There are certain TV moments from my childhood and adolescence that have been raised to a mythical level. The "Meet Dracula" episode of The Hardy Boys/Nancy Drew Mysteries is one of them. As is the "Dragon's Domain" episode of Space: 1999. And then of course there were a boatload of Sid and Marty Kroft inspired memories.
Doctor Who came later for me, but was no less potent. Genesis of the Daleks was made more memorable because I had an unintended and prolonged break between episodes two and three. As was my habit, I set the old Betamax on Sunday night at 11:30PM. The next day I excitedly re-wound the tape and immersed myself in the epic story. Then as I was on the edge of my seat watching Sarah and the Mutos climb the scaffolding to the top of the Thal dome the TV went to snow! Suddenly I recalled the terrific thunderstorm the night before. I was crestfallen.
It wouldn't be for 7 or 8 months until the episode was thankfully rerun and I got to see the rest of the story. But my anticipation only made it all the more exciting and rewarding.
Genesis of the Daleks has some amazing moments, including a very memorable opening with a bunch of gas-masked soldiers being mowed down in the fog, then another group disappearing into said fog, and the fourth Doctor emerging a second later. It was mysterious, surreal, with perfect direction and editing. The arrival of the Timelord and his mission to the Doctor is positively Bergman-esque. It's probably the most effective use of the Doctor's brethren barring only The War Games.
David Mahoney's direction and Robert Holmes script editing have turned Terry Nation's paint-by-numbers template into something truly special. But hey this was my first Dalek story outside of the second Peter Cushing movie, so even Nation's familiar beats were new to me. At 14 what struck me most was the terrifying way the Doctor, Sarah and Harry just kept getting more and more enmeshed in the horror. Every time the Time Ring was lost or confiscated I felt a sense of panic. My own life in grade 9 was getting progressively more miserable and the idea of escape was a potent one. As was the twin idea of changing the past and averting bad things in the future.
What's haunts me now as I watched it this time is the tragedy of the Kaleds as personified by Gharman and his portrayal by Dennis Chinnery. His naive devotion to the democracy is so strong (even after the Thals have decimated his people and the Daleks have decimated the Thals), and there is that moment when he tells the Doctor that everything will be okay that just breaks my heart. Watching as he and the other scientists are mowed down is excruciating.
David Mahoney manages to keep everything looking so fresh and interesting, even as characters seem to journey back and forth from the respective domes. The image of the Dalek against the violet sky is quite striking (almost in the style a Nazi propaganda poster). Mahoney deserves real credit since the Daleks-as-Nazis metaphor has been milked to death by this point in the show's history. Oh and the revulsion on Nyder's face at the thought of a democratically elected leader is priceless.
And Harry Sullivan continues to be wonderful. Sure the character is woefully underwritten and unnecessary, but Ian Marter portrayal is so darned likeable and fun to have around (even when he's being ambushed by a clam). It's also nice to see him perform solo companion duties with the Doctor for a chunk of the story. I'm already suffering separation anxiety from his impending departure.
Of course the things that bug me about Genesis still bug me. Like the rather indifferent parting of Sarah's Muto friend: she shows a moment of affection and he all be brushes her off as he departs to join the Thal brigade. I never got that! And the Thals seem to have no real identity as a people. They're just perfunctory (so much so that a spunky young woman can just ascend to their leadership without a second thought).
As grade 9 dipped lower into despair, Doctor Who only got better and better (thunderstorms not withstanding).
Originally viewed: October 1, 1983 (Episodes 1 & 2); Sometime in 1984 (Episodes 3-6)
Wine: A red Zinfandel from the DeLoach vinyards in California. Spicy and peppery, with a smooth and velvety character. An excellent companion to beef, sausages and Nazi allegory! (Thanks to Dennis for pointing me towards the choice).
Music: "Love is a Battlefield" by Pat Benatar.
*Note: The blog will resume in one month to coincide with the release of Revenge of the Cybermen on DVD.
My own experience of Genesis of the Daleks was similar, although in my case I misjudged how much I had left on my tape (I was taping episodes in LP and had taped Robot and Genesis) and missed the last 10 minutes of Genesis episode 6 as a result. I had read the Target novelisation to find out what happened at the end as I wouldn't see it again for another year (when I taped it at SLP and got the whole thing). Curiously, I still have the tape-- my own rewatch of Genesis was done using it!
ReplyDeleteActually, I think Terry Nation deserves credit-- I think most of what works with Harry in this story is down to him. Nation was pretty solid when it came to writing male characters and the Doctor/Harry scenes in the first couple of episodes are actually pretty good.
I totally agree with you about the Thals. I still think I've missed a scene when short cropped female Thal shows up on the scene as though she's someone we should care about.
For me, Genesis is a mixed bag. It works more on David Maloney's atmosphere than anything else. The entire first episode is incredible. Episode 5 with "Do I have the right?" is great. The cliffhanger with the Doctor being forced to tell the Daleks' future is utter genius. (Actually all the cliffhangers are pretty good-- especially episode 2 with Sarah falling into freeze frame). But the moments between are a hodge-podge of great (usually involving Davros, Nyder or Gharman) or bog-standard Nation fare.
The one thing that is hardly mentioned is how superb Tom Baker is. Season 12 is really Tom Baker the actor playing the Doctor. It gradually moves toward Tom Baker the personality as time moves on, but during his first season he's really like David Tennant or Matt Smith, a breakout talent just exploding like a supernova before your eyes. The scene with Davros talking about the virus is a brilliant performance.
You're absolutely right about Tom Baker's performance. He's completely riveting. There's never a moment when he goes with the obvious acting choice in a scene. I think I'll have more to say about his performance at the end of season 12.
ReplyDeleteInterestingly, he's the only Doctor who never had to prove himself to me, and thus it's easy to take him for granted.
Oh and in terms of Harry's appeal, I have a hard time seeing how Nation's script necessarily aids the character beyond giving him some one-on-one time with the Doctor. Make your case Mr. Burk :-)
ReplyDeleteThe scene where Harry manages to get the Doctor out of the minefield, for one. It's a brilliant moment between Tom Baker and Ian Marter, and it's pure Nation. I love the rapport they have throughout the next two episode, "No tea, Harry." is done with that sort of knowing look between them that's the sort of thing you expect of the Doctor and Sarah
ReplyDelete