Happy belated birthday, Raymond Chandler. These four shots from four films show four different versions of Chandler’s most famous creation, P.I. Philip Marlowe.
Four Shots From Four Films
The Big Sleep (1946, directed by Howard Hawks)
The Lady In The Lake (1947, directed by Robert Montgomery)
The Long Goodbye (1973, directed by Robert Altman)
The Big Sleep (1978, directed by Michael Winner)
Alex Rocco, the gravelly voiced actor who died last Saturday, had something that set him apart from other tough guy actors. Alex Rocco had life experience.
As a young man living in Boston, Rocco was associated with members of the infamous Winter Hill Gang. In 1961, a member of the Charleston Mob named George McLaughlin allegedly made a pass at Rocco’s girlfriend. Two other members of the Winter Hill Gang retaliated by beating up McLaughlin, setting off the Irish Mob War of the 1960s. By the time the war ended, the Charleston Mob had been eradicated and Alex Rocco had relocated to California, where he worked as a bartender and took acting lessons from Leonard Nimoy.
Alex Rocco was best known for appeared in The Godfather as Moe Greene, the Las Vegas “businessman” who made his bones while Michael Corleone was still going out with cheerleaders. However, Alex Rocco’s career began long before The Godfather, when he played a gangster in the Batman TV series and made his feature debut in Russ Meyer’s Motropsycho!
In 1973, Alex Rocco returned to Boston, playing a bank robber in The Friends of Eddie Coyle. This sadly underrated crime film was based on the real life history of the Winter Hill Gang. When stars Robert Mitchum and Peter Boyle wanted to research their roles, it was reportedly Alex Rocco who arranged for them to spend time with their real-life counterparts.
Rocco did not just play gangsters. He also appeared as cops in films like The Boston Strangler, Detroit 9000, and The Stunt Man. However, for many, Alex Rocco’s best non-gangster role will always be providing the voice of studio head Roger Meyers, Jr. on The Simpsons. Meyers was just as determined to make cartoons and protect his father’s legacy as Moe Greene was to keep the Corleones out of Las Vegas.
So, for one last time, let us put on our glasses and tell Bart and Lisa to “mail it to me next week when I might have cared.” Rest in peace, good gentleman. Thank you for the memories.
Captain America is the best remembered and most prominent hero from the Golden Age of Marvel Comics (or, as the company was known back then, Timely Comics). One reason why Captain America: The First Avenger was so successful was because it exploited the nostalgia that audiences had for that golden age, a time when the world was united against the greatest evil known to man and there was no doubt who was fighting for good and who was fighting for evil.
However, Captain America was not the only Marvel super hero fighting gangsters and Nazis during the 1940s. If Marvel Studios ever decides to take another trip back to World War II, these five Golden Age heroes would be worthy additions to the MCU.
The Blonde Phantom
Created by Stan Lee and artist Syd Shores and first introduced in 1946, The Blonde Phantom was a part of Marvel’s post-war attempt to appeal to young female readers.
Originally from Hoboken, New Jersey, Louise Grant was the secretary to private detective Mark Mason. Bored with her job and in love with Mark, Louise would regularly grab a .45 caliber pistol, don the sultry disguise of the Blonde Phantom, and help her boss solve his cases. While Mark barely noticed his loyal secretary, he fell in love with the Blonde Phantom.
It would be tricky to reimagine the Blonde Phantom from a modern perspective but I think it could be done. Instead of emphasizing Louise’s unrequited crush on the sexist Mark, a modern Blonde Phantom film would focus on how becoming the Blonde Phantom allows Louise to discover her own inner strength. As Agent Carter proved, there is an audience for a strong female character in a period setting.
Claire Voyant
Introduced in 1940 and created by George Kapitan and Harry Sahle, Claire Voyant (who was also known as The Black Widow, long before the first appearance of Natasha Ramanoff) is considered to be the first costumed female super hero and also one of the darkest.
