Doctor Who: Death to the Daleks (parts one and two)

I’ve always been one of those insufferable list-makers. Five favorite Miles Davis records, all the Bond films best to worst, make one last Beatles LP with tracks from their first couple of solo albums, and, inevitably, the five worst Doctor Who stories. Since the show came back in 2005, three of the five previous residents on that list have been replaced by new turkeys. Two of ’em even dislodged “The Twin Dilemma” as the all-time stinker. If you had told twenty year-old me after they cancelled the show “Don’t worry, it will be back one day and you’ll love it and it’ll become so popular that it will air in the US the same day it’s shown in Britain,” I wouldn’t have believed you. If you had added “And there will be two stories even worse than ‘The Twin Dilemma’,” then I’d have known for sure you were lying.

But two episodes into this rewatch, “Death to the Daleks” remains on the list. It’s dire. It was written by Terry Nation on autopilot, directed without any flair or care at all by Michael E. Briant, and the only interesting acting performance is by John Abineri, who gets killed early in part two. Duncan Lamont, who had a small but memorable role in the film version of Quatermass and the Pit, is the lead guest star, and he looks like he has better things he could be doing.

At least it starts okay. Before the sun comes up on the quarry planet of Exxilon, it’s lit well and looks creepy. But then the sun rises and we meet the boring humans and then the Daleks show up and it gets downright dull, which is Doctor Who‘s worst sin. And it sounds like the end of the world. The music is by Carey Blyton, the same oddball who ruined Doctor Who and the Silurians in 1970 with his kazoos. This time, he’s got the London Saxophone Quartet in tow, and their apparent goal was to deliberately undermine the drama in every single scene with inappropriately whimsical tunes. What could have been a crash-bang wallop cliffhanger to part one is accompanied by something about as threatening as “Pop Goes the Weasel.”

The only interesting thing that happens is the Daleks’ ray guns stop working and so they install some machine guns instead. That’s not the interesting part. What’s cute is that they practice their projectile weapon on a teeny model TARDIS. Why do they have that? Do they load a crate of toy police boxes on every Dalek ship for them to use as stress squeezies? Do the Daleks collect Doctor Who action figures, the same way humans collect trading cards of serial killers and famous criminals? Nothing happens in these two episodes as remotely interesting as wondering why they have that toy!

Our son enjoyed it, happily, with the caveat that the primitive, cave-dwelling Exxilons are much, much creepier than he’d prefer. They are really kind of frightening to him. The Daleks are as exciting as ever, and he’s surprisingly glad that they’ve had to unplug their death rays for machine guns, because the bullets are less scary!

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