william hartnell

Doctor Who – The Tenth Planet

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The Tenth Planet is a landmark story for several obvious reasons (it’s the final regular outing for Hartnell’s Doctor and the Cyberman make their first appearance). It also introduces a story type that will become very familiar over the next year or two (base under siege) as well as anticipating the science heavy format of season seven (the numerous scenes of Snowcap personnel attempting to talk down the doomed capsule could have fitted snugly into The Ambassadors of Death, for example).

There’s a lot going on, not least a bullish performance by Robert Beatty as General Cutler. Like several future base under siege commanders, Cutler takes no nonsense (to put it mildly) and as the stakes grow higher his sanity begins to crumble. So by the end of the story he poses as great a danger as the Cybermen (cf Jarvis Bennett in The Wheel in Space).

Beatty’s not only the serial’s leading guest star, he’s pretty much the lead until the beginning of episode four. That means that William Hartnell, in his final story, has been relegated to guest star status in his own series.

As ill health forced him to miss episode three and the last episode is missing, the first two episodes are where we get our final opportunity to see Hartnell in action. And he doesn’t have a great deal to do – the Doctor, Ben and Polly, once they’re brought into the Snowcap base, are largely passive observers.  The Doctor does attempt to share his knowledge with Cutler, but he’s rudely rebuffed and forced to sit on the sidelines.

Ben gets a little bit of action in episode two when he destroys a Cyberman (and is the recipient of some of Hartnell’s lines in episode three) whilst Polly joins the Doctor in attempting to confront the emotionless Cybermen.

Ah yes, the Cybermen. Visually it’s fair to say that they’re unforgettable, although it’s easy to understand why the costume was swiftly amended for later appearances (that lamp on the top of their head must have been very uncomfortable). But although they look rather comic and hastily flung together, there’s also something deeply disturbing about the Cybermen Mk 1 – the voices especially.

Their conversational tone (“that was really most unfortunate. You should not have done that”) is one reason why. Plus when would you ever again hear the Cybermen using the word please? And the scene where their leader stalks around the command centre asking everybody their name and age, etc is another of those odd moments that really stands out.

Kit Pedler seems to stick pretty close to scientific fact during the early Snowcap tracking room scenes. But when Mondas makes its first appearance we’re firmly in the land of science fantasy. Mondas, the twin of Earth, somehow broke free of its orbit and has been zooming around the galaxy for some considerable time. Now the Cybermen have returned (how?) as their planet is dying and they decide that Earth should supply the energy they need.

And as a nice bonus, they’ll take the entire human race over to Mondas and convert them into Cybermen.

Many Cyber stories feature madcap plotlines that make very little sense when you examine them closely, so it’s good to see that The Tenth Planet begins this tradition very securely. Attack of the Cybermen did make a half-hearted attempt to explain how Mondas could move at will, but it’s best not to worry about it too much (after all, the Moon did very much the same thing in Space 1999).

The Snowcap base is a pleasingly international one. The far off setting of 1986 (twenty years in the future) helps to explain this – no doubt it was hoped by then that the world’s top nations would have pooled their resources in order to explore space. Mind you, it’s impossible not to notice that the top dog is an American (I know Beatty was Canadian, but I think it’s most likely he was playing a US character) whilst the Russians are nowhere to be seen ….

But although an American is in charge, I feel a sense of national (British) pride when observing that the chief scientist, Barclay (David Dodimead), hails from the UK. We may not have the big bucks of our American cousins, but plucky British know-how is clearly still valued in the future (it’s somehow fitting that Barclay wears a comfortable cardigan rather than a futuristic overall).

The accents come thick and fast. The soon to be bumped off Tito, played by Shane Shelton, is clearly an Italian (he’s fond of singing La donna è mobile and saying ‘Mama Mia’ just to hammer this point home). An American sergeant (played by John Brandon) is equally strident, but since Brandon was really an American we’ll have to cut him some slack.

By episode three, Cutler’s sanity is ebbing away at a rate of knots. The tipping point is the realisation that his son, Terry (Callen Angelo), has been sent into space in a doomed attempt to rescue the Zeus 4 probe (which, due to the influence of Mondas, has already been destroyed). I like the way there’s a slight softening of Cutler’s implacable nature when he first speaks to Terry – he begins informally (“hello son”) but instantly seems to stiffen and become more business-like.

It’s the last human touch we see from him, as he then decides that Mondas has to be destroyed with the Z-bomb (“It’s a doomsday weapon, Mister, and rightly primed it could split that planet in half”). Denied authority to use it by Geneva (I wonder if UNIT were just down the corridor from Space Control?) he elects to do so anyway.

The fact it might cause millions of deaths on Earth seems not to worry him (an obvious pointer to his disturbed mental state). By this point he’s got tunnel vision – if Mondas is destroyed then his son has a chance of life and anything else that happens will just be collateral damage.

The small advance party of Cybermen were destroyed in episode two and reinforcements don’t feature greatly in the next episode (apart from a film sequence where they’re easily beaten off).  This, in addition to the way they’re dispatched in the final episode when they do reappear in force, means that – as yet – they’ve yet to establish their reputation as a powerful or implacable foe.  Indeed, it’s probably best to regard The Tenth Planet as a tale somewhat divorced from the Cybermen’s later exploits – the Cybs, as we’ll grow to love them, don’t appear until The Moonbase.

The absence of the Cybermen, not to mention the Doctor, helps to explain why episode three sags a little. But the pace picks up again at the beginning of the final episode as Cutler, on learning that the rocket has been sabotaged, now totally flips and the re-emergence of the Doctor doesn’t do anything to cheer him up ….

Finally, the Doctor begins to take control (typical that his best scenes are mainly confined to the one episode that’s missing) after the Cybermen reappear and kill Cutler. For the first half of the episode the lapel-clutching Doctor of old takes his final bow, assuming temporary command of the Snowcap base with ease and entering into negotiations with the Cybermen.

These scenes are bittersweet, especially since we know that the end is now so near. The second half of the episode finds the Doctor weak and disorientated, suggesting that he’d had to summon up all his remaining energy in order to confront the Cybermen.

His penultimate line (“It’s far from being all over”) is a strangely prophetic one and would have been apt final words for him (“keep warm” lacks a little something, but it’s still quite touchingly delivered).

As for the Cybermen, they’re all destroyed when Mondas disintegrates, which is exactly what the Doctor predicated earlier on. Had Cutler taken his advice, he might have lived to see his son again (the destruction of Mondas meant that Zeus 5 was able to return home safely).

There’s something very touching about the Hartnell/Troughton handover. Unlike all his successors, Doctor Who was really Hartnell’s last hurrah. He’d have a handful of stage and television roles during the next few years, but a mixture of ill heath and disillusionment with the parts he was being offered means that Doctor Who stands as his career epitaph.

It was by no means the whole of his career though – anyone who’s ever enjoyed his time as the Doctor would be well advised to investigate his film work as there’s plenty to enjoy there.

We often hear that it was the Daleks who secured Doctor Who‘s long term future. They certainly played a part (and I’m sure the BBC enjoyed all the merchandising money) but they weren’t in the show week in and week out. But William Hartnell was (apart from the odd occasion when he was enjoying a well-earned holiday) and had the series lacked a strong central character able to engage the interest of the public it’s doubtful whether Doctor Who would have run past its initial 13 episodes.

Thank you and goodbye, Bill. I’m going to miss you.

Doctor Who – The Smugglers

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The Doctor, no doubt looking forward to a spot of peace and quiet at last, finds his TARDIS gatecrashed by Ben and Polly. And what’s worse, the trio are then swiftly transported to seventeenth century Cornwall where pirates aplenty have skullduggery on their minds ….

The introduction of Ben and Polly as companions feels a tad awkward. Polly uses a spare TARDIS key to gain access to the ship which is fair enough, but when the Doctor saw them coming through the door why didn’t he just ask them to step out again? Unlike his kidnapping of Ian and Barbara, by this point in the series’ history he seems less concerned about becoming a public figure so it must be that he secretly wanted them to go with him.

Both seem to accept the fact they’ve been transported to Cornwall quite calmly, although Ben is adamant for a while that there’s no way they can also have travelled through time. Hmm, why accept the one but not the other?

It’s not long before the Doctor temporarily parts company with them. The Doctor is carted off by a knife-wielding pirate called Cherub (George A. Cooper) to meet Captain Samuel Pike (Michael Godfrey) whilst Ben and Polly find themselves accused of the murder of Joseph Longfoot (Terence de Marney). Longfoot was the local church warden, but in an earlier life he had been a comrade of Cherub and Pike, and his old shipmates have returned to search for the treasure (me hearties) that Longfoot stole from them.

What I find really appealing about The Smugglers is the ripeness of both the dialogue and performances – it’s the sort of story that’s played with gusto by all concerned. Terence de Marney sets the tone in this respect and things then pick up another gear when George A. Cooper appears on the scene.

The difference between Cherub (vicious, sardonic) and Pike (equally vicious but with a veneer of civilisation) is something that’s wickedly exploited by the Doctor. Taken captive by Cherub, who’s convinced that he knows the location of Avery’s treasure, the Doctor is more than able to play on Pike’s weaknesses. This displeases Cherub, but Pike tells him that “one more word out of you and I’ll slit your gizzard, right? Now, let us talk together like gentlemen. Eh, Doctor?”

