(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“An eccentric inventor and his companions travel in his TARDIS to the Planet Skaro and battle the evil menace of the Daleks.”
There are a good many fans around the world – particularly those outside of the United Kingdom – who never even knew that the famed, long-running Science Fiction and Fantasy franchise Doctor Who had not one but two theatrical outings.
As the story goes, Amicus Productions knew a good thing when they saw it; and this all-new television serial that was Doctor Who was growing both in popularity and cultural relevance. For the paltry sum of £500, Amicus purchased the rights from the BBC and Daleks’ creator Terry Nation for the purposes of transforming the property into a trilogy of films for the big screen. Alas, only two of the features were ever made and released; but Dr. Who & The Daleks (1965) brought the signature time-traveler, a few of his companions (granddaughters, really), and audiences into theatrical existence for a brief shot at big screen fame and fortune. Yes, given that only two planned adventures were ever completed, it’s safe to suggest that these outings didn’t exactly match the potential of the TV incarnation – one that has lasted over six decades – but kudos to all involved for taking Who as far as they did.
Now, I suspect one of the requirements to translating Who from small screens to big would be that screenwriters Milton Subotsky, Sydney Newman (original concepts), and David Whitaker (original concepts) had to somehow modestly differentiate their effort from what had already come before in the BBC show. Originally, these dreaded robots were introduced in William Hartnell’s first season in charge of the TARDIS, covering the serialized story across 7 episodes. Though these earliest scripts kinda/sorta left the Doctor’s origins a bit ambiguous, they still strongly established that he was born elsewhere – beyond our humble star system – but the motion picture directed by Gordon Flemyng clearly casts its lead character as a human being.
From the film’s IMDB.com page citation:
“An eccentric inventor and his companions travel in his TARDIS to the Planet Skaro and battle the evil menace of the Daleks.”
There are a good many fans around the world – particularly those outside of the United Kingdom – who never even knew that the famed, long-running Science Fiction and Fantasy franchise Doctor Who had not one but two theatrical outings.
As the story goes, Amicus Productions knew a good thing when they saw it; and this all-new television serial that was Doctor Who was growing both in popularity and cultural relevance. For the paltry sum of £500, Amicus purchased the rights from the BBC and Daleks’ creator Terry Nation for the purposes of transforming the property into a trilogy of films for the big screen. Alas, only two of the features were ever made and released; but Dr. Who & The Daleks (1965) brought the signature time-traveler, a few of his companions (granddaughters, really), and audiences into theatrical existence for a brief shot at big screen fame and fortune. Yes, given that only two planned adventures were ever completed, it’s safe to suggest that these outings didn’t exactly match the potential of the TV incarnation – one that has lasted over six decades – but kudos to all involved for taking Who as far as they did.
Now, I suspect one of the requirements to translating Who from small screens to big would be that screenwriters Milton Subotsky, Sydney Newman (original concepts), and David Whitaker (original concepts) had to somehow modestly differentiate their effort from what had already come before in the BBC show. Originally, these dreaded robots were introduced in William Hartnell’s first season in charge of the TARDIS, covering the serialized story across 7 episodes. Though these earliest scripts kinda/sorta left the Doctor’s origins a bit ambiguous, they still strongly established that he was born elsewhere – beyond our humble star system – but the motion picture directed by Gordon Flemyng clearly casts its lead character as a human being.
One might think that such a small change would matter little to viewers but therein lies the film’s biggest shortcoming: instead of presenting audiences with a novelty with knowledge of the life, the universe, and everything ‘out there,’ Cushing is hamstrung as just being little more than one of us. Instead of gifting him with eccentricities that modestly defy the norm, this Doctor seems too parochial to think outside the box containing traditional Earth values. In one scene, he even advocates for the downtrodden Thals – a species of humanlike aliens who’ve been oppressed by the Daleks – to take up arms and fight the dastardly automatons, a blatant act of aggression the Doctor as traditionally presented on television generally despises. But as an ordinary human who is apparently gifted with little more than some scientific acumen? Well, he thinks just like we do. We rather commonly resort to ‘standing up for what’s right’ even if and when such a tactic might be fruitless, mostly because it’s just how we’re wired territorially.
