Liverpool, Len Capeling was back in the pages of the Daily Post, and he appeared to be at the end of his tether. “I don’t know about you” wrote Capeling “but I’m on the side of the Triffids, even though they look as deadly as Everton’s forward line. Only one episode to go (thank goodness) as never-say-die John Duttine continues his search for Jo armed with his Action Man handgun.” As ever, all great comedy stems from anger, and this is is perhaps one of the funniest programme listings ever written.
Following the conclusion of the series, on 15th October 1981, Jo Bayne took to the pages of the Western Daily Press to take one final potshot at the special effects on offer. And it was put forward with great imagination, Bayne writing “I found the objects of terror leering over an electrified fence rather like a herd of gawky giraffes.” She reserved praise, however, for the sincere performances of Duttine and Relph, yet also put a bizarre case across for The Day of the Triffids being incorrectly labelled as science fiction.
One last dig at The Day of the Triffids came at the end of 1981, when the Daily Mirror awarded “those giant rhubarb stalks” the worst prop of the year prize in their TV awards. And that was it for the critics’ response.
I love The Day of the Triffids. Love it to bits. I didn't see it when it first aired - at the time, I was neither born nor even a regrettable glint in anyone’s eye. But I picked it up on DVD in 2010, and it’s been a fond companion ever since. Yes, The Triffids are far from terrifying - a runner bean is, frankly, more petrifying - but they derisions they received at the time feels rather unfair. These were the earnest days of anaemic BBC budgets, so quite why the critics expected Hollywood is beyond me.
I’m biased, as a fanboy, but Richard Last, also a fanboy, provided the best dissection of the series. It’s not about the Triffids, and even less so about their appearance. The Day of the Triffids is about mankind’s ingenuity and resilience. Their response is more successful here than in Threads, which is too honest for most viewers, but The Day of the Triffids is pure fiction, and any accusations of dipping into melodrama are redundant.
Critics? What do they know.
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