The dialogue between the trio is packed with other gems like this –

PIKE: Well, Doctor, ye had best start using your cleverness. So talk, before I let Cherub have ye.
CHERUB: Let me show him first, Captain, ay? Let me give him a taste of Thomas Tickler.
PIKE: He’d be a credit to your trade, would Cherub, Doctor. A touch like an angel’s wing he has with that blade.
CHERUB: Sharp as a whistle, it is. Ever seen a head with no ears, sawbones, ay? Or what them Mexican Indians can do to a bloke’s eyelids, ay?
DOCTOR: You vicious fellow. Get him off my back!
CHERUB: Don’t you talk to me like that. Oh, Captain, give me the word. Just give me one minute. I’ll have the words spilling out of him like blubber from a whale.
PIKE: Well, Doctor? Will ye loosen your tongue or lose it altogether?

He might be on the verge of departure, but there’s no sense in this story that Hartnell’s powers are waning. But I suppose it’s true that had he stayed for a complete fourth season then eventually he might have found himself worn down (in various contemporary interviews he did confess that the almost year-long production treadmill was very wearying)

The Smugglers is also a good vehicle for both Ben and Polly as, separated from the Doctor, they’re forced to use their wits in order to talk themselves out of several tight situations. Mind you, the way they convince Tom (Mike Lucas) that he’s been cursed is rather cruel. It’s played lightly, as is most of the story, but there’s a darker edge to it.

As we reach halfway, the likes of Paul Whitsun-Jones (Squire Edwards) and John Ringham (Josiah Blake) both begin to make their mark. Whitsun-Jones gives an entertaining turn as the corrupt Squire who unwisely enters into an agreement with Pike and soon discovers he’s out of his depth. Ringham has a little less to play with, as Blake is on the law’s side and so has to be played straighter, but he was the sort of solid, dependable actor who’d always add a touch of weight to any series.

Shortly after the Squire realises the folly of attempting a deal with Pike, he also discovers that some of his own associates, such as Kewper (David Blake Kelly), are equally as bloodthirsty. The Squire is unwilling to allow the Doctor, Ben and Polly to be killed in cold blood (“let us behave like gentlemen”) which infuriates Kewper (“Gentlemen? Was this gold got by gentlemen? Is it now to be got by kindness?”).

I find it interesting that The Smugglers is more bloodthirsty and violent than you might expect from a Saturday evening tea-time programme. After the Doctor bamboozles Jamaica (Elroy Josephs) and escapes, Pike threatens his unfortunate underling in the most vivid and florid manner possible. “I’ll tear your liver out and feed it to the sharks, ye sea slime. I’ll cast a spell on ye, me pretty death’s-head. A spell that’ll run from ear to ear.”

These colourful pirate phrases are part and parcel of a story of this type, and when Pike swiftly changes tack and asks Jamaica’s advice, the moment of danger seems to have passed. So the fact that the scene ends with Jamaica’s death (“Fare ye well, Jamaica”) is the sort of unexpected move which helps to keep the audience on their toes.

Thanks to the squeamishness of the Australian censors, several brief moments of violence still exist in video form. Quite how the episodes would have looked after they were excised is anyone’s guess – that the episode three cliffhanger sees Kewper die with a knife in his back would no doubt have been the hardest to deal with.

In other news, we’ve come a long way in just under three years. At the start of the series, the Doctor was a somewhat amoral and selfish character, only keen to assist others if it was in his own self interest (The Daleks, for example).  But by this story he’s totally changed – telling Ben late on that they can’t simply escape in the TARDIS because they have a moral obligation to stay and prevent Pike’s imminent attack on the village.

Over the course of these four episodes, the characters of Ben and Polly begin to solidify. Ben’s hot-headed, easily riled and prone to rush at an obstacle head-on.  Polly’s quieter, more genial and playful, but certainly no pushover. How they would have interacted long-term with Hartnell’s Doctor is a moot point – but there’s enough here to suggest that the trio could have worked well on-screen (although off-screen, it’s no secret that the elder actor found he had very little in common with his younger co-stars).

The body count increases in part four as Pike and Cherub fall out (Pike comes out on top and thanks to the Australian censor again, we’re able to see the moment when he dispatches Cherub). That’s a pity, as George A. Cooper was certainly good value throughout, but then it was hard to go wrong with the sort of lines he was given.

As with many historical stories, the Doctor has to sit on the sidelines as the story comes to a climax (the revenue men, lead by Blake, cross swords with Pike’s motley crew). The visual nature of such a scene doesn’t work particularly well in audio but that’s only a minor quibble.

The Smugglers isn’t a story that many people seem that interested in seeing again. But I do. A cracking guest cast, Hartnell still sounding as if he’s enjoying himself (possibly because he knew it was nearly the end?), location filming in Cornwall, plenty of action for Ben and Polly. Yes please, I’d take all that.  If by some miracle it does ever resurface I think it would pleasantly surprise a lot of people.

But even with just what we’ve got left – the soundtrack, telesnaps and censor clips – it’s possible to get a good feel for the story. If you’ve not experienced it for a while, then give it another go – anyone who enjoys a blood and thunder pirate yarn surely won’t be disappointed. 4 TARDISes out of 5.

Doctor Who – The War Machines

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For those rewatching the series in chronological order, The War Machines is something of a jolting experience. For the first time since Planet of Giants we have a story set entirely in modern day Britain and for the first time ever the Doctor is shown out and about, enjoying the sights of 1960’s London (especially the Post Office Tower, which back in the mid sixties stood as a key symbol of technological development).

With Dr Kit Pedler now onboard as the series’ scientific advisor, it’s easy to detect his influence. As would later happen in Doomwatch, a scientific hot topic (in this case the fear that computers could become sentient and take over) is at the heart of the story. Indeed, Doomwatch would tackle this theme some years later in The Iron Doctor.

In The War Machines, WOTAN – a super-computer with ideas above its station – decides that the human race should be under its control. WOTAN decides to achieve this goal by brainwashing selected humans and forcing them to build the titular war machines. This is where the logic of the story starts to evaporate as the WM’s not only look very clunky and inefficient, it’s hard to see how they could hope to subjugate a city (today London, tomorrow hopefully the world).

Earlier on, we saw WOTAN recruiting helpers via the telephone – broadcasting an irresistible hypnotic signal. If somehow WOTAN could have developed this idea (a television broadcast maybe?) then that might have worked a little better. Ah well, it’s too late to worry about the plot now.

Ian Stuart Black, returning for a second story in a row, took the original idea by Kit Pedlar (and then roughed out by Pat Dunlop – father of Lesley) and turned out the four scripts. As in The Savages, Stuart Black wasted no time getting the Doctor involved in the story – he gains access to WOTAN and its inventor, Professor Brett (John Harvey), with embarrassing ease and shortly afterwards becomes a house guest of Sir Charles Summer (William Mervyn) in the same casual manner. This feels a little odd, but let’s just go with the flow.

The War Machines drops the Doctor right in the heart of Swinging London (well, let’s say it’s slightly swaying). The Inferno (“the hottest nightspot in town”) is a hoot, peopled with slightly jiving respectable types and library cues courtesy of Johnny Hawksworth.

At the Inferno, we meet Polly (Anneke Wills) and Ben (Michael Craze) who are Innes Lloyd’s attempt to create more modern companions (they certainly seem to be from a very different generation to Ian and Barbara). Next to them, poor Dodo is clearly surplus to requirements and after she suffers a spot of brainwashing from WOTAN, her time is up. Cured by the Doctor in episode two, she’s then packed off to the country for a good long rest and is never seen again.  Even though she hadn’t been with the series that long, it’s a remarkably off-hand way to deal with a regular character.

I wonder if a year later Wills and Craze remembered her fate when they were dispensed with in a similar fashion ….

One problem with The War Machines is that it employs good actors – John Harvey (Professor Brett), John Cater (Professor Krimpton) and Alan Curtis (Major Green) – and then rather wastes them since once they become slaves of WOTAN they just turn into dull automatons. I know that’s a point of the story, but it means that scenes with them are rather hard going.

Luckily we do have William Mervyn as the avuncular Sir Charles Summer, who teams up with the Doctor to form an agreeable double act. He’s a prototype of a character type who reappears time and again during the Pertwee era. But whilst the Pertwee Doctor delighted in clashing with figures of authority, the Hartnell Doctor is content to be more conciliatory (although the Doctor and Sir Charles do have a brief difference of opinion).

The fact that the army turn up (and prove to be fairly ineffectual) is another story beat that hints at the way the series would develop once UNIT became a regular feature.

Michael Craze is particularly well served during the second half of the story. With Polly now under the thrall of WOTAN, it falls to an increasingly hysterical Ben to raise the alarm. His anger at Sir Charles (when the older man dismisses his wild tales of killer machines) is well done as is the way Ben gradually becomes the Doctor’s side-kick. Given Ben’s military training it’s easy to see why he so swiftly defers to the Doctor (no previous companion or companion-to-be has ever called the Doctor ‘sir’ but it seems natural for Ben to do so).

Polly doesn’t have quite so much to do, but Anneke Wills is gifted plenty of close-ups as Polly begins to fight against WOTAN’s influence.

The conclusion of the story – the Doctor sends a reprogrammed War Machine to destroy WOTAN – feels somewhat anti-climactic. You can’t help but wonder how it reached the top of the Post Office Tower, where WOTAN had its base. Does the Post Office Tower have very large lifts? If so, then I wonder how the War Machine managed to select the correct floor with its big clod-hopping arms.

The War Machines is a real curio then. You have to appreciate the fact it was a trail-blazer in many ways – the novelty of seeing the Doctor in modern-day London, the introduction of Ben and Polly, the way it inadvertently foreshadowed the way the series would develop during the late sixties/early seventies – but the story doesn’t quite hang together. I’ll still give it 3.5 TARDISes out of 5 though.

Doctor Who – The Savages

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The moment the Doctor declares that they’ve reached an an age of peace and prosperity you know there’s going to be a sting in the tail very soon ….

