Enthusiastic fans celebrate the Doctor Who and the Daleks film, highlighting its enduring appeal.
For many long-term Doctor Who fans, particularly those who immersed themselves in the fandom during the late 1980s, the Peter Cushing Doctor Who films held a curious position. Dr Who and the Daleks (1965) and Daleks’ Invasion Earth: 2150 A.D. (1966) were often dismissed as non-canonical fluff, aberrations in the otherwise serious universe of the Time Lord. This was an era when fandom was deeply invested in continuity, production codes, and a rigid sense of what constituted “proper” Doctor Who. Yet, despite this critical stance, a quiet fondness persisted. Many fans privately confessed to enjoying these films, recalling childhood Saturday mornings or school holidays spent watching repeated broadcasts alongside other classic children’s programming. There was a guilty pleasure associated with these colorful, non-series adventures.
Thankfully, the days of overly strict, continuity-obsessed fandom have largely faded. The landscape of Doctor Who fandom has evolved. Perhaps it was the hiatus of the television series and the subsequent expansion into audio dramas, novels, comics, and various spin-offs that broadened perspectives. Today, fans generally embrace a more inclusive view of the Doctor Who universe, readily accepting different interpretations and mediums. This more relaxed and accepting era has seen a significant re-evaluation and embrace of the Dalek films, once considered the outcasts of the Doctor Who family. This shift is undoubtedly a positive development, allowing for a richer and more nuanced appreciation of the franchise’s history.
For those unfamiliar with this cinematic detour in Doctor Who history, Dr Who and the Daleks offers a vibrant, Technicolor retelling of the first Dalek serial from the television show, “The Daleks” (1963-64). The film introduces Dr. Who, portrayed by Peter Cushing, not as an alien Time Lord, but as an eccentric, albeit brilliant, human inventor. Living in a quaint suburban cottage with his granddaughters, Susan and Barbara, Dr. Who has constructed a time and space machine in his back garden. This machine, inexplicably shaped like a London police box and christened the TARDIS, is the source of much curiosity for Barbara’s boyfriend, Ian Chesterton.
During an initial, somewhat clumsy, encounter at the Who residence, the Doctor enthusiastically offers to demonstrate his invention to Ian. A mishap within the TARDIS control room, orchestrated by the well-meaning but clumsy Ian and Barbara, inadvertently sends the entire group hurtling through time and space. They arrive on the planet Skaro, a world ravaged by nuclear war and home to two distinct species: the Daleks and the Thals. Ian’s arrival on Skaro is immediately eventful, as he quickly finds himself stunned, poisoned, lost, and even shot in rapid succession – a testament to the planet’s hostile environment. The Daleks, visually amplified versions of their television counterparts, resembling a cross between classic designs and something enhanced with steroids and vibrant candy colors, are presented as the primary antagonists. In contrast, the Thals are depicted as a peaceful, humanoid race, almost angelic in their appearance, perhaps best visualized as a Venusian gay pride parade in their colorful and harmonious attire. These two species, remarkably oblivious to each other despite sharing a planet devastated by their ancient conflict, have remained isolated for centuries. Dr. Who, in his characteristic manner, becomes the catalyst for bringing them together, setting the stage for a series of action-packed, visually striking events.
Essentially, Dr Who and the Daleks condenses the narrative arc of the original television serial into a more streamlined, visually spectacular format suitable for the big screen. If the idea of a colorful, action-oriented, and slightly simplified take on the Dalek origin story sounds unappealing, then this film might not be for you. However, if it conjures images of lighthearted adventure and pure entertainment, then Dr Who and the Daleks is a delightful experience. It’s a film that embraces its own sense of fun and spectacle, and those who approach it with similar expectations are likely to be thoroughly entertained. With its recent Blu-Ray™ release, there’s never been a better time to rediscover, or discover for the first time, this unique chapter in Doctor Who history.
