Doctor Who — The Daleks (1963-1964, directed by Christopher Barry and Richard Martin)


It’s easy to forget that Doctor Who was originally meant to be an educational show for children.

When the BBC’s Head of Drama, Sydney Newman, first developed Doctor Who, he envisioned it as being a show in which an eccentric old man known as the Doctor and his granddaughter, Susan, would travel to past eras and meet actual historical figures and witness great events firsthand.  Accompanying them would be two teachers, Ian Chesterton and Barbara Wright, who would make sure the kids at home understood what they were watching.  While Newman allowed that, in order to keep the kids watching, there would be occasional episodes that would focus more an adventure than learning, he also said that the show would not feature any “bug-eyed monsters.”

The first serial, An Unearthly Child, stayed true to Newman’s concept.  After stumbling across the TARDIS while investigating the homelife of their newest pupil, Ian and Barbara found themselves traveling to pre-historic times with The Doctor and Susan.  Susan was played by Carole Ann Ford while Ian and Barbara were played by William Russell and Jacqueline Hill.  Playing the role of the Doctor was veteran actor William Hartnell.  Hartnell was 55 years old when he first played the Doctor but he looked and came across as being much older.  He played the Doctor as being a crotchety old man, one who resented being saddled with two new companions and who could be quite rude to those he considered to be his inferior.  This was early in the series so there was no talk of Time Lords or anything else that Doctor Who fans now take for granted.   Susan even took credit for naming The TARDIS, the Doctor’s time machine that, on the outside, appeared to be a blue police call box.

An Unearthly Child introduced the UK to the Doctor.  It got respectable ratings and reviews.  Viewed today, it’s also pretty boring and it’s easy to see the limitations in Newman’s original concept.  Hartnell plays the Doctor as being so ill-tempered that it was a surprise that he didn’t just jettison Ian and Barbara into space.  (I used to watch Doctor Who on PBS with my father.  The first episodes that we got were the Tom Baker years, followed by the Peter Davison and the Jon Pertwee episodes.  It was only then that PBS started showing the Hartnell episodes.  To go from Baker, Davison, and Pertwee to the grouchy Hartnell was indeed jarring.)  If the show had continued in the style of An Unearthly Child, it probably would not have lasted for more than two series.

Fortunately, the second serial changed everything.

Written by Terry Nation and originally called The Mutants, the second serial introduced The Daleks, the shrill-voiced cyborgs whose cries of “Exterminate!  Exterminate!” made them almost as popular as The Doctor himself.  Squid-like creatures who lived in tank-like robotic shells and who spoke in electronic voices, the Daleks lived on the planet Skaro.  Centuries of nuclear war against the Thals had left the Daleks mutated and trapped in their shells but they were still obsessed with exterminating all of the Thals and eventually conquering the universe.  With their robotic exteriors, the Daleks were bulky and often moved awkwardly.  (The recurring joke is that all the Doctor has to do to escape the Daleks is find a staircase.)  But because the Daleks were so relentless and so determine to exterminate everyone who wasn’t a Dalek, they were still intimidating.  Writer Terry Nation based the Daleks on the Nazis, a comparison that was undoubtedly easy for British audiences in 1963, less than 20 years after the end of World War II, to see.

A seven-episode serial, The Daleks premiered on December 21st, 1963 and ran through February 1st, 1964.  While the serial was airing, word spread about The Daleks.  The first episode was watched by six million viewers.  The seventh and final episode was watched by ten million.  Four million people were brought to the show by The Daleks.  Sydney Newman may not have wanted bug-eyed monsters on Doctor Who but no one could argue with ratings like that.  While the First and the Second Doctor would still have a few strictly historical adventures, The Daleks paved the way for the future of the series.  The Daleks would return many times.  The cavemen from An Unearthly Child were never seen again.

The Daleks opens with TARDIS materializing on the planet that will later be identified as Skaro.  The Doctor and Susan want to explore.  Ian and Barbara are upset because they want to go back to 1963.  (Ian and Barbara always annoyed me but, of all the companions on the original series. they probably did have the most realistic reaction to being swept up in the Doctor’s adventures.)  The Doctor flat-out lies about needing to get mercury to repair the TARDIS and uses it as an excuse to explore a nearby city.  Soon, The Doctor, Ian, and Barbara are the prisoners of the Daleks while Susan meets the peaceful Thals in the forest.  The Daleks and the Thals have been at war for centuries and it has destroyed their world.  The Doctor tries to broker a peace, which just leads to the Daleks killing even more Thals.  The Doctor can be excused because this was his first meeting with the Daleks.  The Thals should have known better than to trust the people who specifically decided to become cyborgs because they didn’t want to ever have to stop fighting.

Seen today, The Daleks holds up fairly well.  At seven episodes, it runs a bit long and, for those of us who grew up with Tom Baker and Peter Davison in the lead role, William Hartnell’s Doctor takes some getting used to.  The nonstop bickering between The Doctor and Ian gets old quickly.  The Thals are almost too naive to be believed.