The Savages is an obscure one.  Lacking a monster and with only a brief few clips and limited photographic material available to supplement the audio soundtrack, that’s not really surprising.  But whilst the storyline – a seemingly ideal society is revealed to have been built on evil foundations – is fairly routine SF fare, it shouldn’t be dismissed lightly.

I will concede that some parts are odd though. The notion that the Elders of this unnamed planet know all about the Doctor (they’ve dubbed him ‘The Traveller from Beyond Time’) because they’ve been following his adventures from the comfort of their advanced city is pretty bizarre.  It’s the sort of thing you’d expect to see in the TV Comic Doctor Who strip.

But I suppose it does help to integrate the Doctor into the plot quite quickly. His already established status means that he’s not required to prove his worth – as soon as he turns up he’s feted as an honoured guest and given an impressive cloak to wear.

At the same time the Doctor is hob-nobbing with Jano (Frederick Jaeger), the leader of the Elders, Steven and Dodo are given a conducted tour of the city.

We’re not that far into the first episode and already the alarm bells should be ringing for the viewer. Avon (Robert Sidaway) and Flower (Kay Patrick) are both attentive hosts, but Dodo’s not entirely satisfied (“every time I want to see something, they stop me”). On the other hand, Steven is quite prepared to endure this guided tour uncomplainingly.

Making Dodo the questioning one offers her a belated spot of character development, but the downside is that Steven then comes across as a little dim, as he seems to accept without question that the Elders have created a paradise where anything they want will be provided for them on a plate.

There has to be a price of course, and this is the torture of the other race on the planet (referred to by everyone simply as the “savages”). Back in 1966, memories of WW2 would still have been fresh in the memories of many (Terry Nation, for example). The way the young savage Nanina (Clare Jenkins) is strapped to an operating table and watched dispassionately by a group of scientists is a disturbing one which can’t help bringing to mind echoes of Nazi experiments.

After Dodo goes her own way and pokes her nose where she shouldn’t (when Flower suggests she wouldn’t have gone down the forbidden corridor, a sadly resigned Steven tells her that “you don’t know her. She’d go anywhere”) we’re given another sign that the outwardly benevolent world of the Elders is only skin deep. Having failed to keep Dodo in check, Avon and Flower are collected by the guards.

Avon attempts to reassure her, telling Flower that “this is a free state, isn’t it, and we are all equal here”. The fact they are roughly escorted away and simply vanish without trace from the story is a disquieting touch. It certainly carries more punch than any on-screen punishment could.

That the Elders draw the life force from the savages (not killing them, but leaving them barely alive afterwards) in order to replenish themselves is the dirty secret at the heart of their paradise.  It’s the cue for a pulsating scene where the Doctor and Jano face off (such a pity this doesn’t exist on video, as Hartnell sounds to be on cracking form).

JANO: You are standing in the way of human progress.
DOCTOR: Human progress, sir? How dare you call your treatment of these people progress!
JANO: They are hardly people, Doctor. They are not like us.
DOCTOR: I fail to see the difference.
JANO: Do you not realise that all progress is based on exploitation?
DOCTOR: Exploitation indeed! This, sir, is protracted murder!

Character development in The Savages is fairly rudimentary. The two leaders – Jano for the Elders and Chal (Ewan Solon) for the savages – are the ones who emerge as the most rounded individuals. Solon overcomes the handicap of what looks to be fairly unforgiving old-age make up to give Chal a fairly noble air whilst Jano (once he’s taken on the Doctor’s life force) does something similar.

Frederick Jaeger treats us to a fairly accurate Hartnell impression (plenty of hmming) after this happens. The ultimate outcome – the Doctor’s imported conscience finally brings Jano to his senses after all these years – is a neat way of pushing the story towards a conclusion, although part of me wishes that the Elders could have been swayed by arguments as well. As it is, they only seem to capitulate once their laboratory is destroyed and they no longer have the means to experiment on the savages (this always supposes that it couldn’t be rebuilt from scratch).

Since the rest of the Elders are fairly anonymous types, we never find out what they really think of the situation, so once the Doctor toddles off in the TARDIS pretty much anything could happen. Although since Steven has been left behind as their new leader, let’s hope that he’s able to keep the peace.

The faltering friendship between a guard called Exorse (Geoffrey Frederick) and Nanina, which begins in the penultimate episode, does suggest that the future might be a positive one though. Held prisoner by the savages, the previously belligerent Exorse (who earlier had captured Nanina) gratefully accepts the small kindnesses of Nanina when she treats his wounds.  Maybe a little more could have been made of this, although when Exorse returns to the city he doesn’t give his new savage friends away, which shows that his loyalties were already beginning to shift.

So we have to bid farewell to Steven. The nature of his departure is a bit abrupt (although it’s not half as abrupt as Dodo’s upcoming exit). As with previous departures, it’s easy to imagine that Hartnell was as sorry to see Purves go as the Doctor was to leave Steven behind. It’s nice that a few small scraps of 8mm cine-camera footage captured their final scene together.

The Savages might err on the predictable side, but since it’s a four-parter, like most of season three, it never outstays its welcome. I’ll give it 3 TARDISes out of 5.

Doctor Who – The Gunfighters

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Back in the olden days (let’s say up to the late eighties/early nineties) we all knew for a fact that The Gunfighters was an embarrassment. It was the lowest rated Doctor Who story ever (except it wasn’t) and choc-full of terrible performances (except it wasn’t). Jeremy Bentham’s summation in Doctor Who – A Celebration (1983) was typical of the lack of love it generated at the time. “The script was pure Talbot Rothwell, the acting was not even bad vaudeville and the direction was more West Ham than West Coast. It was not good. It was bad and ugly”. Ouch!

If you’re a Doctor Who fan of a certain age, then you probably grew up learning about the series’ illustrious past in great detail before you ever got the chance to watch it (in the UK, repeats of older stories were scarce to non-existent). But by the late eighties this was changing – most of the available episodes could be accessed in wobbly quality if you had a contact in the pirate video network and by the early nineties they were being broadcast in a more watchable form on UK Gold.

It was around this point (when we could actually see The Gunfighters) that opinions about it began to shift. Indeed, early 1990’s A5 DW fanzine culture was a bracing thing – full of twentysomethings who delighted in overturning the received opinions of their elders. So for a while, Pertwee was definitely out of fashion whilst the previously neglected Hartnell era was reassessed much more favourably.

Quite why The Gunfighters should have been the target of so much vitriol is a bit of a mystery, but when stories like that were out of circulation it shows how just a handful of people (Jeremy Bentham amongst them) could shape the debate. We took it for granted they knew what they were talking about ….

I will concede the some of the American accents (yes, the Clanton brothers, I’m looking at you) are a little suspect. Even more suspect is the way the story plays fast and loose with historical fact – if you want to learn about what really happened at the O.K. Corral then it’s best not to trust Donald Cotton.

But those quibbles apart, I can find little to complain about. Hartnell’s in great comic form during the early episodes as the Doctor, suffering from toothache, is forced to seek respite with Doc Holliday (Anthony Jacobs), who by a remarkable coincidence has just opened up a dental establishment in Tombstone. The fun keeps on coming after the Doctor then runs into Seth Harper (Shane Rimmer) who’s teamed up with the Clantons in order to run Holliday to ground.

HARPER: Doc!
DOCTOR: What? Yes, yes, what is it?
HARPER: Holliday!
DOCTOR: Holiday? Yes, I suppose so. Yes, you could call it that.

From such small acorns do mighty oaks of confusion grow. With the Doctor mistaken for the infamous Doc Holliday, comic sparks will fly. After being sidelined during The Celestial Toymaker, Hartnell is now back to his best – give him some decent material to work with and he’d never let you down.

Peter Purves and Jackie Lane both fare very well too. Purves disliked this story for decades as he found director Rex Tucker a difficult man to work with. But even if Tucker didn’t give him a great deal of direction, Purves still emerges with honour (like Hartnell, he was able to pepper the episodes with sharp comic touches – such as his exaggerated double-take when he discovers Charlie’s dead body).

Dodo falls into the company of Doc Holliday and Kate (a delightfully blowsy performance from Sheena Marshe) and during this association is gifted a handful of good lines and bits of business (drawing a gun on Doc Holliday, for example). It’s not much, but considering Dodo’s lack of character development so far it’s a lot more than she’s been used to.

And that’s a real shame because there are signs here that, given the right scripts, Jackie Lane could have been an asset for the series. But her time is already almost up (we’ll discuss the terrible way she was dispensed with in a couple of stories time).

John Alderson (British born, but American based, so his US accent sounded authentic) and Richard Beale were another couple of strong additions to the cast. Alderson’s byplay with Hartnell is always entertaining and Beale was the sort of dependable supporting player who would never leave you down. Add in David Rimmer as the permanently nervous barman Charlie (who comes to a sticky end) and Lawrence Payne as the man in the black hat and you’ve got a very strong cast (far removed from the embarrassment we were told about).

As with The Myth Makers, the story gets darker as it goes on. Steven nearly gets himself lynched whilst the hapless Warren Earp (Martyn Huntley) is murdered by Billy Clanton. And suddenly the Clantons don’t seem quite so comic …

Another criticism of the story is that the Doctor takes no part in the infamous Gunfight at the O.K. Corral (although how exactly would he have fitted in?). True, this means that the climax of The Gunfighters doesn’t involve the Doctor, but this sort of thing was a problem that the historical stories often struggled with.

Oh, and I’ve always found the Ballad of the Last Chance Saloon (another aspect of the story that many dislike) to be good fun. The way the lyrics continually keep updating in order to archly comment on the unfolding narrative is a little touch of genius.