Dismissing Dr Who and the Daleks for not achieving the dramatic depth or narrative complexity of the television series misses a crucial point: the fundamental differences between television serials and cinematic releases in the 1960s. For a film to be financially viable, especially in 1965, it had to attract a cinema audience. Dr Who and the Daleks faced the challenge of persuading a UK audience to pay for something they could already watch for free on television. The solution was to elevate the story of “The Daleks” with the allure of the silver screen. Elements unattainable on 1965 UK television – namely, vibrant color, grand spectacle, and recognizable stars – became essential for the film’s success.
Furthermore, Dr Who and the Daleks was conceived with an international market in mind, particularly territories where the Doctor Who television series was unknown. The United States, for example, was largely unfamiliar with Doctor Who in 1965. Casting Peter Cushing as Dr. Who was a strategic move to enhance international appeal. Cushing was a globally recognized name, primarily through his extensive work with Hammer Films and his association with horror cinema. For UK audiences, the film was marketed as a spectacular, large-scale version of the beloved Saturday teatime show. For overseas audiences, it was sold as an exciting science fiction monster movie headlined by Peter Cushing. Did the film succeed in these dual objectives? Emphatically, yes.
Peter Cushing’s portrayal of Dr. Who is noticeably warmer and gentler than William Hartnell’s sometimes irascible television Doctor. Cushing’s Doctor is the quintessential kindly grandfather figure, offering mints and winks, a stark contrast to Hartnell’s Doctor who might be more inclined to deliver a stern telling-off. However, both actors share a common trait: they both consciously distanced themselves from their established screen personas in these roles. Hartnell, known for playing authority figures like sergeant majors and policemen, shed that image to become the Doctor. Cushing, primarily recognized for his portrayals of morally ambiguous characters like Victor Frankenstein and the zealous Professor Van Helsing, embraced the persona of the affable Dr. Who. Roy Castle, a versatile entertainer, delivers a commendable performance as Ian Chesterton. However, the film’s script unfortunately reduces Ian to a somewhat clumsy and simple character for much of the narrative, which feels incongruous with his later displays of heroism within the Dalek city. Jennie Linden’s Barbara fares even worse in terms of character development. She is largely relegated to the role of eye candy, with little agency or depth. While she doesn’t scream as much as might be expected in a sci-fi adventure, she also has very little else to contribute to the plot. Barbara arguably suffers the most in this transition from television to film.
Susan, however, presents a different case entirely. Portrayed as younger than her television counterpart, Susan, played by Roberta Tovey, is arguably a more engaging and resourceful character than Carole Ann Ford’s TV version. The television Susan, despite initial promise, often devolved into a stereotypical damsel in distress, prone to screaming and frequently the cause of the TARDIS crew’s troubles due to her impulsive actions. In contrast, the film Susan is intelligent, resourceful, and often instrumental in resolving situations created by her grandfather’s curiosity. It is therefore unsurprising that Susan is the only companion from Dr Who and the Daleks to return for the sequel, Daleks’ Invasion Earth: 2150 A.D..
In conclusion, Dr Who and the Daleks is a film that holds up remarkably well. Many criticisms leveled against it over the years are largely unwarranted. It is never boring, the production design is visually impressive, and it certainly avoids any sense of cheapness. Indeed, when compared to other British science fiction films of the same era, such as Moon Zero Two or They Came from Beyond Space, Dr Who and the Daleks operates on a different level of quality and production value. Far from being a flop, Dr Who and the Daleks was a commercial success both in the UK and internationally. Its success was significant enough to warrant a sequel, Daleks’ Invasion Earth: 2150 A.D., which we will explore next. Prepare the TARDIS for a journey to 2150 A.D.!
Following the pattern of the television series, where “The Daleks” was succeeded by the more expansive “Dalek Invasion of Earth,” the film adaptation followed suit. Just a year after Dr Who and the Daleks, Daleks’ Invasion Earth: 2150ad arrived in cinemas. The title itself, Daleks’ Invasion Earth: 2150ad, is evocative, promising a large-scale, blockbuster science fiction experience.