Thankfully, his companions – granddaughters Barbara (played by Jennie Linden) and Susan (Roberta Tovey) along with Barbara’s incessantly bumbling boyfriend Ian (Roy Castle) – do strongly adhere to those values aptly demonstrated in the long-running TV show’s core mythology. While they’re not above mixing it up when completely necessary, the trio do far more to represent Who’s sanctity of preserving all life as the first, best alternative. Once they realize that the options are limited, they adapt their composures and fight to the finish alongside the Thals in the final reel, never resorting to the somewhat bloodthirsty countenance that the Doctor possesses in the procedure.
Furthermore, the script not only mischaracterizes its lead protagonist but also mostly gets the central antagonists wrong: the Daleks here are unusually impotent, never quite rising to the level of an authentic adversary but rather kinda/sorta bumbling, too, into bits of rather casual evil. Their introduction is a bit rushed – almost to the point wherein Flemyng and company expected ticket buyers would show up already knowing who they were and what they stood for – so their reveal is rather blasé. Instead of committing egregious sins, they’re given more speeches threatening to ‘bust a cap’ as soon as they can get all their ducks in a row, and who among us doesn’t know that in fiction talk is cheap? Some modest practical effects work – Daleks shooting steam, menacing claws, etc. – do elevate the threat level enough so that audiences can take what little action there is seriously, but these forever slow-moving and cumbersome machines come off here as ill-conceived (at best) and ‘Chatty Kathys’ (at worst).
Perhaps what Flemyng ultimately got right in this presentation is that Doctor Who – as the entity – was always really intended as a character meant to inspire the young or the young-at-heart. Back in Who’s heyday, it was largely entertainment for entertainment’s sake; while a lesson could’ve been learned along the way or a sermon delivered about good and evil, such storytelling was still more about dishing out some vivid sights, sounds, and characters meant to tickle fancies more than they ever were to produce shock and awe. Thus, giving aspiring actress Tovey so much screen time likely won over the provincial kiddies watching – she truly is a delightful Susan – even if that meant revamping the Doctor into more of a ‘Willy Wonka’ type character who would plod about more as a follower-in-chief than commander. Similarly, Ian dishes out a good deal of vaudeville-style pratfalls, too, oft underscoring that no one here was ever in any real jeopardy, a sentiment that the adults in the crowd probably appreciated as much.
Thankfully, his companions – granddaughters Barbara (played by Jennie Linden) and Susan (Roberta Tovey) along with Barbara’s incessantly bumbling boyfriend Ian (Roy Castle) – do strongly adhere to those values aptly demonstrated in the long-running TV show’s core mythology. While they’re not above mixing it up when completely necessary, the trio do far more to represent Who’s sanctity of preserving all life as the first, best alternative. Once they realize that the options are limited, they adapt their composures and fight to the finish alongside the Thals in the final reel, never resorting to the somewhat bloodthirsty countenance that the Doctor possesses in the procedure.
Furthermore, the script not only mischaracterizes its lead protagonist but also mostly gets the central antagonists wrong: the Daleks here are unusually impotent, never quite rising to the level of an authentic adversary but rather kinda/sorta bumbling, too, into bits of rather casual evil. Their introduction is a bit rushed – almost to the point wherein Flemyng and company expected ticket buyers would show up already knowing who they were and what they stood for – so their reveal is rather blasé. Instead of committing egregious sins, they’re given more speeches threatening to ‘bust a cap’ as soon as they can get all their ducks in a row, and who among us doesn’t know that in fiction talk is cheap? Some modest practical effects work – Daleks shooting steam, menacing claws, etc. – do elevate the threat level enough so that audiences can take what little action there is seriously, but these forever slow-moving and cumbersome machines come off here as ill-conceived (at best) and ‘Chatty Kathys’ (at worst).
Perhaps what Flemyng ultimately got right in this presentation is that Doctor Who – as the entity – was always really intended as a character meant to inspire the young or the young-at-heart. Back in Who’s heyday, it was largely entertainment for entertainment’s sake; while a lesson could’ve been learned along the way or a sermon delivered about good and evil, such storytelling was still more about dishing out some vivid sights, sounds, and characters meant to tickle fancies more than they ever were to produce shock and awe. Thus, giving aspiring actress Tovey so much screen time likely won over the provincial kiddies watching – she truly is a delightful Susan – even if that meant revamping the Doctor into more of a ‘Willy Wonka’ type character who would plod about more as a follower-in-chief than commander. Similarly, Ian dishes out a good deal of vaudeville-style pratfalls, too, oft underscoring that no one here was ever in any real jeopardy, a sentiment that the adults in the crowd probably appreciated as much.