One thing that even the carping 1980’s reviews couldn’t disparage was the quality of the sets. When Seth Harper takes a fatal bullet and slumps on the bar of the Last Chance Saloon it wobbles in a most unconvincing way, but apart from that the sets look solid and convincing (plus you get real horses during the Ealing filming!). Whilst it seems that Rex Tucker had his issues when directing, there’s no sense that he was slapdash or disinterested – often we see shots from unusual angles (either low or high) which suggests he was keen not to settle for anything too obvious.

It’s not perfect (but then what is?) but I’m happy to give The Gunfighters 4 TARDISes out of 5.

Doctor Who – The Celestial Toymaker

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Poor old Celestial Toymaker. It’s one of those stories that’s languished in obscurity for decades – probably ever since 1991 when its only surviving episode (The Final Test) was released on VHS and the less than thrilling hopscotch game was once again seen in all its glory.

It’s fair to say that The Final Test doesn’t show the serial at its best – if any of the first three episodes also existed I’ve a feeling that we’d think better of it. Given the production issues The Celestial Toymaker had to overcome (a restricted budget and numerous rewrites) it’s possibly not surprising that it feels a little rough round the edges. And yet …

I’m never averse to the series trying something different – especially since once Innes Lloyd gets his feet firmly under the table he’ll format DW much more rigidly than its ever been before (I hope you like base under siege stories, as pretty soon you’re going to get an awful lot of them). The Celestial Toymaker‘s childlike fantasy world is like nothing we’d seen before and would rarely see again (apart from The Mind Robber).

Unlike most stories where there’s scientific (or at least pseudo-scientific) reasons for whatever happens, here we just have to accept that the Toymaker (Michael Gough) is a fantastically powerful being who can trap people and force them to play his games. Refreshingly (unlike in The Mind Robber) he doesn’t have galactic conquest on his mind – he’s simply bored and wishes to be entertained. As the story progresses we learn little about him – apart from the fact that he and the Doctor have met before.

As the episodes tick by, one obvious weakness is that Gough ends up being rather underused. After his impressive entrance in the first episode, the Toymaker spends most of his time with a mute and disembodied Doctor (Hartnell taking the opportunity to enjoy a few week’s holiday). So he’s got little to do except keep an eye on the Doctor’s progress in the trilogic game and pop up every so often to annoy Steven and Dodo as they battle through a series of different games.

The world of the Toymaker initially delights Dodo, who so far has been played as little more than an over-enthusiastic child. Steven’s less enamoured with some of the silly games they’re forced to play (I like to think a little of Peter Purves’ attitude was seeping through here).

One thing that appeals to me is the way that Campbell Singer, Carmen Silvera and Peter Stephens keep reappearing in consecutive episodes as different characters. It helps to keep the budget down of course, but it’s also a chance for Singer and Silvera especially to stretch their acting muscles (a pity that neither appear in the final, existing, episode).

In part one they’re a pair of clowns – Joey and Clara. Joey doesn’t speak (he just, Harpo Marx style, honks a horn) whilst Clara has an incredibly annoying high pitched voice.  With very little photographic material in existence, the game they play with Steven and Dodo seems to stretch on interminably.

Things pick up in episode two – The Hall of Dolls – as they’ve now been reincarnated as the King and Queen of Hearts – joined by Stephens as the Knave of Hearts and Reg Lever as the Joker. Singer’s performance as an amiable old duffer with Silvera offering strong support as his stern wife enlivens proceedings enormously (without them, the game of hunt the chair would have been far less fun).

Indeed, as I made my through the story this time, Campbell Singer really emerges as the serial’s unsung hero. His turn in episode three – the bluff and cowardly Sergeant Rugg – is another entertaining one. As with the second episode, it’s the byplay between Singer and Silvera (here playing Mrs Wiggs, a stern cook) that helps to drive the first half of The Dancing Floor on. The second half – Steven, Dodo, Sergeant Rugg and Mrs Wiggs contend with some deadly dancing dolls – might be eerie or it could have fallen flat (with only the soundtrack available it’s impossible to know for sure, but I’m inclined to give it the benefit of the doubt).

As touched upon earlier, the absence of Singer and Silvera hurts the final episode. Peter Stephens’ performance as Billy Bunter (sorry, Cyril) is annoying, although I’ll concede that it’s supposed to be, so in that respect it works well. It’s nice to have Hartnell back in the flesh but his final confrontation with the Toymaker does feel somewhat anti-climatic.

So, it’s a mixed bag overall. But I’ve a feeling this is a story that needs to be seen in order to be appreciated. Some missing stories work well as audios, but The Celestial Toymaker lacks well drawn guest characters (although the roles adopted by Campbell Singer and Carmen Silvera in the middle two episodes are worth the price of admission alone) and so suffers without any visuals.

Although on the surface the Toymaker’s games appear whimsical, there’s a harder and nastier edge lurking under the surface. Subverting the safety of the nursery (at one point the Toymaker proudly shows the Doctor two children’s chairs he’s designed for his latest dolls – Steven and Dodo) is an eerie thing to do. And are the ‘people’ Steven and Dodo encounter just figments of the Toymaker’s imagination (as Steven believes) or are they real people, previously ensnared by the Toymaker and now forced to act out his wishes on command? The latter possibility is a horrific one.

Given it’s experimental nature, I’ll give it three and a half TARDISes out of five.

Doctor Who – The Ark

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I’m still reeling from the slapdash way Dodo was introduced at the end of the previous serial, The Massacre. Jackie Lane continues to be thrown in at the deep end as this story begins, but as Dodo will eventually settle down I’m prepared to cut her some slack.

The opening episode – The Steel Sky – is a pretty impressive production. There’s plenty of rapid cutting in the jungle scenes from film, to studio, then back to film, etc. This sounds straightforward enough, but since the cutting had to be done live during the studio recording, the chances of something going wrong was quite high.

Unlike film/studio cutting during the colour era, the constant changes from film stock to studio videotape isn’t so noticeable in black and white, so director Michael Imison manages to get away with it. There’s some other nice shots in these early episodes and some decent model-work, which suggests that Imison was trying to use the series’ limited technical resources to their fullest degree.

This is just as well, as the acting is, to put it kindly, a bit hit and miss. Eric Elliott as the Commander and Inigo Jackson as Zentos both manage to chew any bit of scenery they come across. Kate Newman (Mellium) is better, but she’s not given much to do. It’s good to see Michael Sheard (making his DW debut as Rhos) but if it hadn’t been Sheard playing the role I doubt anyone would spend a great deal of time talking about this character.

What’s notable about The Ark is the way it neatly splits into two two-part stories. Although at the end of the second episode (which sees the Doctor and his friends bidding the inhabitants of the Ark a fond farewell after curing them of the terrible damage inflicted by Dodo’s cold) it appears that the story has run its course.

The reveal that the TARDIS has travelled in time, but not space, dropping them back on the Ark seven hundred years later is a good twist. As is the cliff-hanger reveal that the statue of humanity (which was only partly constructed at the start of the story) has now been completed with the head of a Monoid.

Ah yes, the Monoids. They spent the first two episodes in the background as mute servants of the humans. But now they’ve gained voices and – rather ticked off about the way they were treated as second class citizens for centuries – have taken over and are giving the humans a taste of their own medicine.

That the Doctor was partly responsible for this state of affairs (Dodo’s cold led to a mutated disease which, after they left, sapped the will of the humans) is an interesting story beat. Given that the Doctor can never resist meddling in local affairs, it’s easy to imagine him leaving a trail of unintentional destruction as he goes along his merry way. It’s not surprising that the series rarely comments on this though (Planet of the Spiders being a notable exception).

The Monoids, bless them, aren’t in the top rank of Doctor Who monsters. Their wobbling walk is bad enough, but when they begin to talk in part three – The Return – things really begin to career downhill. This episode features several of the serial’s most cherished moments – the Security Kitchen, for one. Maybe this is intended to be ironic and we’re simply not getting the joke (after all, where exactly do the Monoids stuff all the food they force the Guardians to make for them?)

Dodo’s confrontation with Monoid 2 (none of them have names, only Prisoner-ish numbers) is another classic.

DODO: Yes, I bet it’ll take some time to get the whole of the population down here, so the sooner you get started, the better, I should think.
MONOID 2: Don’t worry. It may not take as long as you think.
DODO: What do you mean? Are you up to something?
MONOID 2: Er, no.
DODO: No? But you gave yourself away, didn’t you?

Dodo’s tone here is rather like a mother chastising a naughty child. It helps to dispel any lingering menace that the Monoids might have had. This is a pity as they look quite imposing in still form (see below) it’s only when they walk and talk that they have a problem …

The Ark trundles along to a conclusion, with the humans and the remaining Monoids (after the more warlike ones perish in a brief civil war) agreeing to bury the hatchet and begin a new life on Refusis along with the invisible Refusians, who are looking forward to having a bit of corporeal company at last.

Given what’s happened before though, I wouldn’t be surprised if they’re at each other’s throats in a couple of decades time ….

It’s easy to be a little dismissive of the simplistic storyline and the lack of three-dimensional guest characters (all the ones we see are drawn from stock – the impulsive hot-headed human convinced that the Doctor is a menace, etc). But The Ark does have some solid science-fiction concepts – such as the generational spaceship in search of a new home – and the production design by Barry Newbery has plenty of little touches which still look good today.

Ratings-wise, I’ll give it three TARDISes out of five.

Doctor Who – Day of Reckoning (5th December 1964)

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I’ve recently been treating myself to another watch of The Dalek Invasion of Earth. Despite owning the story for 31 years (this was one that I didn’t have a pirate copy of, so first saw it when the official VHS came out in 1990) it’s still hard not to compare and contrast it with the movie. Clearly those childhood screenings buried themselves very deep.

