2) THE DALEKS

The Daleks is a first-class science-fiction adventure which introduces the show’s most memorable and beloved pepper-pot menaces, The Daleks. As a story, it’s pretty straightforward, packed full of enduring chase scenes, audacious escapes, excellent production designs, heart pounding cliff-hangers, an excellent score by Tristram Cary (it’s no surprise it was later reused many times), alien landscapes from a far off alien world, and a few secondary monsters to please the kiddies.

Terry Nation delivers seven scripts with plenty of imagery, but some risky messages for young children. The Thals who are seen as ‘beautiful’ are the good results after centuries of nuclear radiation, whilst The Daleks are worse off, evolving into mutant creatures that must be destroyed. It’s a little risky to say that anything ‘ugly’ must be destroyed, and anything ‘beautiful’ must survive. That being said, the issues are explored in depth, with no easy answer to resolve both sides of the argument. Contrary to ugly vs. beauty imagery, The Daleks, on the whole, are the ‘bad guys’. Terry Nation provides a solid platform where The Thals are given just cause to take up arms and fight for their survival. Besides this the scripts are incredibly strong, with various drawn-out scenes to up the tension, and plenty of frights to tighten the fear factor. Perhaps there are a bit too many convenient moments although The Daleks is not the worst offender for doing this, not by a long shot.

The direction is superb, Christopher Barry is the better of the two, but Richard Martin still shines. The direction is also ahead of its time, and often delves into the realm of voyeurism, where the viewers are positioned as the ones who are doing the menacing. The moment when Barbara is backed up against a wall, where a Dalek s-l-o-w-l-y advances towards her puts the viewers into an unnerving position the likes of which will never be seen again. The Daleks is a true delight and is a positive indicator for what is to come. ****