A medium, Claire is possessed by Satan and used to put a curse on the Wagler Family. After most of the family is killed in a car accident, the sole remaining Wagler shoots and kills Claire. Claire immediately goes to Hell, where Satan himself gives her the power to kill by simply touching her victim’s forehead. Satan then sends Claire back among the living, on a mission to kill evil doers so that Satan can claim their souls before they have a chance to repent and ask for forgiveness.
Along with her dark origin story and her flirtatious relationship with Satan, Claire Voyant was distinguished by both her lack of remorse when it came to killing and for having the sharpest eyebrows of almost any character from the Golden Age. As the star of her own MCU film, she would provide an interesting contrast to the wholesomeness of Captain America.
The Destroyer
A journalist-turned-spy, Keen Marlow was captured behind-the-lines in Nazi Germany. Held in a prison-of-war camp, Marlow met Prof. Eric Schmitt, an anti-Nazi German scientist who had created a serum that was similar to the one that was used to transform frail Steve Rogers into Captain America. After taking the serum, Marlow donned a mask and a dark costume and used his new powers to battle the Nazis from within Germany.
The Destroyer was a popular character during the Golden Age, though he was never as prominent as Captain America, The Human Torch, or the Submariner. The Destroyer became far more interesting when his origin was retconned in the 1970s and it was revealed the Keen Marlow was an alias used by British aristocrat Brian Falsworth. Before the start of World War II, Falsworth had been a prominent supporter of appeasement. By becoming The Destroyer, Falsworth both defended his country and sought redemption. When Falsworth eventually took on yet another costumed identity (Union Jack), his friend Roger Aubrey took over the role of the Destroyer.
The Destroyer was one of the first super hero characters to be created by Stan Lee. Not only is his origin similar to Captain America’s (Cap was introduced in March of 1941 and the Destroyer made his debut nine months later) but it is also a forerunner to Iron Man’s.
Namor the Submariner
Created by artist and writer Bill Everett, Namor was the son of human boat captain Leonard McKenzie and Fen, the daughter of the emperor of the undersea kingdom of Atlantis. As a hybrid, Namor had the ability to live under water but, with his human appearance, he could also go above the surface and safely mix with human society as well. While the arrogant and hot-tempered Namor had little use for humanity (with the exception of New York City policewoman Betty Dean), he did side with the Allies in the war against the Nazis.
Despite being a prominent member of the Marvel Universe for over 70 years, Namor has yet to even appear in a movie. Not only was he one of the most popular of the Marvel Golden Age heroes but his battle with the original Human Torch has regularly been cited as being the birth of the Marvel Universe. Unlike many Golden Age characters, Namor remains active today, sometimes fighting for humanity and sometimes trying to destroy it.
There have been efforts to make a movie about Namor but, so far, none of them have been successful. Marvel Studios president Kevin Feige has said that there are many deals and contracts that need to be sorted out before it can be definitely determined who owns the rights to the character. It will probably be a while before the Submariner swims to a theater near you.
The Phantom Reporter
The Phantom Reporter is actually Dick Jones, a former all-American fullback who was also a college boxing, wrestling, and fencing champion. As a reporter, Dick always tried to protect those who could not defend themselves. When he couldn’t help them as a journalist, he would put on a mask, a suit, and a cape and he would battle evildoers.
The Phantom Reporter only appeared in one Golden Age comic book, 1941’s Daring Mystery Comic Books #3. 65 years later, he was brought back as one of the lead characters in The Twelve, a limited series about a group of World War II super heroes who, after spending decades in suspended animation, are revived in the 21st Century. Returning to his career as both a costumed hero and a journalist, The Phantom Reporter also develops an unlikely relationship with Claire Voyant.
The perfect Phantom Reporter movie would be a cross between the screwball comedy of The Front Page and the heroics of Captain America. It would be a reminder that not all heroes have super powers. Some of them just have the desire to do the right thing.
Happy birthday, Ingmar Bergman.