Even for a story like this, where I’m very familiar with the material (having watched it far too many times through the decades) I still find myself ruminating over various points. Such as ….

After the unsuccessful attack on the saucer, David tells Jenny to take Barbara and Susan back to the underground base. Susan goes with Jenny, but Barbara remains behind, briefly catching sight of Ian. We’re obviously missing a later scene as within a few minutes Jenny and Barbara are now together and Susan and David have teamed up.

It’s been said before, but Richard Martin really wasn’t suited to directing action sequences in the studio. Given the lack of time and resources I’m sure most would have struggled (although you suspect Douglas Camfield would have made something of it) but the attack on the saucer is a remarkably sedate affair. Or maybe I’m just subconsciously expecting it to have the thrills that it did in the movie.

I know that everybody criticises the Day of the Daleks Dalek voices, but I find them preferable to some of the strangled efforts in this story (although it was still early days here).

The flight of Barbara, Jenny and Dortmun across London doesn’t achieve anything in story terms, but the sight of the Daleks lounging by various London landmarks does help to create the impression that they really are the masters of Earth (Francis Chagrin’s drum heavy incidentals help to add a touch of urgency).

Dortmun’s death is an interesting moment. Given that he leaves his notes behind, presumably he knew he was going to his death. In story terms, death is a quick way of removing a character who’s fulfilled his usefulness (a favourite trick of Eric Saward) but there’s still something slightly affecting about this moment. Possibly it’s got something to do with the fact he was convinced he’d now perfected the bomb (or was he lying about this to Barbara?).

It’s always irritated me that Richard Martin chooses simply to move the camera up from Ian and Larry’s hiding place in the Dalek saucer to the next level as it clearly reveals that the floor above just stops (it’s a wonder that the Daleks and Robomen didn’t keep falling over the edge). Maybe they felt they could get away with it as happened so quickly, but a cutaway (a Dalek cutaway maybe) would have been a wiser choice.

Doctor Who – The Massacre. Part Four – Bell of Doom

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History continues to proceed in an inexorable fashion, with Steven and the Doctor caught in its flow. To begin with though, Steven is convinced that the Doctor is dead – so his sudden reappearance comes as something of a shock.

He doesn’t explain where he’s been, only mentioning that he was unavoidably delayed. This is something of a plot-flaw – bad enough that the Doctor decided to head off on his own, but it’s even worse that he now swans back without a care in the world.

It’s only when he realises the date and the year that it suddenly becomes clear to him just how much trouble they’re in (and also for those at home with a decent knowledge of French history). Was it assumed that the audience watching in 1966 would have been easily able to put two and two together? If so it implies that the (largely) child viewership must have been very historically literate.

The Doctor is keen to pack Anne off as soon as possible, but the girl has nowhere to go.

DOCTOR:  Now, my dear, there must be somewhere you can stay in Paris.
ANNE:  No, there’s only my aunt’s place, and they’ll kill me there.
DOCTOR:  Oh, nonsense. Tonight, you will be quite safe. Now you go carefully through the streets, hmm?

And that’s the last we see of her. When Steven later learns that thousands of Hugenots were massacred that day he’s convinced that she too must have died and that the Doctor was culpable. “You just sent her back to her aunt’s house where the guards were waiting to catch her. I tell you this much, Doctor, wherever this machine of yours lands next I’m getting off. If your researches have so little regard for human life then I want no part.”

Could the Doctor have saved her? Of course and they could all have left in the TARDIS together. We’ve seen the Doctor pluck people from many different periods of history, so it’s hard to see why Anne would have been any different. Indeed, it’s possible to believe earlier in the story that she was being groomed as possible companion material, but the events of The Daleks Master Plan should have taught us to take nothing for granted ….

If Hartnell’s been taking it easy for the last few weeks, then this episode gives him one of his signature moments. After Steven storms out of the TARDIS, the Doctor is left all alone. “Even after all this time he cannot understand. I dare not change the course of history. Well, at least I taught him to take some precautions. He did remember to look at the scanner before he opened the doors. Now they’re all gone. All gone. None of them could understand. Not even my little Susan, or Vicki. Yes. And there’s Barbara and Chatterton… Chesterton! They were all too impatient to get back to their own time. And now Steven. Perhaps I should go home, back to my own planet. But I can’t. I can’t”

It’s a lovely moment, although given Hartnell’s reluctance to learn lengthy speeches it can’t have been easy for him. Interesting that the Doctor here still seems wedded to the S1 concept of not interfering in history. This ties in with Lucarotti’s previous stories (notably The Aztecs) but the series, notably under the influence of Dennis Spooner, had somewhat moved on since then.

What’s disappointing is the way that the power of this scene is negated by what happens next. A young girl, Dodo Chaplet (Jackie Lane) bursts into the TARDIS, followed by Steven, and the Doctor is forced to take off immediately. This therefore not only cancels out Steven’s anger with the Doctor, it also provides us with the most perfunctory introduction possible for Dodo, the new companion.

That the Doctor tries to pour oil on troubled waters by pointing out that Dodo’s surname is similar to Anne’s, which maybe suggests than Anne survived after all, feels like little more than an exercise in straw-clutching.

This whole section seems rather bolted on (and was surely contributed by Donald Tosh, rather than John Lucarotti). But even allowing for the way that The Massacre rather dribbles to a halt, the bulk of the story is so strong that this isn’t really an issue.

It might not always feel like Doctor Who, but it’s still excellent drama. Let’s close with a line from Tavannes, a chilling proclamation that sums up the serial perfectly. “Tomorrow this city will weep tears of blood.”

Doctor Who – The Massacre. Part Three – Priest of Death

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As has often been observed, The Massacre doesn’t really feel like a Doctor Who story. The sidelining of the Doctor is one reason – but it could also have something to do with the way that Lucarotti’s script harks back to the style of earlier stories (like The Crusade). In The Crusade, the Doctor was content to be an impartial observer, unable (or unwilling) to influence events.

And even allowing for Hartnell’s turn as the Abbot and Purves’ increasingly frantic efforts to prove that the Abbot is the Doctor, all the real drama in Priest of Death comes from the interaction of the guest cast.

de Coligny and Tavannes continue to cross swords, but now they do so in the presence of the King (Barry Justice) and his mother, Catherine de Medici (Joan Young). These scenes crackle with a theatrical intensity, thanks to the fine playing, but you can’t help but feel they’d work equally well in a one-off non-Doctor Who drama.

Justice’s Charles IX is a capricious, easily distracted ruler. At one point he tells de Coligny that “war is so tedious” and shows a desire to move onto other, more frivolous matters. His love and respect for de Coligny is honest and unforced though, a far cry from both his mother and Tavannes, who are plotting to kill him.

Quick to rise to anger, Charles is shown to be easily manipulated (especially by his mother). He does attempt to emphasise his dominance, but the Queen Mother (a calm, restrained performance by Young) remains uncowed.

QUEEN MOTHER:  You summoned the council?
CHARLES IX:  I gave orders I was to be left alone.
QUEEN MOTHER:  Without my knowledge or consent?
CHARLES IX:  I asked to be left alone, mother.
QUEEN MOTHER:  The threat over your friend, the Admiral? You are the King.
CHARLES IX:  Yes, I am the King – and to be obeyed! Now keep out of my sight unless you care to end your days in a convent.
QUEEN MOTHER:  I would wish you have the courage, my son.
CHARLES IX:  I have but to give the order.
QUEEN MOTHER:  Summon your guards, have me arrested. But you had better have a good reason for the council- and for the people.
CHARLES IX:  The attempted assassination of my Admiral, by you and Tavannes. Do you deny it, Madame?
QUEEN MOTHER:  No.
CHARLES IX:  Have a care. I mean what I say. I shall send Tavannes to the block!
QUEEN MOTHER:  You would execute the Marshall of France for doing his duty?
CHARLES IX:  Duty? He’s an assassin!
QUEEN MOTHER:  He tried to rid you of a dangerous enemy.
CHARLES IX:  de Coligny is my friend. You, Madame, are my enemy.

And so we come to Hartnell’s appearance as the Abbot. Apart from a few words at the end of the first episode, it’s little more than a cameo (two scenes lasting only a few minutes). Hartnell doesn’t change his speech patterns (despite some fan claims to the contrary) which makes it easier for Steven to believe that it’s just the Doctor pretending.

The reluctance by Lucarotti to confirm or deny the true state of affairs leads us into a classic cliff-hanger. Steven finds the Abbot’s dead body (murdered on the orders of Tavannes) in the street and is still convinced that it’s the Doctor. Logic tells us that it can’t be him, but (if we could be see it) I’m sure it would be a striking image.

Doctor Who – The Massacre. Part Two – The Sea Beggar

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The Sea Beggar offers Peter Purves further chances to flex his acting muscles as Steven –  and of course the audience – puzzles over the mystery of the Abbot of Amboise.  When Steven spies him out of a window, he immediately believes the man he can see is the Doctor (which isn’t a surprise as they look identical).

But his innocent exclamation raises Nicholas’ suspicions, who decides that Steven must serve the Abbot and is therefore his enemy.  Steven later suggests that the Doctor is impersonating the Abbot, although Lucarotti is content to take his time before revealing the truth. But Steven’s theory seems have some weight after it’s revealed that Colbert only met the Abbot the day before (and nobody else in Paris knows him by sight).

Why would the Doctor be masquerading as the Abbot?  Who knows, but it’s exactly the sort of thing he would do and it would also explains his disappearance.  Everything seems to be chugging along to the conclusion that the Abbot is the Doctor, but we’ll have to wait for quite a while before Lucarotti reveals the truth ….

