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Doctor Who: Planet of the Daleks (part six)

The Thals turn out to be pretty good guerrilla fighters against the Daleks once the Doctor shows up. Two Daleks get killed by the liquid ice explosion in their tunnel, two more are killed by the bomb, one falls all the way down the ventilator shaft, two get led into the ice pool on the surface, and two more are locked forever in the sealed germ lab with lethal bacteria. That seems to leave seven in this episode, so maybe sixteen on the planet in total. The Thals said that there were about a dozen Daleks here. They were off by four. Their hit and run tactics are better than their field intelligence, I guess.

In the best scene in this episode, the newly-arrived Dalek Supreme, represented by a refurbished prop from the two Dalek movies produced by Amicus in the 1960s, gets sick of one of the seven remaining Daleks’ failure and exterminates him. Our son, who really, really enjoyed all the last-minute escapes and explosions this time, had eyes like dinner plates. “Daleks killing other Daleks?!” he shouted, amazed. He was petrified by the bit where the Doctor has to drop down onto the floor of the Daleks’ refrigeration chamber and retrieve a bomb while groggy Daleks start emerging from hibernation and hid behind the sofa.

One other little moment of note: the show has told us that Jo has gone into space four times now: “Colony in Space,” “The Curse of Peladon,” “The Mutants,” and the arc of these last three stories. (Since she begins “Frontier” wearing the same outfit she wore in “Carnival,” and has Drashigs fresh on her mind, I suggest they didn’t go back to Earth between the two.) This is the second of her four trips away from our planet where she’s broken the heart of a space boyfriend. Fortunately, she looks pretty well done with space travel by the end of this one.

(Although, twelve years after this serial was made, a later TV adventure called “Timelash” would establish that this Doctor took Jo and an unnamed third traveling companion to the planet Karfel, the setting for that story. Ten years after “Timelash,” the author Paul Leonard wrote a pair of novels for Virgin Books that explained that little continuity blip, and showed that sometime after “Planet of the Daleks” but before the next adventure, the Doctor, Jo, and Captain Yates had some adventures together. I’ll only accept that as canon if Jo broke some other spaceman’s heart along the way.)

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Doctor Who: Planet of the Daleks (part five)

I don’t know why it amuses me so much in this story when the whole of seventies and eighties Doctor Who is plagued by harsh lighting, reflective surfaces, giant cracks in the studio sets where two big pieces of wood fit together, and “make everything look fake” videotape, but I swear all the stagehands who worked on “Planet of the Daleks” shared the greasiest pizza ever baked in Britain before they set up the Daleks and the props in this story. There are handprints and fingerprints on every visible surface in the Dalek base.

And, as befits a show that looks for some kind of in-story explanation for why the second Doctor looks so much older and grayer in a story made in 1985 than his final adventure back in ’69, somebody once suggested that there are handprints all over the transparent cube that houses the killer bacteria because the humanoid Spiridons left their greasy mitts all over it. My point is that if somebody had wiped the dumb thing down with a cloth before they started taping, nobody would be distracted by the unreality of the visual in the first place, and besides, there are fingerprints all over one Dalek’s eyepiece in one of the closeups, and I don’t think you’re going to convince me that the Daleks are all that likely to let the Spiridons get that up close and personal with them.

In other news, Prentis Hancock’s annoying character gets killed this time, and our son is pretty much at the point where only the lack of explosions are keeping this off his list of favorite stories. He is having an absolute blast with this one. It’s the perfect Who adventure for six year-olds, but he really likes explosions.

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Doctor Who: Planet of the Daleks (part four)

There are many reasons why I try to avoid being negative about an actor when I don’t like the performance. For one, I try to be a positive person these days. For another, I once said something dismissive on Usenet two decades ago about the actor Elijah Wood after he played a creep in an episode of Homicide: Life on the Street, and I think I closed that email account after three years of hate mail from offended Elijah Wood fans. But mainly it’s because I’m not quite as intemperate and opinionated a blowhard as I once was, and try to recognize the difference between an actor I may perceive as grating and their performance as a grating character. That’s why the less said about Michael Hawkins’ performance as the general in the previous story, the better.

But this time out, we’ve got Prentis Hancock, whom I have never liked in anything. Mind you, I’ve only actually seen him in four or five things, counting a dozen or so Space: 1999 episodes as “one thing,” but you know what I mean. It’s easy to leave a story like “Planet of the Daleks” wanting to punch him in the mouth, but that might be because no actor could rescue this moron of a character, acting impetuous and idiotic and getting all the heroes in trouble. Is it fair to blame Hancock for the one-dimensional dimwit that Terry Nation wrote? It’s not like he had the opportunity for subtlety, is there?

