Wampa revealed

“Now we’re too late. Even if they left the doors wide open, we wouldn’t have enough strength to crawl through them.” – Ian Chesterton

Ep. 006: The Survivors
(Production B/Story #002: "The Daleks" - Part 2 of 7)
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And now for this almost quarterly installment of TARDIS Guy. (sheesh!)

The episode reprise doesn’t give us any new visual information regarding the attack on Barbara, so we still know nothing about these new aliens. Thus, the mystery is prolonged for another few minutes. See, George, sometimes we don’t need to see the Wampa creature to create suspense. Barbara’s scream is noticeably missing from this scene.

Ian, the Doctor and Susan stumble around, trying to find Barbara. As the boom shadow falls over Ian’s face, they detect a strange noise. They find its source behind the door of a well equipped laboratory. Ian questions what kind of minds (his sense of wonder again) are behind this technology. The Doctor shrugs it off, somewhat amorally. Susan finds a Geiger counter with the needle well past DANGER, (surprisingly) written in plain English. [1] They’ve been walking around in the fallout completely unprotected. The Doctor suggests they go back to the ship and leave immediately, confessing that there was nothing wrong with the fluid link – it was all a ruse to get the group to explore the city. Ian rightly berates him for his irresponsible action and refuses to return the undamaged fluid link until they locate Barbara.

They step out of the room to find themselves surrounded by strange alien machines!

This is the first full look we get of this planet’s inhabitants. We observe them contained in strange metal containers with eerie metallic voices to match. They seem all at once threatening and absurd. These aliens attempt to herd the time-travelers, but Ian tries to go the other way. One of the aliens paralyzes his legs with an energy weapon.

The Doctor and Susan are forced to carry him to the cell Barbara's already in. Ian’s surprised he’s paralyzed. [2] They swap stories about what happened. Barbara hypothetically suggests there are people inside the cylinders. Susan giggles at this idea, even though it must have been obvious to the audience in 1963. Barbara is informed that she and everyone else have radiation sickness. The Doctor has been “badly hit.”

Meanwhile, the alien machines monitor their new prisoners - oddly without listening to the conversation in progress. The machines hypothesize that their “Thal” prisoners have a new radiation drug that is currently failing them. To test this, the Doctor is brought into the harsh light of interrogation. The machines keep insisting that he is lying when he tells them the true story about how they came to be into custody (an oft-repeated plot device in the series). The machines know the Thals have been living unaided outside their city. [3] The Doctor denies he is a Thal, and suggests that drugs may have been left in that strange box outside the ship in the last episode.

The machines agree to let one of the prisoners retrieve it, using the remaining crew as hostages. Oddly, the Doctor manages to get them to open up about themselves and the Thals. The machines, now called Daleks for the first time, reveal that they can’t live outside the city. The Thals, who must be “disgustingly mutated,” apparently have some drug that allowed them to survive the neutronic war; so, enough talk - go get the drugs.

The Doctor wearily explains what happens next to the others, but soon passes out. When Ian’s legs still prove to be lame, the Daleks prove to be less chivalrous than he. They point out that one of the women could go. [4] It’s just as well. Susan reveals some elaborate reason Ian can’t use the TARDIS key that we never hear again. She leaves for the forest, despite her fear.

The Daleks discuss their devious plan, and how they’re monitoring Susan. They don’t intend to let the prisoners use these drugs once she returns with them. (Surprise! The first instance in a long history of Dalek treachery…) They only want enough of a sample to make their own version to ship from Canada.

Ian and Barbara discuss wearily how it was unfortunate to let Susan go out amongst the scary mutations. Ian says if he could walk, he would have gone – but now it’s too late to do anything but wait and hope the scary mutations have her back by midnight. Paralysis or not, they’re all too weak to escape.

Susan stumbles through the scary forest – aware that she’s being followed. The close-ups mixed amongst beauty passes of the (miniature?) trees do nothing to create the illusion of a dense jungle amidst a fierce lightning storm. She stops and screams, presumably at the shape following her. We don’t quite see who (or what) is following her, again – creating tension, George.

The Doctor seems worse. Even if Susan gets back – it might not be in time for him. Ian, at least, is beginning to walk.