Popular fan-lore maintains that Hartnell’s performance as the Abbot was something of a tour-de-force, allowing the actor to show his versatility in a role that was poles apart from the Doctor.  The reality is a little different – the Abbot is a surprisingly minor character with only a handful of lines (and none of them in this episode). If the recon is to be believed then Hartnell was briefly glimpsed as the Abbot in this episode. Of course it’s always possible that he was absent during this recording and Steven only pretended to see him. That seems likely, as it would be odd to have Hartnell around just to act as a walk-on (unless his appearance was a pre-filmed insert).

The Sea Beggar sees the introduction of two heavyweight performers, André Morell as Marshal Gaspard de Saux-Tavannes and Leonard Sachs as Admiral de Coligny.  It’s very aggravating that the only Doctor Who story to feature Morell (a favourite actor of mine – if you haven’t seen it then you should certainly check out Quatermass and the Pit) was wiped, but it’s still possible to get a feel for the quality of his performance from the audio.  Sachs would later return in Arc of Infinity, but we can’t blame him for that.

These Catholics are terrible at keeping secrets. Steven learns that their target is code-named the Sea Beggar. Nobody knows who this might be, until de Coligny reveals that the King has given him this very nickname. Needless to say he’s totally unaware that this signifies he’s been marked for death ….

Doctor Who – The Massacre. Part One – War of God

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John Wiles never made any secret of the fact that The Daleks Master Plan was rather imposed on him, which means that The Massacre offers us a much better chance to understand what his vision of Doctor Who was.  Bleak and uncompromising would seem to be the answer.

This serial presents the viewer with the first “straight” historical since The Crusade.  Following that story, lighter fare such as The Time Meddler had been the order of the day, but John Lucarotti’s third and final script for the series (albeit heavily rewritten by Donald Tosh) returns firmly to the themes of season one.

Most notably, the Doctor’s insistence that he’s unable to change history (also a key part of Lucarotti’s The Aztecs).  This was later blithely ignored on numerous occasions, so it’s tempting to wonder whether Lucarotti, who hadn’t contributed to the series for several years, was simply unaware of this.

Paris, 1572.  The Doctor is keen to meet Charles Preslin (Erik Chitty) and discuss the latest scientific developments.  For a story that’ll turn very dark, it’s a little odd that Hartnell’s in his default setting of hyperactive at the start of the episode, bumbling around with a very casual air.  Given that he must have been aware that this period in time was rather dangerous, it slightly beggars belief that he decides to go and meet Preslin alone, leaving Steven to kick his heels until his return.

In story terms it makes perfect sense, as Hartnell doesn’t return as the Doctor until episode four (in episodes two and three he plays the Abbot) so they had to be split up somehow – it’s just a pity it couldn’t have been done in a more subtle way.  But no matter – as it allows Peter Purves to play the leading man for the majority of the serial.  Purves remains something of an unsung hero of this era, probably because of the paucity of existing episodes, but he’s rock solid in whatever he’s given to do.

Here, he plays the innocent aboard.  Steven doesn’t arouse suspicion in those he meets because his story – an Englishman who’s only recently arrived in Paris – is the truth.  He also mentions he’s recently been to Egypt, but he wisely doesn’t add when!

Given the obscurity of this period of history, there’s an awful lot of info-dumping which has to take place – but it’s scripted well enough to not make this terribly obvious.  We’re introduced to Nicholas Muss (David Weston) and Gaston (Eric Thompson).  Both are Protestants (Huguenots) and are seen to clash with the ruling Catholics, represented by Simon Duval (John Tillinger).

Nicholas and Gaston are quickly defined as very different characters.  Nicholas refuses to rise to Duval’s bait and attempts to keep the peace, whilst Gaston delights in taunting his Catholic opponent at every opportunity.  At this early point it’s difficult to know which side is “good” or “bad” (both Gaston and Duval are as arrogant as each other) but Nicholas’ friendly manner (he spies that Steven is a stranger and is welcoming and hospitable) suggests that our sympathies should lie with the Huguenots.

The sudden arrival of a serving wench from the Abbot of Amboise’s kitchen with a strange tale throws Gaston and Nicholas into consternation.  She tells them that the Catholics are planning to crack down on the Huguenot problem – which leads Nicholas to believe that they intend to murder Henri of Navarre, the Protestant prince.   The girl, Anne Chaplet (Annette Robinson), immediately catches Steven’s sympathy, although Gaston – as befits his class and status – treats her with barely disguised contempt.  It’s a pity that Anne has a West County accent (did France have a West Country?!) but there you go.

So within the space of twenty five minutes Lucarotti has deftly established that the Huguenot minority are in danger from the Catholic majority.  The Doctor has, not for the first time, disappeared – but the major shock is reserved for the cliffhanger.  One of the Abbot’s staff, Roger Colbert (Christopher Tranchell) is nervously making his report to him.  Admitting that they have been unable to recapture Anne, the camera tracks up to reveal that the Abbot of Amboise is played by William Hartnell …..

Doctor Who – The Daleks’ Master Plan. Part Twelve – The Destruction of Time

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The Destruction of Time is devastating.  Nothing in the story to date, indeed in the series so far, quite prepares you for the cataclysmic events that unfold during these twenty five minutes.  Even with only the soundtrack and a handful of photographs it’s incredibly powerful, so we can only guess what it would look like in motion.  But with Douglas Camfield directing it seems more than likely that the visuals would have been extremely striking.

Mavic Chen meets his well-deserved end.  Kevin Stoney once again sails merrily over the top, but that suits Chen’s character – who by now has lost his last lingering shreds of sanity.  What makes his demise particularly fascinating is the way he’s treated by the Daleks.  They simply ignore him.  This silent treatment is the ultimate humiliation, although he’s still able to rationalise it away by believing that the Daleks will continue to obey him.  Instead they take him out into the corridor and kill him.   For the self-proclaimed ruler of the universe it’s a squalid and ignominious end.

The Doctor suddenly pops up out of nowhere and tells Steven and Sara to return to the TARDIS.  While they’re doing this, he steals the time destructor and also heads back to the ship.  It goes without saying that the Daleks really need to strengthen their security …..

Whilst Steven makes it back to the TARDIS, Sara returns to help the Doctor.  The bitter irony is that there’s nothing at all she can do and her exposure to the time destructor has fatal results.  Although we’re denied any video record of this scene, the photographs we have help to sell the horror of the moment.  This is no quick, easy death but a long, lingering demise.

The Doctor’s also affected, although he manages to quickly rally round.  But when Steven comes to help, Hartnell barks at him in such an unearthly manner that it’s another moment that jars.  We rarely hear the Doctor under such pressure.

And then it’s over.  The time destructor is exhausted, Kembel is now a desert wilderness and Sara and all the Daleks are dead.  Once the Doctor recovers some of his equilibrium he can’t help but crow a little. “Well, my boy, we finally rid this planet of Daleks.”  It’s up to Steven to remind him of the human cost (“Bret, Katarina, Sara”) to which the Doctor belatedly agrees. “What a waste. What a terrible waste.”

When picking out top Doctor/companion pairings, Hartnell and Purves probably wouldn’t be top of many people’s lists, which is a bit of a shame. Peter Purves always accepted that his role was to provide solid support for Hartnell (both on screen and off) and that’s something he always did very well. Maybe if a few more episodes existed then their era might have a higher profile. Are there are more out there? Time will tell I guess ….

The Daleks Master Plan might lurch from comedy to tragedy and all points inbetween, but it still works.  It shouldn’t by rights as it has all the hallmarks of being another (admittedly entertaining) debacle like The Chase.  But thanks to Douglas Camfield’s direction (the three episodes in existence, plus a handful of other clips more than hint at the overall visual quality) the story avoids that fate.  It’s quite a leap from the comic book thrills of the mid part of the story to the final ten minutes of destruction, but this final downbeat tone still packs a punch 55+ years on.

Doctor Who – The Daleks’ Master Plan. Part Eleven – The Abandoned Planet

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After a run of light-hearted episodes, there’s a sudden shift of mood in The Abandoned Planet.  Things open normally enough – the Doctor has managed to land the TARDIS on Kembel, although initially he thought he’d failed and apologised to both Steven and Sara.  But when he realised that he’d succeeded after all, he then rounded on Sara and told her to have more faith in him in the future!

This nice little character moment for Hartnell, as well as his inability to say “impulse compass”, is pretty much business as usual – but after this opening scene the Doctor strides off into the jungle and isn’t seen again.  The slowly dawning realisation that the Doctor isn’t coming back is a perturbing one – not only for Steven and Sara, but also for the audience.  The Doctor might not always know exactly what’s going on, but he usually manages to bluff his way through.

Steven and Sara should be more than capable to cope on their own (Steven is a pilot, Sara a space security agent) but without the Doctor to guide them they do seem a little adrift.  But the good thing about his absence is that it forces them to take charge as well as offering Purves and Marsh a chance to move centre-stage for a change.  What Steven and Sara discover is a mystery – Kembel seems abandoned.

The Dalek city is empty.  The Doctor’s nowhere to be seen.  Have the Daleks already left and taken the Doctor?  It seems logical, but if so, where have they gone?

Earlier, we saw Mavic Chen return with the core.  He was naturally jubilant and couldn’t resist rubbing the Black Dalek up the wrong way. “I hope that the Daleks will not suffer any more setbacks which could upset the plans for our conquest of the universe.”  He doesn’t seem to have considered for a moment that now he’s delivered the core his usefulness will be pretty much at an end.