On the other hand, I like Bernard Horsfall a lot, but his character isn’t done any favors by the gender politics of Terry Nation’s script, either. This time, he successfully lays the guilt on his girlfriend for coming to Spiridon on the second mission, asking her how she could expect him to risk her life on this mission, and didn’t she realize that she’s now put them all in danger because he may be too worried about her to act? “No,” said my wife, seething, “she thought you could act like a professional. Jerk.” How does Horsfall come away from a similarly stupid character with my admiration for his performance while Hancock makes me want to throw things at the screen?

For what it’s worth, Jon Pertwee and Katy Manning remain magical in a production that sees Jo briefly dazed by a falling rock so big that it should have split her skull like a grapefruit, and the sinister eyes of jungle animals represented by colored light bulbs. And the Daleks – they’re the reason we’re here! – have our son absolutely enraptured. This time, two get blown “to kablooey” and another falls down a deep ventilator shaft to be smashed to pieces many hundreds of feet below. I kind of prefer these less indestructible Daleks to the modern kind, even if they do look like they’re made from wood with reflective paint.

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Doctor Who: Planet of the Daleks (part three)

The first time I watched (most of) “Planet of the Daleks,” on PBS around 1987, I wasn’t impressed. I wasn’t impressed when I watched it again after getting a complete copy in 1994 either. But about nine years after that, I watched it with my older son, then about six, and got a new appreciation for it. This is definitely a story to watch with a kid, as we experienced again tonight. The thrill that a child has for Daleks, and the total conviction they have in their cruelty and their power, almost totally overshadows any production problems or scripting silliness.

You can be a curmudgeon on your own; watching this story with a kid is huge fun. Ours was excited, worried, frantic, and, when the ice-volcano erupts and two Daleks are splashed with gallons and gallons of “ice hot lava,” absolutely pleased. We briefly debated whether that shouldn’t be called “ice cold lava” before paying attention to the next bit of running down corridors. Upstairs, now, his nightly playtime before bed has been interrupted several times while Mommy has been threatened with extermination.

Note that I say “almost totally.” Kids can love Daleks all they want, but nothing can save the next Dalek serial that they made, the following year. That thing’s a complete turkey.

Anyway, the reason I’m less familiar with this story than almost all the others from the era that I’ve seen many times is that Lionheart, the company that syndicated Doctor Who in the 1980s, deliberately provided stations with a badly edited version. As I’ve mentioned previously, the BBC wiped many of Jon Pertwee’s color tapes, retaining only black and white film prints for export to countries who hadn’t switched to color yet instead. Lionheart’s package of the 24 Jon Pertwee stories, edited into TV movies, included five black and white movies and nineteen color ones.

However, both “Planet of the Daleks” and “Invasion of the Dinosaurs,” from the following season, were idiotically offered as color TV movies with their missing color segments simply cut out. Since part three of this story was missing in color, the narrative of the movie version just jumps from the character telling Bernard Horsfall “Somewhere on this planet there are ten thousand Daleks!” to a scene a few minutes into part four, once everyone has escaped from the Dalek base. Twenty-five minutes just chopped out. I know I’ve said that these six-parters are all about one episode too long, but that’s insane. They should have syndicated it as a complete black and white movie. It was good enough for “The Daemons.”

(Even weirder, I’ve read that Lionheart also offered this in its mostly-original episodic format, only with the credits remade, so the American “part three” was the original “part four,” and so on. Since WGTV only bought the Pertwee adventures as TV movie compilations, we never saw it like that in Atlanta, but I wonder whether this version included the escape from the refrigeration room that was cut out of the TV movie.)

Anyway, the version of “Invasion of the Dinosaurs” that they offered was, while still obnoxious, not quite as incoherent since the missing color part was the opening episode, and so it looked like the movie began with the adventure already in progress. I hope we’ll be watching this story in about one month’s time, and I’ll talk more about that when we get there, but it was also one that I skipped copying off air.

There’s a terrific short documentary on the DVD about how they rebuilt this episode and restored the color. It took two separate projects: traditional colorizing done by a firm in Los Angeles, and a really neat project in London that extracted color information – chroma-dots – from a black and white telerecording. It’s absolutely wonderful to finally see this episode just about exactly as it was first taped.