4 Shots From 4 Films
The Seventh Seal (1957, directed by Ingmar Bergman)
Persona (1966, directed by Ingmar Bergman)
Scenes From A Marriage (1973, directed by Ingmar Bergman)
Fanny and Alexander (1982, directed by Ingmar Bergman)
First published in 1950, Ray Bradbury’s The Martian Chronicles is a collection of 28 short stories about humans exploring and colonizing Mars while those left behind on Earth destroy each other in a never-ending atomic war. When I first read it back in middle school, it blew my mind. When I reread it this weekend, I discovered that it still holds up. 65 years after first being published, The Martian Chronicles is still a classic of American literature.
When Ray Bradbury died in 2012, many obituaries called him a “science fiction writer.” Bradbury always resisted that label, saying in one interview, “First of all, I don’t write science fiction. I’ve only done one science fiction book and that’s Fahrenheit 451, based on reality. It was named so to represent the temperature at which paper ignites. Science fiction is a depiction of the real. Fantasy is a depiction of the unreal. So Martian Chronicles is not science fiction, it’s fantasy. It couldn’t happen, you see? That’s the reason it’s going to be around a long time – because it’s a Greek myth, and myths have staying power.” There is very little science to be found in The Martian Chronicles. Humans travel between Earth and Mars via rockets and the trip only takes a matter of days. Characters frequently ride boats down the water-filled Martian canals. Humans have little trouble breathing on Mars and only occasionally complain about the thin atmosphere. Bradbury is not interested in Mars as a real place. Instead, he uses Mars as a way to explore what humanity would do if given a second chance.
The humans who come to Bradbury’s Mars all have one thing in common. All of them are fleeing an imperfect Earth. Some, like the members of the first three expeditions, come to Mars as explorers. Some, like the troubled Jeff Spender, seek to learn from Martian civilization. Others, like Sam Parkhill, come to Mars to make money. Fathers Peregrine and Stone come to Mars in search of a new world in which to spread the word of God. Mr. Stendahl comes to Mars to escape government oppression. Others come to escape the wars of Earth. Throughout The Martian Chronicles, characters deal with issues that are just as relevant today as they were in 1950. Bradbury’s vision of human society is not a positive one, especially when compared to his Martians.
All of the short stories are linked by the human characters’ struggle to come to terms with Martian society. After killing the members of the first three expeditions, the Martian race is wiped out by chicken pox, a disease that did not exist on Mars until the arrival of the humans. Only a few survive and go into hiding, watching as human move into their old cities and set up their own civilization. Ghost-like, the Martians and their dead society haunt every story in The Martian Chronicles.
There are a few stories in The Martian Chronicles that have not aged well. The Silent Towns, in which a man named Walter Gripp is horrified to discover that one of the last women left on Mars is overweight, is a mean-spirited and unpleasant story to read. But the collection’s best stories — And The Moon Be Still As Bright, The Third Expedition, Usher II, The Off Season, The Million-Year Picnic, Night Meeting, and especially There Will Come Soft Rains — still hold up as entertaining and thought-provoking works of speculative fiction.
In 1980, The Martian Chronicles was turned into a miniseries. I will be watching and reviewing it later this week.
The Greatest opens with 18 year-old Cassius Clay (played by Chip McAllister as a teenager and, as an adult, by Muhammad Ali himself) winning the light heavyweight gold medal at the 1960 Rome Olympics. Returning home to Kentucky, Clay discovers that not even a gold medal can protect him from racism. Angered after a restaurant refuses to serve him and his friend, Clay throws his gold medal into the Ohio River. Under the training of Angelo Dundee (Ernest Borgnine), Clay turns pro and defeats Sonny Liston (Roger E. Mosley) for the heavyweight championship. Inspired by Malcolm X (James Earl Jones), Clay also joins the Nation of Islam and changes his name to Muhammad Ali. As heavyweight champion, Ali battles not only his opponents in the ring but racism outside of it. The Greatest follows Ali as he loses his title for refusing to be drafted and concludes with the famous Rumble in the Jungle, where Ali won the title back from George Foreman.