One of the Daleks raises this point, but the Black Dalek disagrees. “No. His arrogance and greed have a further use for us. Alert the council to attend their final conference.” The way that the Black Dalek says “final” shouldn’t leave you in any doubt that their fate is sealed ….

The conference is a hoot.  All the other delegates are more than a little miffed at the way Chen seems to know more than they do.  He misquotes a little Orwell at them.  “Though we are all equal partners with the Daleks on this great conquest, some of us are more equal than others.” This doesn’t go down well at all.

His moment of triumph over the others is short-lived as the delegates suddenly find themselves trapped in the conference room.  Chen, with his usual self-delusion turned up to eleven, doesn’t seem to realise this means they’re all now prisoners.  The Daleks clearly now have no further use for them – which begs the question as to why they let Chen chair this last meeting.  It served no purpose, so was it simply to humiliate him?

What happens next is slightly odd.  The delegates are taken to a detention room and left there.  Why didn’t the Daleks simply exterminate them?  This allows Steven and Sara to release them and they all head home, promising to warn their respective planets about the imminent Dalek invasion.  Their change of heart is a little hard to swallow, but then if they really thought they’d be equal partners with the Daleks, their judgement wasn’t at all sound to begin with.

Chen is now loopier than ever.  He tells Steven and Sara that soon he’ll be master of the universe.  At gunpoint he leads the two of them underground, where it seems the Daleks (and presumably the Doctor) will be found.

Doctor Who – The Daleks’ Master Plan. Part Ten – Escape Switch

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It’s possibly not terribly surprising that the ruthless and deadly Sara Kingdom we saw in her first episode has been somewhat watered down as the serial has progressed (this explains the way she reacts in terror at the sight of a mummy rising from an Egyptian tomb).  Steven, of course, moves protectively in front of her.  It would have been an interesting wrinkle for Sara to be the protective one whilst Steven showed fear, but the series was a little way off such a role reversal.

There’s no need for any panic though, as the mysterious figure is only the Monk (who’s been trussed up in bandages by the Doctor!)  He’s a bit of an imp, this Doctor – it’s a far cry from his original characterisation as an unknowable patrician, but one that Hartnell’s very adept at playing.

The Daleks continue to bumble around.  They’re not as useless as the ones we saw in The Chase, but they’re not the greatest bunch of thinkers either.  We can’t be too harsh on them though, as it’s mostly Dennis Spooner’s fault (and maybe Terry Nation’s too – since Spooner was still apparently scripting from Nation’s original story outlines).

In this Egyptian interlude, the Daleks decide to recruit the Monk as their agent.  Eh?  Why wouldn’t the Monk have simply nipped off in his TARDIS at the first opportunity?  How could the Daleks have guaranteed his co-operation?  And why use him anyway, why didn’t they hunt the Doctor down themselves?  Their desire not to see the core destroyed is the motor that’s driven the story, but even if that happened it would only delay (by about fifty years) their plans, not derail them completely.

The Daleks, now extremely miffed at the way things have gone, finally decide to launch an all-out attack.  Chen’s not pleased about this and shows his displeasure by roughly shoving one of the Dalek’s eyestalks aside.  A scripted moment or something worked out in rehearsal?  Either way it’s a lovely little touch which illustrates just how reckless the Guardian has become.  Few people would dare to show such an open sign of contempt against the Daleks, since we’ve seen time and again how they “reward” such gestures.  It’s another small sign that Chen’s humiliation and fall from grace can’t be far away ….

Steven, Sara and the Monk set out to look for the Doctor.  Steven and Sara shout the Doctor’s name at the top of their voices, whilst the Monk also calls out – but sotto voce.  Possibly a nod back to a similar gag in The Myth Makers, it’s another opportunity for Butterworth add his inimitable comic touch.  When they’re surrounded by the Daleks, the Monk offers up Steven and Sara as hostages – it’s a good plan, as the Doctor would be sure to hand over the core in exchange for the safe of his friends.  A pity that neither Chen or the Daleks thought of it earlier then …..

It’s possible to wonder if Hartnell’s got the week off, as the Doctor’s been absent from proceedings so far.  But ten minutes in he does finally turn up, as the Doctor listens silently to Chen’s demands broadcast from the Dalek ship – hand over the core, or Steven and Sara will die.  Hartnell does little in this very brief scene – he doesn’t utter a word – but the way his eyes dart from side to side and the expression on his face tells an eloquent story.

It’s often been observed that Hartnell – using his years of experience as a film actor – was remarkably comfortable in front of the tv cameras.  During this era of television a great many actors had come to the small screen via the theatre, so their performances tended – initially at least – to be broader.  Hartnell, as befitted a wily old pro, always knew that less was more, and that just a look or a small gesture could speak volumes.  Numerous examples of this are dotted about his episodes and whilst it’s always fun to spot his fluffs and stumbles (and there’s a great one in this episode – “Magic, Mavic Chen”) it shouldn’t be forgotten just how skilled an actor he was.

There’s a classic Doctor/Dalek face-off, with the Doctor seemingly in full control.  The Daleks agree that the handover of the core will take place with just one Dalek present.  Chen later wonders they agreed so readily.  “One Dalek is capable of exterminating all!” is the chilling reply. Thanks to an ominous stab of Tristram Cary’s incidental music and the expression on Chen’s face this is a moment which helps to reemphasise the power of the Daleks.

The Doctor is forced to hand over the core to Chen, but all isn’t lost.  He’s stolen the directional unit from the Monk’s TARDIS, so they’ll be able to travel back to Kembel.  This is a small, but significant, moment.  For those brought up on the new series, it seems inconceivable that the Doctor wouldn’t be able to control the TARDIS, but in the early days every trip was a mystery one.  Personally I think that something was lost when the Doctor gained full control over the TARDIS, but what’s really interesting is that up until this point it’s never been clear whether the TARDIS’ erratic performances was due to the Doctor’s ineptitude or a fault with the ship itself.  Now it’s made clear – with the right components the Doctor can steer the TARDIS anywhere.

As the Doctor and the others set off, the Monk fades away from the story.  This hasn’t been such a good vehicle for Peter Butterworth as The Time Meddler, as the Monk was only a supporting character, not the centre of attention.  Even so, Butterworth was always worth watching and it’s a pity the Monk didn’t return for a third time.

Doctor Who – The Daleks’ Master Plan. Part Nine – Golden Death

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The TARDIS turns up next in Ancient Egypt, but what we see is a far cry from the sober historicals of previous years. Here, the backdrop of the pyramids is simply that – a backdrop which provides the Doctor, the Monk, Chen and the Daleks a colourful location to do battle against.

Whilst the Doctor repairs the lock of the TARDIS, Steven and Sara set off to find the Monk – but run into Chen and the Daleks instead. The Daleks then tangle with the Egyptians (no surprises for guessing who comes out on top).

One of Douglas Camfield’s favourite actors, Walter Randall, turns up as Hyksos, whilst the presence of Derek Ware as Tuthmos implies that some action took place (although the lack of pictures makes it hard to know exactly how athletic the Egyptians’ deaths were).

To be honest, the Egyptians are rather pallidly portrayed. Even though they have a fair amount of screentime in this episode and the next, we never get much of a sense that they’re individuals. Instead they come across as little more than cannon-fodder for the Daleks (and it’s notable how the Doctor has zero interest in their fate).

The first meeting between the Monk and the Daleks is amusing. “Good morning my son” says the Monk cheerily to the Daleks, before attempting to beat a hasty retreat. But he reluctantly finds himself forced to serve the Dalek cause.

Hartnell and Butterworth share another entertaining scene, which is one of the highlights of the episode. Although we’ll have to wait until the next episode to discover exactly what fate was meted out by the Doctor to his fellow time-traveller.

There’s nothing particularly wrong with Golden Death. It’s diverting enough, but ultimately it’s also a little forgettable as well as being a good example of twenty-five minutes of running on the spot.

Doctor Who – The Daleks’ Master Plan. Part Eight – Volcano

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The delegates are back! And they’re giving Chen a hard time. One interesting revelation to come out of their discussion is Chen’s statement that the Daleks know the Doctor is a time-traveller. This presumably means this story carries on chronologically from The Chase, although if that’s the case why didn’t the Daleks identify the Doctor previously?

This also opens another can of worms – if these Daleks have access to time-travel technology then why don’t they simply nip ahead to Uranus fifty years in the future and collect another supply of taranium for the Time Destructor? It would have them saved ten episodes of running about ….

It doesn’t take long before the Daleks realise that the taranium core given to them by the Doctor is useless – which puts the pressure on Chen. They also continue to exterminate their former allies for no good reason, other than the fact it’s what they like to do. Spiky Trantis is the latest to bite the dust and the fact that it happens in front of Chen must be a clear signal to him that he’s on increasingly shaky ground.

The first eight minutes of the story have been pretty much business as usual, but when the TARDIS materialises in the middle of a cricket pitch (to the bemusement of the commentators) it’s obvious that the story is lurching into an off-beat mode. Eek! It’s become The Chase II …

The TARDIS then lands in an inhospitable, volcanic location. The last person you’d also expect to see there would be the Meddling Monk (Peter Butterworth) but there he is. Unexpected though the Monk’s appearance is, it’s also very welcome. Butterworth was excellent value during The Time Meddler and with Spooner now on scripting duties there promises to be more fun to come.

The Monk seems to have tracked down the Doctor purely in order to immobilise his TARDIS and strand him in one time and location (as the Doctor did to the Monk previously). But whatever the Monk did to the TARDIS’ lock, the Doctor – with his ring and the help of the sun! – still manages to get into the ship. Which makes this section of the story a little pointless really.

Never mind, as we’re soon off again – but this time the Doctor will be pursued by both the Monk and the Daleks. Once again the TARDIS heads back to present-day Britain (which is odd, since it’s the one place and time that the Doctor was rarely able to find for Ian and Barbara).