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Doctor Who: Planet of the Daleks (parts one and two)

“Invisible Daleks!” shouted our son. Yes, indeed.

“Planet of the Daleks” is another story that I’m not actually all that familiar with. I’ve maybe seen it in full only twice. I never recorded it off-air when WGTV played it – I’ll explain why in the next post – and didn’t get a VHS copy until early 1994, a few months after BBC-1 had shown the story in a very nice 30th anniversary surprise. On those rare occasions when Doctor Who had been repeated, it was on BBC-2, not the main channel, but they commissioned a new documentary about the show and gave it a prime time berth for six weeks of garish and very dated glam rock purple and green videotape, leading The Sunday Times to observe that the show didn’t seem to actually time travel very well.

It was a return for both director David Maloney, who hadn’t worked on Who in four years, and writer Terry Nation, who’d been busy with other things for seven. Among them: he’d been on the staff of The Baron, The Avengers, and The Persuaders! while contributing freelance scripts to several other ITC shows. He’d failed to sell a Dalek TV series to any of the American networks, and the BBC passed on a curious and entertaining pilot film with the unfortunate name of The Incredible Robert Baldick.

For what it’s worth, Maloney hired Bernard Horsfall, one of his regular go-to actors. Always nice to see Horsfall at work, even if he’s stuck under a ridiculous blond wig in this story. He also hired Prentis Hancock, and would again when he directed “Planet of Evil” three years later. I can’t claim to enjoy Hancock’s acting quite as much as I do Horsfall’s.

“Planet” is kind of Nation-by-the-numbers, only taped in a remarkable and eye-poppingly busy jungle set and dealing with invisible aliens who have been enslaved by the Daleks on the hostile planet of Spiridon. It’s not a story that aspires to very much more than wowing the under-tens in the audience.

As for our own under-ten, he seems to like this story much, much more than he did “Frontier in Space,” and spent the hour alternately wide-eyed and wondering out loud, or wide-eyed and transfixed. “Ten thousand invisible Daleks! That’s ten thousand times the original problem!”

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Doctor Who: Frontier in Space (part six)

The last part of “Frontier in Space” is one of the very few occasions in Doctor Who where major villains team up. The Master and the Daleks only get a few minutes together, and the neatness is overshadowed by knowing this was Roger Delgado’s final appearance in the series.

Delgado had told Who‘s producer that he was ready to move on. He and his agent had heard that the reason he wasn’t getting as many offers in 1971-72 as he might was that all the casting people assumed that he was a regular in Doctor Who and wouldn’t be available. So Barry Letts was beginning to put together ideas for a big finale for the character, which is why he doesn’t get anything like a sendoff this time. He just vanishes in the confusion of the Ogrons running around.

“Frontier” was made in September of 1972. Not too long after, Delgado flew to the south of France to shoot an episode of ITC’s fun little Mission: Impossible clone, The Zoo Gang, which would be shown in 1974. It would be his last English language performance. In June 1973, he flew to Turkey to appear in a small part in a French TV miniseries, La Cloche Tibetaine. On the 18th, while being driven to a location shoot, he was killed in a car crash along with two other men.

Our favorite six year-old critic hadn’t been enjoying this serial very much, but he perked up so much when the Daleks arrived that I genuinely felt bad telling him why this was Delgado’s final appearance as the Master. He listened to my story, a little glum, before saying “He was a great actor, because he played real bad at making the Master SO BAD!” That’s possibly not the most eloquent way to put it, but I agree with the sentiment. He certainly was a terrific, wonderful actor. It’s always a pleasure to watch an adventure show or ITC series from the late sixties or early seventies and find him in the cast. He never had all the major roles that he deserved, but every one of his appearances is worth tracking down.

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Doctor Who: Frontier in Space (parts four and five)

Resuming this serial with a double-bill tonight, our son still says that he isn’t enjoying it, but he does at least enjoy the gunfights. That is, I think he likes the idea of the shootouts, because what happens on screen is not all that thrilling. Honestly, I’m not taken with Paul Bernard’s prowess as a director of action sequences. This isn’t the only time in Doctor Who that the design of a set got in the way of a director who needs to stage a shootout – “The Claws of Axos” comes to mind – but it’s every bit as frustrating to watch. The scene where the Ogrons capture Jo is so sloppy. It doesn’t look like Bernard gave any thought at all to where his cameras should be.