The Daleks discuss that the Doctor will die soon. [5] Compassionless, they decide they can do nothing. They turn their eyestalks back to the “rangerscope,” which (conveniently for Susan) doesn’t extend past the jungle.

Susan continues running. She reaches the TARDIS interior and retrieves the drug canister. This is a great moment here. She opens the door again and reveals the foreboding jungle outside. We don’t see this often enough in later years. Being able to see the outside world from the inside of the TARDIS really makes the illusion of travel through time and space more real to me. Lightning strikes that dark exterior, and glows through the interior roundels. An eerie effect, never meant to be explained. [6] As an audience member I hesitate to go outside back into danger, just as Susan does. Of course, it’s the only way to save her grandfather and friends, but the moment’s indecision (at least for me) is captivating.

Next episode: The Escape

__________
1- Unlike The Impossible Planet, where the writing on the wall is too old for the TARDIS to translate in your head.

2- And so am I. I know I’m not looking at this from the perspective of a first time 60s viewer, but don’t the Daleks usually just kill people who disobey them? Their gunsticks must be getting rusty from so many years without people to subjugate...

3- The Dalek City. Or the house that Davros built? Maybe on the ruins of the Kaled bunker - seen much later in Genesis of the Daleks?

4- I guess if there’s one thing the Daleks aren’t, they’re not sexist. They’re firmly committed to betraying and exterminating every non-Dalek equally.

5- And at this early stage, how many civilizations, including Earth, would perish with him at the hands of – er, plungers of the Daleks? Oooh. Plungers of the Daleks. That’s not half bad title. Granted, not as good as Tea-Time of the Daleks. Which leads me to another point. If the Daleks are supposed to be the number one menace throughout universal history, shouldn’t the Doctor at least be familiar with them already? I mean, I know they haven’t developed stair drive yet… but….

6- After all, isn’t that wall supposed to shield the TARDIS crew from the dangers of space/time travel? You’d think it would be solid enough to be opaque. Who cares? Chalk it up to Time Lord technology, it’s still a cool image.

Without Ridley

“We'd better keep an eye on him. He seems to have a knack of getting himself into trouble.” – Ian Chesterton

Ep. 005: The Dead Planet

(Production B/Story #002: "The Daleks" - Part 1 of 7)
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As the time travellers step into frame, the picture looks almost embossed. I assume it’s not bad archiving, but rather an attempt to make the show's first alien landscape look odder. Mercifully, the effect ceases, and the picture snaps back to normal as Ian looks around curiously. It's clear that he’s not yet taking travel across dimensions for granted. I love these first stories, where travel through time and space is still treated as a fresh (albeit scary) idea. As they wander through the petrified forest, Barbara and Ian discuss how unlikely it is they will ever get back home. Ian admits he’s just as afraid as Barbara, but accepts the situation as nothing can be done about it.

Susan has interesting moment with a delicate petrified flower, which... doesn't last long. Barbara screams as she finds a creature entirely made of metal, luckily dormant. The Doctor theorizes that it was held together by inner magnetic fields, and able to “attract” similar animals as prey. Cool. It becomes clear to the characters (and audience) they are definitely not on Earth.

The Doctor concludes that all life on this planet has been extinguished. Ian discovers a marvelous city in the distance. The Doctor becomes excited about exploring it; on his own, if necessary. Ian puts his foot down, and won’t allow the old man’s solo reconnaissance. The Doctor is the only one who has any hope of operating the TARDIS, and Ian almost threatens him: “I can’t let you do that, Doctor.” They table the argument for later, as it is almost nightfall. On the way back, Susan gets separated. When she rejoins the others, she has a hard time convincing anyone that someone grabbed her in the darkness on what is otherwise a dead planet. Susan whines about being treated as a child, just as children often do.

Ian and the Doctor look over instruments in the TARDIS, with Ian not having any idea about any of them. He has a question about what they’re supposed to eat, now that he and Barbara are “unwilling travelers.” The Doctor produces food out of a machine you might see on the Jetsons...

***

As a twenty-first century viewer, the food seems at the same time both magical and unappetizing. For the first time (and I guess I’m a bit slow, as I’ve been watching the show for over twenty years now), I really think about how the Doctor’s costume is incongruent with the technology surrounding him. Until now, I just always took it for granted that of course the gentleman scientist with the Edwardian frock coat would have in his possession a machine that can break all temporal and spatial barriers. Doesn’t everyone with a frock coat have one? After all, that’s why I want a frock coat.