The plot of Daleks’ Invasion Earth: 2150ad again loosely mirrors its television counterpart, “The Dalek Invasion of Earth” (1964). Dr. Who, along with Susan and a new character, his niece Louise, inadvertently brings a London police officer named Tom Campbell to a future London in ruins. Here, they encounter a small band of survivors struggling to exist amidst the devastation, their primary sustenance seemingly consisting of an endless supply of Sugar Puffs cereal. The Daleks, having overcome their reliance on static electricity, have successfully conquered Earth. However, their plan of conquest appears somewhat flawed – they seem to have overlooked the necessity of eliminating all lifeforms before claiming dominion over a planet.
The TARDIS becomes buried under debris, and Susan, in a nod to her television counterpart, injures her ankle. While Louise attends to Susan, Dr. Who and Tom explore a nearby warehouse, discovering a murdered man in a PVC suit amidst cardboard boxes. Upon their return, the women are missing, having been taken by a rebel named Wyler. Instead, Dr. Who and Tom encounter a Dalek emerging from the River Thames and are promptly captured and taken aboard a Dalek flying saucer.
The narrative then becomes a series of separations and team-ups. Rebels attack the Dalek saucer, leading to Dr. Who and Tom being separated, and Louise and Susan also become divided. Susan joins forces with Wyler, while Tom pairs up with Louise, and Dr. Who teams up with another rebel, David Campbell. Susan and Wyler escape London in a van that subsequently explodes. Tom and Louise escape the Dalek saucer via a waste disposal chute. Dr. Who and David head towards Bedfordshire, where the Daleks are engaged in mining the Earth’s magnetic core for reasons that remain somewhat unclear.
After various escapades, everyone converges at the Dalek mine and devises a plan to defeat the Daleks. This culminates in the Daleks and their spaceship being drawn into the Earth’s magnetic core, while the mine’s iron framework inexplicably survives. The film successfully compresses a six-episode television serial into a fast-paced, approximately 80-minute cinematic adventure.
Similar to its predecessor, Daleks’ Invasion Earth: 2150ad offers considerable entertainment value. It is a grand, colorful, and energetic film, albeit with a slightly darker tone than Dr Who and the Daleks. By the time of its release, Patrick Troughton had succeeded William Hartnell as the television Doctor, and the initial wave of “Dalekmania” was beginning to wane. This shift is reflected in the film’s marketing. The UK poster prominently featured a menacing Roboman, with the words “Invasion Earth” overshadowing the comparatively smaller word “Daleks.” In fact, the name of the iconic monsters, which dominated the poster for the first film, is relegated to the smallest text in the sequel’s title.
Cushing delivers another excellent performance, bringing wit and charm to Dr. Who, while also hinting at greater emotional depth compared to the first film. Roberta Tovey also provides a more nuanced portrayal of Susan, perhaps due to her slightly older age or the richer material she is given to work with. Jill Curzon as Louise receives a slightly better deal than Barbara in the previous film. Louise is not merely a screaming bystander; she demonstrates some intellect and agency, though still within the confines of 1960s cinematic conventions.
Bernard Cribbins, later known to Doctor Who fans as Wilfred Mott, is a standout as PC Tom Campbell. His comedic bumbling is restrained and deployed effectively, notably in the Roboman food machine sequence, which is genuinely charming rather than embarrassing. Ray Brooks, known for The Knack…and How to Get It, is a capable actor who portrays David Campbell, though he is given less to do than his television counterpart. Character actors Philip Madoc, Eileen Way, and Andrew Kier provide solid support in smaller roles.
While many fans consider Daleks’ Invasion Earth: 2150ad to be the superior of the two films due to its more mature tone, a case can be made for Dr Who and the Daleks. Personal preferences vary, and some viewers may find the lighter, more whimsical tone of the first film more appealing. Ultimately, both Doctor Who Dalek films offer a unique and enjoyable perspective on the early years of Doctor Who, showcasing the enduring appeal of the Daleks and the imaginative possibilities of bringing the television series to the big screen. Sadly, plans for a third film based on “The Chase” did not materialize, but these two films remain a vibrant and fondly remembered part of Doctor Who history.