For many reasons, I’m not as familiar with this story as I am most of the Pertwee years. Around 2002, when I was watching the series with my older son, circumstances forced me out of the room to deal with unpleasantness for the first five episodes, five nights straight of real life awfulness, and that hangs over this story for me. So it’s locked in my memory as going from prison cell to prison cell and me unable to enjoy even that. I had forgotten many of the details of my original copy, which I taped off air in the eighties and watched several times afterward.

WGTV had shown this during a pledge drive and interrupted the compilation movie at the approximate points of the original cliffhangers. This led to an interesting surprise tonight. At the end of part five, the Master turns on his fear box and the very last shot is Jo looking in horror at something that we can’t see yet. The next part will open by showing her a few of the most recent monsters in the show: a Drashig, a Mutant “mutt,” and a Sea Devil, and that’s the point where WGTV had faded to black, so I thought we’d be seeing them tonight.

Since I’m not as familiar with this as I could be, I had forgotten just how darn good Katy Manning is, especially in this climax. She and Pertwee and Roger Delgado carry almost all of part four with limited interruption from other characters, which is incredibly entertaining, and they dominate the critical scene in the throne room of the Draconian Emperor, played by John Woodnutt.

But at the end, the Master tries to hypnotize Jo again, and she is not having any of that. She is amazing! Delgado goes right into his party trick of “You. Will. Obey. Me!” and Manning stares him down with cold fury, reciting nursery rhymes in his face. He hypnotized her with ease on their first meeting, on her very first UNIT assignment, but she is not the same scatterbrained kid from “Terror of the Autons.” That’s a fantastic scene.

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Doctor Who: Frontier in Space (part three)

Thank heaven Roger Delgado turns up this week, because otherwise this episode is like watching paint dry. It’s more and more and more of prison cells and Earthmen not believing the Doctor and Jo. It’s agonizingly repetitive. For those of you who missed the previous two parts, don’t worry, because the other characters are going to force Jon Pertwee to explain the plot twice this week. So when the Master arrives toward the end in the guise of the police commissioner of the dominion planet Sirius IV, it’s the best thing by miles.

Once again, though, the story doesn’t pause to consider an avenue that’s a million times more interesting than what it does give us: 26th Century Earth is an authoritarian hellhole. Michael Hawkins’ general tells the weak president that she is in danger of being replaced by a military dictatorship, but she already presides over a planet where political prisoners are immediately sentenced to life imprisonment on the moon. At this time in its life, Doctor Who was not afraid to depict nasty futures and, in the manner of some good science fiction, warn against taking the wrong avenue. But later on, the producers and writers of the 1980s and 2000s would do more with totalitarian governments and pit a more active Doctor against them.

It’s difficult to square the way this Doctor treats future Earth as just another setting for adventures, albeit an ugly one, with the way the Doctor of “The Happiness Patrol” overthrows the government of a corrupt Earth colony, or the way the Doctor of “The Christmas Invasion” decides that Harriet Jones shouldn’t actually be the UK’s prime minister after all. Looking back at nineties fandom, I recall the way that older, Pertwee-loving fans of the show would praise Malcolm Hulke’s political edge while dismissing the show becoming “silly” in the late eighties. But Hulke’s stories, while sometimes brilliantly constructed and full of nuance and question around the issues of corruption, might have been even wilder if he had been allowed to position the character of the Doctor against the horrible corporations and government of the Earth he showed in “Colony in Space” and in this story. In a couple of weeks, we’ll watch “The Green Death,” where the Doctor is pitted against a corporation set on present-day Earth. It’s a shame that he never got the chance to similarly bring down the IMC, or this horrible president.

Meanwhile, I should point out that our son is just barely hanging on to this story, and the whole lot of nothing that doesn’t happen this week didn’t thrill him one bit. He certainly loved “The Three Doctors” and says that it is tied with “The Power of the Daleks” as his favorite adventure, but after the confusion and horrors of the last story and the frustrations of this one, he really, really needs something big to turn things around. But we’ll see that something big in a few days, after taking a little mid-story break.

One other thing to note this week is that Ray Lonnen’s character has left the narrative after two weeks. Episodes one and two were the only Doctor Who credits for this fine actor. Richard Shaw is in this part, and the next, as a trustee in the moon prison. Shaw had appeared in the 1965 serial “The Space Museum” and would appear in Who again five years after this, but we “remember” him best as Ryan, one of the recurring criminals in series five and six of Freewheelers. I use air quotes around remember because our son has watched series six of Freewheelers twice and remembers the character but, of course, doesn’t recognize the actor!

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