If I use the mindset of someone watching Doctor Who for the first time in the 60s, I have to remember that I know nothing yet about the Doctor’s people, or even the name of his planet. Taking this information away, I can’t help but visualize the members of his civilization all in shiny Space Jumpsuits, sitting in the Space Chairs of tiny apartments, eating their Space Jam* on Space Toast, drinking Space Coffee, and reading their Space Newspapers, all before heading off in their flying cars to go work in outer space. I guess my uneducated vision of proto-Gallifrey are a bit Space: 1999, actually. H.G. Wells and the 1960 film version of The Time Machine aside, the frock coat look must not have been the obvious choice in 1963…

Our heroes hear someone knocking at the front door. Susan has her “I told you so” moment, and everyone's jolly conversation about breakfast is cut short.

The group is spooked by someone outside. Suddenly, they realize not only are they not on Earth, but they are not alone. They pressure the Doctor into taking them somewhere else, and he seems to comply. As their heads are turned watching the monitor, the Doctor removes something from the TARDIS control console and the ship begins to malfunction. They are pulled back to the dead planet.

The Doctor reveals a fluid link that needs to be filled with mercury - in order for the ship to work again. After finding that the Doctor carries no spare mercury, Ian suggests they should be able to find some in the city. The Doctor quickly agrees in such a way that it’s clear to Ian he’s been manipulated into making the suggestion. Trapped on the planet by the Doctor, the crew is committed to staying. Remaining angrily polite, Ian and Barbara see it’s no use challenging the Doctor on the ship’s sudden convenient unwillingness to leave. They can’t operate the ship on their own, so they’ll just have to let the situation play out the Doctor’s way.

The next morning, they apologize to Susan, as they find a small metal box outside the TARDIS. Clearly, this was left by the stranger knocking on the door earlier. They set out for the city, with Susan carrying more provisions than Ian thinks necessary for a surgical strike. Once there, each of them seem more tired than normal. Ian and the Doctor aren’t feeling well, and come to think of it - Susan and Barbara were not quite right the day before. Wanting to finish quickly, they split up to look for the mercury. When Barbara doesn’t return, Ian and the others decide to look for her. The BBC desginers must have had a precognitive dream about Pac-Man, because we see his image on a few of the doors...

Barbara has lost herself in a maze of corridors. Director Christopher Barry turns up the creepiness a notch, as Barbara wanders around testing the strength of translucent walls. She needs to get out, even if she has to beat through. Many times we only see her silouette, which really works well with the black and white image. Barbara's fear increases when a few doors close unexpectedly. Suddenly, she is cornered by a strange shape moving toward her. We have no idea what it might be. She screams!

Cut.

Future Echoes
In Utopia, we see a distinct contrast to the look of the successful Edwardian gentleman scientist (described above). According to Russell T Davies in a Doctor Who Magazine interview, the producer intentionally wanted to "Hartnell up" the look of Professor Yana, played by Sir Derek Jacobi. Until the moment Yana is revealed to be someone else, he is portrayed as a scientist who means well and is desperately trying to fulfill his promises, but is clearly out of the league of technology surrounding him. The Doctor (during the Hartnell years) sets a precedent for Yana's image later, but (though bumbling) can handle technology well beyond that which appears to be contemporary.

***

Now... imagine being a Doctor Who fan, but not knowing what a Dalek is. Try as I might, I know what's coming at Barbara; but hats off to Terry Nation for not actually debuting these strange alien creatures until the next episode. Nation also really cranked up the creepiness for this episode. I love the dead landscape and the fact that we know throughout the episode that the characters are not alone, but we don't actually see them. The device of not seeing anyone other than the series regulars evokes the flavor of a bottle show, but without the claustrophobia later felt in The Edge of Destruction.

***

As to the design, though we barely see anything in this episode - we know something truly unique is coming. The oft-ridiculed Dalek plunger is a stroke of genius, at least in this first episode - simply because the original audience had no idea what they were looking at as it menaced Barbara. The design is brilliant, especially when you consider the only real help from Terry Nation was that the Daleks had no legs, could not look like a man in a suit, and glided across the stage like the Georgian State Dancers. Go Raymond Cusick!

