Dr. Who and the Daleks (1965) Review

 

A scientist invents a time machine and travels to the planet Skaro with his granddaughters, Barbara and Susan, and Ian to fight a mutant attack on the planet.  

Director Gordon Flemyng delivers a Technicolor spectacle with Star Trek and ’60s Bond vibes. Doctor Who and the Daleks boasts a sweeping 007-style score by Malcolm Lockyer and a sense of wonder straight from H.G. Wells and Jules Verne. While Milton Subotsky’s (along with uncredited Sydney Newman and David Whitaker) screenplay keeps it accessible, there’s an underlying intelligence in how it presents complex ideas in an engaging and digestible way.  

Peter Cushing’s Doctor is a warm, eccentric inventor, differing from the TV version’s alien enigma. His portrayal is witty and wonderfully engaging, offering a more grandfatherly presence. Cushing’s Doctor may lack the mystery of his TV counterpart, but his keen intelligence and boundless enthusiasm make him an easy hero to root for. Roy Castle brings charming innocence as Ian, with delightfully hapless charisma. His comedic timing and earnest nature make him an endearing everyman, adding levity without undermining the tension. Roberta Tovey’s Susan is clever beyond her years, while Jennie Linden’s Barbara is poised and capable. The Daleks—bold, colourful, and menacing—embody the film’s mix of simplicity and intellect.  

Based on Terry Nation’s based on the B.B.C. television show (it was about only five episodes into production at the time) it diverges from the television series in tone and characterisation, Doctor Who and the Daleks stands as a fascinating alternate take on the world’s longest-running sci-fi saga. This possibly also influenced James Cameron’s Aliens, notably the facehugger and airlock door being cut open. It’s a pulpy, beautifully crafted adventure with a grand sense of scale, a thrilling musical score, and a genuine spirit of discovery.  

Thrilling, stylish, and subtly educational, it’s a pulpy adventure with grand sci-fi spirit.