Dr. Who & The Daleks (1965) was produced by AARU Productions, Amicus Productions, and BBC-TV Productions. DVD distribution (for this particular release) has been coordinated by the fine folks at Severin Films. As for the technical specifications? While I’m no trained video expert, I can still assure you that this all-new 4K restoration (from the Techniscope Negative) looks and sounds fantastic. Colors are especially crisp and pop, and the cinematography is truly brought to life by the effort. The transfer truly looks good, and I’m thrilled to have discovered it this way as opposed to any earlier opaque television broadcast airing.
Lastly, if you’re looking for special features? Again, Severin never fails to delight fans, and there’s plenty to get excited about here. The two-disc set boasts interviews, stills, and documentaries, along with three commentary tracks. (A bit of warning: after listening to all three, I strongly endorse the one featuring stars Linden and Tovey if you’re looking for actual insights into the production. The first track – with Barry Forshaw, Stephen Jones, and Kim Newman – is particularly awful as the three of them speak at breakneck speed, often times talking over-the-top of one another to the point of it being little more than verbal gibberish. The last one – with Kim Newman and scribes Robert Shearman and Mark Gatiss – is quite good as well, but it’s ill-conceived as a ‘commentary track.’ It would’ve been better served to have been produced as a roundtable conversation – with video snippets inserted – as they’re rarely talking in any great depth about this film, instead comparing it to the wider Who mythology. It’s good, but it's a bit frustrating in this format.)
Recommended … more so as an oddity than anything else.
Sadly, Dr. Who & The Daleks never tapped the creative vein properly, so there’s little surprise that this occasionally interesting but still rather bland movie is forgotten if even heard about by most. Some of the fault is owed to the fact that as scripted it really only focuses on the villains – the Daleks – never quite delivering a central protagonist – the good Doctor – worthy of standing toe-to-toe with them in conflict. Cushing’s take is good-natured enough to watch, but grounding the alien as instead a mere mortal and somewhat doddering elderly grandfather diminishes any significant reason to watch what he can do as a marquee presence here, and the characterization often stands in direct opposition to the famed do-gooder TV audiences came to know and love. A near-miss of galactic proportions, the film really only has nostalgia to offer: if that’s enough, then give it a whirl. At a slim 82 minutes running time, what have you go to lose?
In the interests of fairness, I’m pleased to disclose that the fine folks at Severin Films provided me with a complimentary Blu-ray of Dr. Who & The Daleks (1965) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Lastly, if you’re looking for special features? Again, Severin never fails to delight fans, and there’s plenty to get excited about here. The two-disc set boasts interviews, stills, and documentaries, along with three commentary tracks. (A bit of warning: after listening to all three, I strongly endorse the one featuring stars Linden and Tovey if you’re looking for actual insights into the production. The first track – with Barry Forshaw, Stephen Jones, and Kim Newman – is particularly awful as the three of them speak at breakneck speed, often times talking over-the-top of one another to the point of it being little more than verbal gibberish. The last one – with Kim Newman and scribes Robert Shearman and Mark Gatiss – is quite good as well, but it’s ill-conceived as a ‘commentary track.’ It would’ve been better served to have been produced as a roundtable conversation – with video snippets inserted – as they’re rarely talking in any great depth about this film, instead comparing it to the wider Who mythology. It’s good, but it's a bit frustrating in this format.)
Recommended … more so as an oddity than anything else.
Sadly, Dr. Who & The Daleks never tapped the creative vein properly, so there’s little surprise that this occasionally interesting but still rather bland movie is forgotten if even heard about by most. Some of the fault is owed to the fact that as scripted it really only focuses on the villains – the Daleks – never quite delivering a central protagonist – the good Doctor – worthy of standing toe-to-toe with them in conflict. Cushing’s take is good-natured enough to watch, but grounding the alien as instead a mere mortal and somewhat doddering elderly grandfather diminishes any significant reason to watch what he can do as a marquee presence here, and the characterization often stands in direct opposition to the famed do-gooder TV audiences came to know and love. A near-miss of galactic proportions, the film really only has nostalgia to offer: if that’s enough, then give it a whirl. At a slim 82 minutes running time, what have you go to lose?
In the interests of fairness, I’m pleased to disclose that the fine folks at Severin Films provided me with a complimentary Blu-ray of Dr. Who & The Daleks (1965) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
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