***

Still, I sometimes wonder what (unavailable) Ridley Scott's Daleks would have looked like...)

Next episode: The Survivors

(* not to be confused with Space Jam)

Law and Order

“This knife shows what it has done. There is blood on it. Who killed the old woman? You killed the old woman!” – The Doctor

Ep. 004: The Firemaker
(Production A/Story #001: "An Unearthly Child" - Part 4 of 4)
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Our unwilling explorers come out of the forest, only to the find the Geico neanderthals waiting for them. The cavemen stand around menacingly, as if auditioning for a new ABC sitcom.

As Kal implicates Za in the old woman’s death, the Doctor outwits him (easily... as if there could be any other way) in a battle over evidence. Cornered, Kal admits he killed the Old Woman, in what is apparently planet Earth’s first courtroom drama. I felt this probably the strongest scene in the episode, and it comes unfortunately early. Under the Doctor, Ian, and Za’s leadership, the tribe drives Kal out. Sadly, however, the TARDIS crew fails to use this opportunity to slip out quietly, and their assistance in Za’s credibility problem is repaid by further captivity.

The Doctor refers to the Cave of Skulls as being “evil,” the first time something is given this label in the series.

Hur recaps the previous episode’s events, telling Za how the man called Friend (Ian) and his companions cared for Za’s wounds like a mother for child. As Za gives the time-travelers his ultimatum – make fire or die at the hands of the tribe - Ian tells him that in his tribe, making fire is not all that important. Ian defers to the Doctor as leader. However, their conversation is interrupted by Kal’s return. Za fights him to the death, apparently in another studio. As much as I didn’t enjoy seeing Kal and Za’s rather anachronistic underwear, I’m thankful it was there.

Meanwhile, in the sleeping cave, Will Ferrell's caveman stunt double tries to convince the tribe that Za is taking too long with the fire. Za manages to kill Kal about the same time that Ian kindles a flame. Suddenly, Za is able to show off a torch to the rest of the tribe, and Will Ferrell recounts how the meat and fire tasted together. Flame-broiled Whoppers can only a few years away now!

Although Za got what he wanted, he still keeps the TARDIS crew imprisoned, suggesting that he wants to annex their tribe. No one’s interested in helping further, as every bit of assistance up to this point has been met with incarceration. Luckily, Susan has seen Live and Let Die, and the group come up with a plan to scare the tribe enough to distract them as they escape.

The time-travelers run in place, as technicians out of frame hit them with the branches of tropical plants. They get through the forest and enter the TARDIS quickly. They dematerialize as the tribe’s spears miss their mark. For the first time, Za looks just as baffled as anyone from the twentieth century might be at the disappearance of the TARDIS. (“The first faint glimmerings…”)

Inside, the crew bickers about getting back home. The Doctor mutters, “You know I can’t do that.” He waffles about not having enough time upon their previous hurried departure to make proper notes. However, it seems to Ian and Barbara (and the audience) that he can’t really control the TARDIS at all. They land somewhere very obviously not 1963 London, and Susan takes her premature radiation count…

Next episode: The Dead Planet

(and the beginning of Doctor Who's impact on popular culture)

Running up that hill

"These people have logic and reason, have they? Can’t you see their minds change as rapidly as night and day?” – The Doctor

Ep. 003: The Forest of Fear
(Production A/Story #001: "An Unearthly Child" - Part 3 of 4)
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Boy, they weren’t kidding when they called it the Cave of Skulls. The Doctor takes some responsibility (finally) for getting his companions into their current predicament. Ian pauses as he notices all the skulls from previous prisoners were “split wide open.”

We’re already familiar with her stance on violence and gruesome death, but I can’t help but wonder if Mary Whitehouse would approve of the entire Tribe of Gum sleeping together like that? Presumably, they’re all piled on top of each other for warmth. It would probably help if they would just invent pants. Pants are probably just as, if not more, important than fire…

The Doctor sits back and criticizes Ian’s efforts to escape, until he realizes it’s in his best interest to escape too. Suddenly, he switches off the grumpy old man mode, and makes helpful suggestions. The gang even has a heartwarming discussion about hope vs. fear.