Doctor Who – The Daleks’ Master Plan. Part Seven – The Feast of Steven

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For many years it was a widely held fan-myth that Nation and Spooner had penned alternate episodes of DMP – each installment ending on a “now get out of that” cliffhanger for the other one to deal with.

The reality (Nation writing 1-5 and 7, Spooner 6 and 8-12) was a little different, although at the start of Coronas of the Sun Spooner did have to resolve Nation’s previous cliffhanger which saw the Doctor surrounded by Daleks and apparently defeated.

When Spooner ended Coronas of the Sun with the Doctor warning Steven and Sara not to go outside, since the atmosphere was deadly, was this a challenge for Nation or just a gag at the Doctor’s expense?

Because for once they’ve not landed on a jungle planet, but instead have arrived in Britain during the mid sixties. The TARDIS has materialised outside a police station, which causes the boys in blue some consternation. Were the cast of Z Cars really due to appear in this sequence, before someone decided that it maybe wasn’t a good idea? Possibly it’s one of those drawing board ideas which progressed no further than that.

The appearance of Reg Pritchard as a man who’s come to report the fact that someone keeps moving his house (his greenhouse that is) enables the Doctor to tell him that he’s seen him before, in a market in Jaffa. Any fan who knows his Jethrik from his Jablite will be aware that Pritchard played Ben Daheer in The Crusade. Today, an in-joke like that would be picked up instantly by a section of the audience, but back in 1965 Doctor Who fans like that didn’t exist (a sobering thought I know). So this gag seems to have been put in (either by Hartnell or possibly Camfield) as something to amuse the crew. It’s an early sign there’s an “anything goes” feel about this Christmas Day episode.

There’s one lovely scene though, with Hartnell on sparkling form.

DETECTIVE-INSPECTOR: I’ve heard of a housing shortage, but I never knew it was so bad you’d have to spend Christmas in a Police Box.
DOCTOR: Oh, Christmas! Oh, is it? Of course, yes, yes, yes, yes! That accounts for the holly in the hall.
DETECTIVE-INSPECTOR: You mean you didn’t know?
DOCTOR: Well, of course I didn’t know! I travel about too much.
DETECTIVE-INSPECTOR: And why is that?
DOCTOR: Well, a quest of knowledge, dear boy. I mean, you have a saying in this country, have you not, er… “travel broadens the mind”?
DETECTIVE-INSPECTOR: You mean you’re not English?
DOCTOR: No, good gracious no!
DETECTIVE-INSPECTOR: Scottish?
DOCTOR: No.
DETECTIVE-INSPECTOR: Are you Welsh, then?
DOCTOR: Oh, you’ll have to think in a far bigger way than that! Your ideas are too narrow, too small, too crippled!
DETECTIVE-INSPECTOR: All right, all right. What are you then?
DOCTOR: Well, I suppose you might say that I am a citizen of the universe…and a gentleman, to boot!

Peter Purves gets to put on a Scouse accent (another nod to Z Cars) which is also good fun. It’s when they leave for Hollywood in 1920’s that things really get odd ….

The lack of visuals makes it impossible to know exactly how effective the Doctor’s misadventures in the film studio were, but with Camfield directing it almost certainly looked good. The dramatic piano music and silent inter-titles (another unusual meta textual joke) sound amusing and there’s some decent lines. Sara complains that a strange man keeps telling her to take her clothes off, whilst the Doctor succinctly sums the whole situation up. “This is a madhouse. It’s all full of Arabs.”

The Daleks are conspicuous by their absence though. Presumably it was felt that their brand of exterminating mayhem would have been a bit of a downer on Christmas Day. So instead Feast of Steven works (or not, depending on your point of view) as a stand-alone episode that has no connection at all to the rest of the serial.

Oh, and Hartnell’s Doctor ends by breaking the fourth wall years before Tom Baker did it …..

Doctor Who – The Daleks’ Master Plan. Part Six – Coronas of the Sun

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The Black Dalek is having a bad day.  In an earlier episode we saw how he dealt with failure from some of his hapless Dalek subordinates (he permanently puts them out of his misery).  He’s still in a foul mood and Mavic Chen is now in his sights.

Chen’s not prepared to go down without a fight though and manages to turn the argument around by claiming he diverted the Doctor to Mira on purpose.  “You make your failure sound like an achievement” rasps the Black Dalek ironically.

Chen is unable to stifle a smile when he learns that the Doctor and his friends have stolen the Dalek ship on Mira.  Naturally, this sends the Black Dalek into another tizzy!

The Black Dalek in Coronas of the Sun is probably the most sharply drawn Dalek we’ve seen since their debut story.  He’s not content to simply bark out orders, there’s a touch of character and individuality about him.

Was this due to Dennis Spooner’s input? This was the first of his six scripts for DMP (although it was based on a Nation story outline).  Nation famously hated the way David Whitaker later wrote for the Daleks in Power and Evil (somewhat missing the point by believing that the Daleks in Power were too subservient) so that does make me lean towards the probability that Nation wouldn’t have made the Black Dalek so individual – he tended to depict the Daleks as much more of a homogeneous collective.

Although Spooner takes over scripting duties for the remainder of the serial (with the exception of the next episode) there’s no sudden tonal shift.  That’ll happen next time with Nation’s bizarre Christmas episode before Spooner starts to have some fun over the next few episodes (and it’s fair to say that Spooner was a better comedy writer than Nation) before everything gets serious again for the final two installments.

As for the Doctor, he has some nice confrontational scenes with the Daleks on Mira (it’s pleasing that the Daleks still don’t know who he is – all that “Doctor Who is our greatest enemy” in The Chase was rather tiresome) and later somberly leads Steven and Sara out to meet the Daleks on Kembel.  It’s a pity we can’t see this scene as Hartnell is uncharacteristically subdued to begin with.

Thanks to the Doctor whipping up a fake core he’s able to get the TARDIS back.  There’s another whacking plot contrivance – Steven manages to inadvertently create a forcefield around himself (!) which means he can hand over the fake core and withstand being exterminated by the Daleks before nipping back into the TARDIS.

Although compared to the events of the next episode that seems quite sensible ….

Doctor Who – The Daleks’ Master Plan. Part Five – Counter Plot

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Back in the 1990’s I didn’t have a particularly high opinion of The Daleks’ Master Plan – which wasn’t really surprising as I only had access to the (then) two existing episodes (Counter Plot and Escape Switch) courtesy of Daleks – The Early Years on VHS.

Jumping into the story cold with Counter Plot is a strange experience, as the horror and tension of the previous episode, The Traitors, is completely absent.  Counter Plot hits the reset switch by transmitting the Doctor, Steven and Sara to the jungle planet of Mira.

Oh good, another jungle!  Following Kembel and Desperus we now end up on Mira, which looks spookily similar to the previous jungles.  No surprises for guessing that since this was an extra long story they had to stretch the budget as far as possible – reusing the same sets was an obvious money-saving move.

The Doctor’s jaunt to Mira is another clumsy part of plotting.  The Doctor and Steven just happen to stumble into a room where a time experiment is being carried out (and they enter at exactly the right time too, which stretches credibility even further).  And then Sara (also somewhat randomly) joins them.  There’s little time for any discussion though, as all three (plus some white mice!) are then transported far far away.

Cue various camera effects by Douglas Camfield to sell the illusion of matter transmission.  Most entertainingly, this involves Peter Purves and Jean Marsh bouncing up and down on a (hidden) trampoline.  It’s an eternal regret that William Hartnell also wasn’t present at Ealing for this filming, although it’s no real surprise that he wasn’t.  Can you imagine the conversation?  “Bill, we’d like you to get on this trampoline”  Cue various expletives ….

There’s a wonderfully revealing scene between Karlton and Mavic Chen.  Chen seems hesitant, unaware of how to proceed.  Karlton suggests he tells the Daleks that they sent the Doctor and the Core to Mira on purpose (since it’s only a stone’s throw away from Kembel – gosh, another coincidence!).  After a few seconds Chen sees the logic in this and launches into a highly dramatic monologue. “Without me, their plan cannot completely work. Without me, they are but nothing. Nothing! When I am next to the Daleks, only they stand between me and the highest position in the universe. Then will be the time for me to take complete control!”

As he raises his arms to take the applause of an imaginary crowd we cut to Karlton. He’s staring silently at Chen, giving the clear impression that he’s only just realised that his boss is completely mad. And Chen’s reaction to Karlton is also interesting, as he seems to acknowledge that he’s gone too far. It’s a telling few moments that, in non-verbal terms, speaks volumes and it again makes me regret that Karlton shortly fades away from the story.

I love the Doctor’s opening line to Sara. “Pull yourself together, madam. I want to ask you a few questions.” Sara might be under the mistaken apprehension that she’s in control but the Doctor soon puts her right! Although it’s another slight weakness that Sara changes so quickly from an icy killer to the Doctor’s friend (and why does she accept Steven’s story at face value?).

It’s a nice scene for Peter Purves nonetheless, with Hartnell popping up at the end to sadly confirm the truth.  Also of interest during the Mira scenes is the moment when the Doctor tangles with the invisible Visians (like many Terry Nation creations, there’s a clue in their name!).  Billy waves his walking stick around furiously in an attempt to beat them off.  And despite the fact they’re apparently eight feet tall he succeeds.  This moment, played dead seriously by Hartnell, never fails to raise a smile.

There’s a cracking cliffhanger too, as the Doctor, Steven and Sara find themselves surrounded by the Daleks.  The Doctor tells them that “I’m afraid, my friends, the Daleks have won.”