But the Daleks themselves remain a brilliant creation and, even when seen in grainy, black-and-white, it is easy to understand why they became a phenomenon.  Their relentless determination to destroy and exterminate make them intimidating but what really stands out about the Daleks is how forthright they are about what they want.  It’s not just that the Daleks want to exterminate you.  It’s that they’ll tell you that they want to exterminate you, as if it’s the most reasonable desire that any creature could have.  (One reason why The Thals are so unsympathetic is that they keep falling for Dalek tricks, despite the Daleks being pretty honest about their hatred of the Thals.)  From the minute that the Daleks make their first appearance, cornering Barbara in their city, they give Doctor Who a jolt of energy that it very much needed.

This serial ends with The Doctor convinced that the Daleks have been destroyed and will no longer be a threat.  Of course, The Doctor had never been so wrong.  The Daleks would return and Doctor Who would never be the same.

 

Masters of the Universe (1987, directed by Gary Goddard)


On the distant planet Eternia, the evil Skeletor (Frank Langella) has finally taken over Castle Grayskull and imprisoned the Sorceress (Christina Pickles).  When He-Man (Dolph Lundgren) and his allies Teela (Chelsea Field), Man-At-Arms (Jon Cypher), and Gwildor (Billy Barty) launch a rescue mission, they find themselves overwhelmed by Skeletor’s forces and are forced to use an interdimensional key to escape.

He-Man and his friends end up in 1980s California.  The key is lost in the process and discovered by two teenagers, one of whom is played by a pre-Friends Courteney Cox.  Skeletor sends Evil-Lyn (Meg Foster), Beast Man (Tony Carroll), and a host of other henchmen after the key.

The first (and, as of this writing, only) live action film to be based on the famous Mattel action figures, Masters of the Universe was produced by Cannon and it should have been a lot better than it actually was.  The idea of He-Man and Skeletor in modern-day California was a good one and it’s easy to imagine scenes of He-Man and Skeletor wandering around downtown Los Angeles and being as shocked by the locals as the locals are by them.  Big, blonde Dolph Lundgren seemed like the ideal pick for the role of He-Man.  Best of all, from the perspective of many, is that there was no Orko.  The most annoying member of the He-Man ensemble was left out of the film.  (Billy Barty’s Gwildor may have sometimes been annoying but he was still better than Orko.)

Unfortunately, the movie did not live up to anyone’s expectations.  Taking more inspiration for Star Wars and Conan than from any of the He-Man mythology, Cannon’s version of Masters of the Universe is a generic action movie in which He-Man is reduced to being just another forthright hero with a sword.  (He’s not Prince Adam in this movie.  He’s just He-Man.)   Teela doesn’t even wear her famous costume.  The main problem with Masters of the Universe is that so few of the Masters actually appear in the movie.  This was a Cannon/Mattel co-production but apparently, Mattel was stingy when it came to delivering their half of the budget.  There wasn’t enough money to bring He-Man’s rogue’s gallery (not to mention the majority of his allies) to life.  The means no Trap-Jaw and no Mer-Man.  Not even Ram Man makes the cut and this movie could have really used Ram Man.

Fortunately, Skeletor and Evil-Lyn are present to pick up the slack.  (When it came to the Masters of the Universe franchise as a whole, the villains were always more entertaining than the heroes.)  With the help of a surprisingly convincing makeup job that give him a skull face, Frank Langella appears to be having the time of his life as the evil Skeletor and I wasn’t surprised to recently read that this was one of Langella’s favorite roles.  Langella seems to having a blast playing such a thoroughly evil and cartoonish character and his scenes have a playful energy that the rest of the film is lacking.  Meg Foster, she of the piercing eyes, is the perfect choice for Evil-Lyn and is magnetically evil.  They provide some of the most entertaining villainy since Max von Sydow announced, “Klytus, I’m bored,” at the start of Flash Gordon.

Masters of the Universe was a critical failure when it was released in 1987, which isn’t a surprise.  A film based on a toy line and a children’s cartoon?  Maybe that would be an Oscar nominee today but, in 1987, there was no way the critics were going to go for it.  But Masters of the Universe was also a box office failure, one of many high-profile Cannon films that failed to score when it was first released.  (It did find a cult following when it was released on video.)  A proposed sequel — in which Lundgren would be replaced as He-Man by surfer Laird Hamilton — was abandoned.  The sets that had been built for Masters of the Universe 2 were instead used for Cyborg, starring Jean-Claude Van Damme.

A new live action Masters of the Universe film is scheduled to be released in 2026.  Jared Leto will be playing Skeletor.  That is probably all that needs to be said.

 

Music Video of the Day: Shining Love by Odin (1985, directed by ????)


Odin was one of the many hair metal bands that tried to make it big in the 80s.  They were a part of the same L.A. scene that launched everyone from Poison to Guns ‘N’ Roses to Mötley Crüe.  Today, they are probably best-remembered for being prominently featured in the 1988 documentary, The Decline of Western Civilization Part II: The Metal Years.  While bands like Poison and RATT and musicians like Ozzy Osbourne appeared in the documentary as battle-weary veterans, Odin was meant to represent the up-and-coming band that was on the verge of breaking through.  This video came out a few years before Odin was featured in Decline.