Hur seems to have all the brain cells of the tribe. What little analytical reasoning present seems to be produced by her. She convinces Kal that they should stop the Old Woman from killing their prisoners. A moment later, we find out that the Old Woman was not interested in killing them, but rather letting them go so she and the tribe can avoid the advent of fire.

As the TARDIS crew escapes, Barbara shows the fear one might expect from being in a real life or death situation. A lot of us complain about later companions being screamers, but it is still refreshing to see at this early stage, that being part of the TARDIS crew has yet to become passé. They run through the “Forest of Fear,” which appears to be quite lush for what was such a cold region in the last episode. Maybe this is where the polar bears from Lost are born… As the time-travellers are chased through the woods by Za and Hur, Za is attacked by… something… that appears to be the camera operator.

Beyond all reason, (at least to the Doctor and much of the audience) Barbara chooses this moment to show compassion and see if there’s anything they can do to help Za. They stop running, and Ian and Barbara offer up their assistance as "friends." Hur doesn’t understand, but Za encourages her to trust them as, “they do not kill.” While Ian and Barbara are distracted, The Doctor tries to force Susan back to the TARDIS, presumably stranding the teachers forever. This is another example of an uncharacteristically dark Doctor. Luckily, Susan will have none of it, and helps Ian and Barbara. Barbara tries to give Hur a lesson in quid pro quo and just general kindness, but it doesn’t seem to take. The suggestion that everyone go back to the ship, Za and Hur included, for antiseptic is made. The Doctor refuses to help, until Ian embarrasses him into carrying the makeshift stretcher so the women don’t have to.

While all this was happening, Kal has found what the Old Woman has done. He seizes the opportunity to kill her and suggests Za and Hur have done it. Since the tribe have nothing to fall back on in the way of logic, they quickly fall victim to Kal’s version of events. Kal convinces the tribe to wait for them by the TARDIS, and as the stretcher party arrives …

Next episode: The Firemaker

(not to be confused with Mentos, the Freshmaker)

Stump speeches

“If you could touch the alien sand and hear the cries of strange birds, and watch them wheel in another sky, would that satisfy you?” - The Doctor

Ep. 002: The Cave of Skulls

(Production A/Story #001: "An Unearthly Child" - Part 2 of 4)
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In the opening shot, Kal sure casts a big shadow.

Actually, Za and Kal look a lot alike to me, though I guess Kal looks a little more like Ringo Starr. (Especially when you think of Ringo's Caveman experience with Barbara Bach.) When trying to make fire, I love the way Za gets frustrated with the twigs and yells at them.

Back in the TARDIS, Ian and Babara wake up after being knocked out for no real reason. The Year-O-Meter (perhaps made by Hasbro) apparently doesn’t work in negative numbers, reminding me of the Y2K problem. Susan checks the Radiation counter, foreshadowing what’s to come. The Doctor seems much happier (and far less malevolent) now that Ian and Barbara are a captive audience, and forced to accept their situation. I liked the way Barbara believes immediately that they’ve gone back in time, but Ian still can’t grasp it. Maybe it shows us the difference between the History teacher who grew up imagining herself in the past, versus the skeptical Science teacher who refuses to accept results until they’ve been tested, and the results reproduced.

Even outside the ship, Ian refuses to believe.

The producers’ choice to the make the TARDIS a police box was truly inspired. I love how even though I personally didn’t grow up with them, the police box for me is immediately an image that is safe and iconic. Sadly, for the Metropolitan Police, the police box is now synonymous with a TARDIS, whether they like it or not.

Once outside, The Doctor is disturbed that the TARDIS hasn’t changed its outward appearance. Minutes later, Susan explains that it blends into its surroundings, and on other occasions, looked like a column or a chair. I have to wonder how one enters a chair-shaped TARDIS. Do you sit in it and end up falling backward through the interior door?

The Doctor smokes a pipe (as far as I can remember, the only time he does so) and is quickly knocked out and abducted by Kal. Susan discovers him missing and starts freaking out like that girl everyone was queuing up to slap in Airplane!