Sadly, Muhammad Ali has never been the subject of a truly great feature film. Even Michael Mann’s Ali failed to really capture the mystique that made Ali into such an iconic figure. The Greatest is interesting because Ali plays himself. Unfortunately, The Greatest proves that Ali may have been a great showman but he was not a natural actor. You only have to watch the scene where Ali tries to hold his own with Robert Duvall to see just how stiff an actor Muhammad Ali really was. Ali’s best scenes are the ones where he is trash talking his opponents or training. The film opens with Ali jogging while George Benson sings The Greatest Love Of All, a scene that is made all the more poignant when you compare the athletic and confident Muhammad Ali of 1977 with the frail, Parkinson’s stricken Ali of today.
Instead of recreating any of Ali’s legendary fights, The Greatest instead uses actual footage of the matches. The real life footage is the best part of the film. After all these years, Ali’s fights against Sonny Liston, Joe Frazier, Ken Norton, and George Foreman remain exciting to watch. Otherwise, The Greatest is too episodic and low budget to do justice to Muhammad Ali’s story.
If you want to see a truly great film about Ali and his legacy, watch the 1996 documentary When We Were Kings, 2009’s Facing Ali or 2013’s The Trials of Muhammad Ali. Ali is such an iconic figure that it may be impossible for any feature film to properly do justice to his life and legacy. These three documentaries come close.
(Director Tom Gries died during the filming of The Greatest. The movie was completed by Monte Hellman.)
1969 was a watershed year for both America and the movies. While the war in Viet Nam dragged on and turmoil raged at home, movie audiences watched as two generations of Fondas appeared in movies about the American dream. In Sergio Leone’s Once Upon A Time In The West, Henry Fonda played Frank, a gunslinger so ruthless that he shoots a child during his first scene. In They Shoot Horses, Don’t They?, daughter Jane Fonda played a woman struggling to survive the Great Depression. And, in Easy Rider, Peter Fonda played Captain America.
The Captain America of Easy Rider should not be mistaken for the super soldier played by Chris Evans. Instead, this Captain America is actually Wyatt Williams, a motorcycle rider who is planning on going to Mardi Gras with his friend Billy (Dennis Hopper, who also directed). Wyatt is nicknamed Captain America because he wears a leather jacket with an American flag on the back. It is an appropriate nickname because Wyatt represents everything that is good about America.
When we first meet Captain America, he and Billy are engaged in a business transaction, bringing to mind the old saying that the business of America is business. They are selling cocaine to none other than Phil Spector. Taking Spector’s money, Wyatt stuffs it into a plastic tube that he keeps hidden in his motorcycle’s fuel tank. It is no coincidence that the fuel tank is decorated with the stars and bars.
Having made their money, Wyatt and Billy ride across the country to celebrate. At the start of their journey, Wyatt takes off his watch and leaves it on the ground, declaring that time has no meaning to a man who has freedom. If you replaced their motorcycles with horses, there would be little to distinguish Wyatt and Billy from the American outlaws who might show up in an old Henry Fonda western.
On their way to New Orleans, Wyatt and Billy interact with many different people. If the always paranoid and nervous Billy represents America’s worst impulses, Wyatt represents the best. When Wyatt and Billy eat dinner with a rancher and his family, Wyatt alone appreciates what the rancher has accomplished and says, “You’ve got a nice place. It’s not every man that can live off the land, you know. You do your own thing in your own time. You should be proud.” When they later stop off at a ramshackle hippie commune, Wyatt is the one who says, in the best tradition of American optimism, that “They’ll make it.”
When they stop to pick up a hitchhiker and then later when alcoholic lawyer George Hanson (Jack Nicholson) joins them on their trip, it’s always Wyatt who volunteers to share his bike. (Billy always rides alone.) Whenever they stop for the night, it is always the generous Wyatt who offers to share his grass with whomever is traveling with them. When George smokes for the first time, Wyatt is the one who teaches him. It is the stoned George who tells Wyatt and Billy that they represent freedom.