Who directed this video?  I’m not sure.  I even resorted to asking Google A.I.  Google A.I. replied with:

Mark Romanek is a pretty well-known director so if he started out his career directing videos for Odin, that would be a pretty big deal.  However, every list of credits that I could find for Romanek online listed neither Odin nor this video.  The video was released in 1985.  Both Wikipedia and the IMDb list Romanek’s first music video as being 1986’s Sweet Bird of Truth by The The.  I could be wrong but I’m 99.9% certain that Mark Romanek did not direct this video.

Odin never did break through and broke up shortly after the release of the documentary.  (They may have gotten more screentime then most of the veterans but what most people remembered from that movie was Ozzy making breakfast and Chris Holmes drinking beer.)  Maybe one reason they didn’t really break through is because, according to this video, their drummer could blow people up just by looking at them.  It’s not a good idea to blow up your own fans.

Enjoy!

Music Video of the Day: No New Tales To Tell by Love and Rockets (1987, directed by Tony van den Ende)


Love and Rockets is definitely one of those 80s bands that should have been bigger than they were.  Basically made up of every member of Bauhaus except for Peter Murphy, Love and Rockets was responsible for some of the best songs of the decade.

No New Tales To Tell is from their third studio album, Earth, Sun, Moon.  Thanks to this music video, which was put in heavy rotation on MTV, the song did manage to reach number 18 on the U.S. charts.  The video was directed by the very prolific Tony van den Ende and it features a few shots of the band in their Bubblemen costumes.  (The Bubblemen were a side project for several members of the band.  They performed while dressed as friendly bees.)

Enjoy!

Music Video of the Day: And The Beat Goes On by The Whispers (1979, directed by ????)


The Whispers were first formed 1964 but they had to wait 16 years before scoring the first top 20 hit in both the U.S. and the UK with And The Beat Goes On.  This song was co-written by Leon F. Sylvers III, Stephen Shockley, and William Shelby.  Sylvers felt that the song had little potential to be a hit.  The Whisperers felt differently and they turned out to be correct.  This song was both a hit and it lived on as a part of the Vice City soundtrack.

As befits an old school song, this is an old school video, a simple performance clip of the band doing what they did best.

Enjoy!

Music Video of the Day: Sunday Bloody Sunday by U2 (1983, directed by Gavin Taylor)


This video was shot at Red Rocks in Denver, Colorado during U2’s tour supporting War. When they were a young group and before Bono’s messianic tendencies got the better of him, U2 were a rocking band who were responsible for some of the best songs of the 80s.  Sunday Bloody Sunday was one of their signature songs and this video captures them at their best.

The song is meant to be a condemnation of the atrocities committed by both sides during The Troubles.

Enjoy!

Music Video of the Day: Couple Days Off by Huey Lewis and the News (1991, directed by Jim Yukich)


Huey Lewis and the News were the epitome of a mid 1980s band.  They worked hard and they made videos that celebrated having a good time.  They were never as obnoxious or openly hedonistic as the hair bands of era but they were also out-of-place in the angst-filled 90s.  But while everyone else continues to pay thousands to see Bruce Springsteen, Huey Lewis and the News will always be the blue collar bar band for me.

This video was directed by Jim Yuckich, who has directed videos for everyone.

Enjoy!

Music Video of the Day: Rock ‘N’ Roll Star by Oasis (1995, directed by Nigel Dick)


This song is the epitome of Oasis.

The video was filmed at the band’s Live By The Sea gig at Southend-on-Sea while the off-stage scene were filmed at Southend Pier,.  Anyone who has ever been a rock ‘n’ roll star has been directed at least once by Nigel Dick.

Enjoy!

Music Video of the Day: Send Her My Love by Journey (1983, directed by Phil Tuckett)


 Like so many of Journey’ videos (with the notable exception of Separate Ways), the video for Send Her My Love is a no-nonsense performance clip.  This video was directed by Phil Tuckett, who also directed videos for Slayer, Def Leppard, Europe, The Black Crowes, and others.

Enjoy!

Music Video of the Year: Can’t Turn Back The Years by Phil Collins (1994, directed by Jim Yukich)


 This music video was directed by Jim Yukich, who is one of those directors who seems to have directed a video for everyone.  If you have ever had a hit song or top-selling album, Jim Yukich probably directed a music video for you.  He directed a lot of videos for both Genesis and Phil Collins as a solo act.  But Yukich also directed videos for everyone from Iron Maiden to David Bowie, Michael Jackson, Huey Lewis, and David Hasselhoff.  Going for Maiden to Hasselhoff, that’s a journey!

This song received lukewarm reviews when it was first released but, as is this case with much of Collins’s work, it has since been favorably reevaluated.

Enjoy!