We return to the tribe, to find the prehistoric children beating another child dressed up as a cheetah. They yell, “Kill! Kill!” all without the help of violent television to place the images in their heads.

Later, the Doctor takes no pause in offering superior technology (fire) to an inferior culture (the Tribe of Gum). While he might do later, at this time he takes no moment deciding whether this might pollute the timeline. Of course, Za’s late father apparently already made fire a few times, so the argument is academic. But, supposing he hadn’t, and the Doctor had been successful in teaching the tribe to make fire, would the Doctor then be responsible for just about all technology on Earth, ever?

Though his life is threatened, the Doctor quickly backpedals as he realizes his matches were left behind somewhere. It’s now obvious that the real drama is between Kal and Za’s credibility, and the Doctor is vulnerable to the outcome of their prehistoric pissing contest. I enjoyed this scene. Here, Kal and Za have possibly history’s first Presidential debate. I almost expect them to move on from fire to something more important, like health or education.

The rest TARDIS crew breaks onto the scene, nearly saving the day, but only succeeding in getting captured. It is here that the Doctor does something heroic for the first time in the series, explaining that if Ian dies, “there will be no fire!”

By the end of the episode, an elder of the tribe trades his own daughter in for meat. Luckily, the daughter is willing. She echoes Lady Macbeth, as she clearly favors Ka and pushes him in his ambition. Another character, an old woman (possibly Ka’s mother) seems to have no ambition whatsoever, and never misses an opportunity to resist progress and naysay Ka’s skills as leader. She exhibits a healthy blood lust to replace her apathy, and is very vocal in her opinion that they should have killed the strangers. She adds, “There were leaders before there was fire. Fire will kill us all in end.” She (like many Old Mothers after her) fails to see the spark of progress, maybe preferring instead to see this new fire thing as some kind of dangerous fad.

***

Encore

Derek Newark (Ka) appears later in Inferno, and Althea Charleton (Hur) appears later in The Time Meddler.

Future Echoes
Is the column the default setting for the TARDIS, and did Master forget to change it in Logopolis?

Next episode: The Forest of Fear

Grendel's mother

“You see? The first, faint glimmerings…” – The Doctor

Unaired Pilot Episode

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I can understand almost every change they made. There’s certainly a lot more shouting in the pilot version. Sydney Newman, the man often credited with creating Doctor Who, allowed the producers another shot at making the first episode. [1] He gave extensive notes, including, “Old man not funny enough.” [2] And while I don’t think the Doctor’s particularly wacky in the broadcast version, he’s almost evil in this. More about that later.

My first thought was actually: the Coal Hill schoolchildren are even quieter teenagers in the pilot. And, instead of a waiting for a book, Susan seems to stay after school for no reason whatsoever. After her teachers bid her good evening, she stays behind to create the Rorschach from Hell, again, for no reason.

Unfortunately, Ian and Barbara have a little less chemistry, which I guess is to be expected. In the broadcast version, I can almost see Ian asking Barbara out for a drink later; but I don’t get that sense here.

Finally, when William Hartnell steps on to the scene, he makes a huge difference. It’s obvious there were quite a few dialogue changes between this and the new version. However, what’s striking, was that his tone was originally even darker. If you didn’t have visions of Susan locked up in a cupboard while watching the broadcast version, this performance may do it. The Doctor appears almost predatorial as the TARDIS door opens. We hear a reprise of the music from Susan’s radio, and he jumps as a discovered kidnapper might.

The Doctor and Susan seem more argumentative in the pilot. At one point, he even calls her a “stupid girl,” blaming Susan for the breach in security. Hartnell plays it angry, rather than mysterious. Likewise, his argument with Ian is most pointed. As Ian claims it’s improbable to find a scientific breakthrough in a junkyard, the Doctor replies, "For your science, schoolmaster, not for ours. I tell you, before your ancestors turned the first wheel, the people of my world had reduced movement through the farthest reaches of space to a game for children."

The scene becomes heated, and soon we see Ian and Barbara beating on the doors to get out. It’s at this moment that the Doctor laughs at them, as if a villain. I have to admit, the moment gave me chills. The Doctor seems rather evil here, and it’s reinforced by his electrifying the TARDIS console, as Ian’s flipping switches. The broadcast version seemed less malevolent. The Doctor still chooses to turn the console “live,” but he steps away before Ian even gets to it. I'm not sure why, but the moment played this way strikes me as being more defensive than anything else.

The one bit of dialogue I wish they could’ve kept, was part of the Doctor’s conversation with Susan - trying to get her on his side. He explains that it doesn’t matter if the teachers don’t understand the TARDIS yet, just knowing that the dimensional anomaly is possible may pollute the timeline. He compares it to giving the ancient Romans gunpowder or supplying Napoleon with an air force.

Even the technical aspects of the pilot seem darker. There are more half-lit shots of ominous dummies in the scrapyard; and one shot with a voyeuristic view through an empty mattress frame in the foreground. The theme even has an extra electronic crack! at the beginning. It’s just not the comforting tune I grew up with, and I wonder how long the series would have lasted had it followed through with these darker characterizations...

Or, if it would’ve been canceled entirely.

Next episode: The Cave of Skulls

___________
[1] I tend to think of no one person as the creator of Doctor Who. Sydney Newman (the newly hired Head of Drama at the BBC) certainly got the ball rolling, and had final say in a lot of the original situations and character decisions. However, I consider him more seminal in organizing the show’s original production staff, including: Donald Wilson, C.E. Webber, and Verity Lambert, with whom he would often butt heads. The Doctor (as John Smith) in Human Nature, refers to his parents as "Sydney and Verity."

[2] Doctor Who: Origins. (DVD special feature)

A Dark Lord?

“Have you ever thought what it’s like to be wanderers in the fourth dimension? Have you? To be exiles…” – The Doctor

Ep. 001: An Unearthly Child
(Production A/Story #001: "An Unearthly Child" - Part 1 of 4)

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The opening shot is beautiful shadow and fog, almost film noir-ish. Unfortunately, for me, the effect is undermined by the theme continuing past its title sequence. I have to remember that those seeing this for the first time wouldn’t necessarily find the theme tune as comforting as I do. It’s a familiar sound from my childhood, but back in 1963, this haunting melody was not at all likely to be heard in your sitting room right before Juke Box Jury. I won’t go into how unique and groundbreaking it was, and still is. I'll only say that it’s very eerie if I don’t take it for granted.

Ron Grainer's music ends right about the same time our eyes meet the police box. [1] The box begins humming mysteriously. Maybe it knows what’s coming.

In following scenes, I detect obvious chemistry between Ian and Barbara. I like them instantly. I loved the bit where Ian knows all about the band Susan is listening to. I’m sure most of the kids think he’s square, and probably he is, in every important respect. Still, he has an “enquiring mind,” and probably similar to Susan, he lets out his (pop culture) knowledge “a little bit at a time, so as not to embarrass” them.

I wonder why Susan expects to return Barbara’s book the next day. Will she have finished it because she's had the time to read it, after countless adventures in time and space with her grandfather? Doesn’t that imply her grandfather has more control over the time machine than he lets on? Or does time pass differently inside the ship? And why is she borrowing a book on the French Revolution, if she has already witnessed it? Viewing the episode through the eyes of the 60s, her comment, “that’s not right,” regarding the history book is the audience’s first clue of the adventure to come.

I love the flashbacks with Susan, and for the first time, it becomes obvious that the show was shot live to tape in a single studio. Though the flashbacks are presumably on different days, Susan clothes haven’t changed at all. Even ignoring this little continuity error, the scenes are effectively awkward. Director Waris Hussein’s use of close-ups evoke memories of classroom embarrassments, humanizing Susan’s rather alien dialogue. [2] (One curious point, and maybe someone can explain this to me… If dimensions A, B and C, are effectively space, why does Susan say that E is also space? [3])

I find the Doctor quite creepy in his very first scene. He is suspicious and defensive from the start. If I try to watch this first episode from the perspective of never having seen it before, the Doctor appears (at the very least) to be an abusive grandfather. Think of it this way: Ian and Barbara do not know this stranger. They suspect he’s Susan’s grandfather, and is a doctor of some kind, but know nothing else about him. Worse, they’re convinced he’s got Susan locked up in a box that’s not roomier than two feet square. Scary.

In an aside to himself, the Doctor mutters, “Not the police, then?” in reference to Ian and Barbara; securing his criminal intent. Once inside the TARDIS, the audience [4] is relieved that Susan’s all right, but that doesn’t matter - because now we have the paradigm shift of entering the ship for the first time.

The Doctor continues to be creepy, albeit for new reasons. If we were prepared to believe that he was an abusive grandfather, what might he do to Ian and Barbara while trapped in his domain? Here, nothing makes sense. Anything could happen.

While the schoolteachers are distracted by the trappings of the TARDIS, he argues, “The point is not whether you understand. What is going to happen to you?” confirming this dark sentiment. The more the Doctor speaks, the more we’re compelled to find out more about him. He cycles through ignoring and mocking Ian’s inability to comprehend, until finally the Doctor’s motivations become clearer. He mentions that he and Susan are on Earth “without friends or protection,” implying they might be on the run from someone; or at least, vulnerable enough to be caught up in warfare, disease, crime, or any other dangers that exist at their destinations. The universe is dangerous, and in turn, the Doctor must also be dangerous to protect himself and Susan. His vigilance keeps their lives secret. If they let the intruders go - he and Susan must flee, or be discovered. Creepiness turns to tough love, as the Doctor decides to take on (or kidnap) Ian and Barbara in order to keep an upset Susan from staying in the 20th Century with her teachers…

…on the other hand, it’s clear the Doctor wanted to leave anyway. He remarks, “I tolerate the 20th Century, but I don’t enjoy it.”

As the TARDIS leaves for the first time on television, the Doctor and Susan turn away from the console, as if doing that is somehow necessary for dematerialization. The Doctor looks as if he’s suffering from severe heartburn here. Thank goodness this sequence of events is not necessary in future episodes. We rush into the next segment, and I realize this is not the Doctor I remember. He's more mysterious and unpredictable. Maybe not a dark lord [5], exactly, but certainly more complicated than I remember from childhood. As an adult, I can recognize a tighter performance. Hartnell plays him with more depth than I may given him credit for in the past.

Encore
Jacqueline Hill (Barbara) later plays Lexa in 1980’s Meglos with Tom Baker.

Future Echoes
Ian doesn’t know how right he is when he touches the police box and declares, “It’s alive!” I forget how we find out the TARDIS is an intelligent living being with telepathic circuits, but I know it’s long before the new series. I believe the Doctor’s assertion in Rise of the Cybermen - that the ship is not built, but “grown” - is the first time we hear about a presumably organic component to the TARDIS. I can’t wait to hear more about it in future episodes, and rediscover it in past adventures.

I love how massive the TARDIS appears on the inside, and how Ian can’t wrap his head around it for several minutes. It was great how Ian walked all around the police box, which conflicts him greatly once inside. Chang Lee (1996 Movie) and Rose (Rose) both do the same, but after they’ve entered, if I remember correctly. Chang Lee and Rose aside, many later companions surprisingly take this dimensional aberrance in stride. True, it saves time and helps keep the long-term audience engaged, but I think this knocks down the believability a notch. It's also unfortunate that Console Room seems to be seriously reduced by the Tom Baker era.

The Doctor's temporary address, 76 Totter’s Lane, appears again in Attack of the Cybermen and Remembrance of the Daleks. The latter story also features the reappearance of Coal Hill School. Sam Jones of the Eighth Doctor BBC Novel range attended Coal Hill in the 90s.

Coming soon: The Unaired Pilot


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[1] Written by Ron Grainer, but realised by Delia Derbyshire, out of electronically created sounds in the BBC Radiophonic Workshop.

[2] Depending on how you look at it, Susan is an alien in time as well as space. She mentions in the unaired pilot that she was “born the 49th Century.”

[3] While it doesn’t really answer my question - maybe Susan meant E-space (Exo-Space), an area occupying the same space as our universe, yet negative. We journey to E-Space in Full Circle, State of Decay, and Warriors’ Gate.

[4] When I say “audience” or “we,” I assume this audience has the same emotions and reactions as I do. You’ll notice I’ll use “we” a lot, so I don’t have to say “I” all the time. Everyone, of course, is entitled to unique experiences, and if your perspective contrasts (or agrees with) mine, I invite you to comment.

[5] On the other hand, the Valeyard has to come from somewhere, right?