It is only after George is beaten to death by a group of rednecks that Wyatt loses his optimistic outlook and his generous spirit. George’s death opens Wyatt’s eyes in much the same way that the turmoil of the 1960s did for the rest of America. After George’s murder, Wyatt loses his faith in himself. When he and Billy reach New Orleans, Mardi Gras is a letdown. When he takes the acid that was given to him by the hitchhiker, Captain America’s journey becomes a bad trip both figuratively and literally.
While Billy insists that they had a great time in New Orleans (in much the same way that some insist that America is just as strong a nation as it has ever been), Wyatt knows the truth. “We blew it,” Wyatt says, speaking for the entire nation.
Despite his mistakes and despite having blown it, Wyatt, much like America itself, remains good at heart. When Captain America dies at the end of the film, it is because he is trying to protect his friend Billy. In the best American tradition, he sacrifices himself to protect another.
This Independence Day, let us all take a few moment to appreciate Wyatt Williams, the man known as Captain America.
Wyatt Williams (aka Captain America) RIP
Everyone, at some point in his life, has wanted to learn karate. The films featured below are a big reason why.
4 SHOTS FROM 4 FILMS
Enter the Dragon (directed by Robert Clouse, 1973)
Lady Snowblood (directed by Toshiya Fujita, 1973)
Black Belt Jones (directed by Robert Clouse, 1974)
Three The Hard Way (directed by Gordon Parks, Jr., 1974)
Slade Craven, the hero of Turbulence 3
The first Turbulence was a 1997 box office flop that starred Lauren Holly as a flight attendant who must defeat Ray Liotta and land an airplane. Turbulence 2 was a 1999 direct-to-video release that starred Craig Sheffer as an engineer who must defeat a terrorist and land an airplane. 2001’s Turbulence 3 reuses the special effects footage from the first Turbulence and features Craig Sheffer in a different role but otherwise, it is a completely unrelated to the first two films. This time, John Mann plays a rock star who must defeat a terrorist and land an airplane.
Slade Craven is a death rocker who, with his white makeup and his long black hair, is an obvious stand-in for Marilyn Manson. Like Marilyn in his prime, Slade Craven is a controversial artist whose music is critical of religion. Unlike Marilyn Manson (whose video for Sweet Things Are Made Of This still has the power to shock), the one Slade Craven music video that we see mostly features Slade stumbling around a high school basement and petting a dog. Marilyn Manson sang about the beautiful people. Slade Craven’s biggest hit is Love Gun.
Slade Craven has announced his retirement. His final concert, complete with pyrotechnics and a working electric chair, will be held on an airplane, while the plane is flying from California to Canada. Only 40 of his most devoted fans will be allowed on the plane but “10 million people” will be watching via the miracle of the Internet. (Everything about the internet was still exotic in 2001.)
This is what a hacker looked like in 2001.
On the ground, hacker Nick Watts (Craig Sheffer) is illegally watching the concert when FBI agent Kate Hayden (Gabriella Anwar) shows up to arrest him. However, before Kate can put on the handcuffs, they notice that something strange is happening on the plane. Someone has just murdered the band’s manager and has locked Slade in the first class restroom. A man disguised to look like Slade shoots a co-pilot and announces that he’s going to crash the plane into a cursed cemetery in an area of East Kansas that is so unholy that “even the pope refuses to fly over it.” The crash will not only be seen by the 10 million people watching on the internet but it will also unleash Satan into the world.
With the help of Nick and Kate, Slade frees himself from his restraints and becomes a hilariously unlikely action hero. Not only does Slade have to defeat his doppelgänger and the other Satanists on the plane but, after the remaining pilot (Rutger Hauer!) is revealed to be a part of the conspiracy, Slade has to land the plane on his own. Luckily, Nick has an old NES flight simulator that he can use to help talk Slade down. “We’re all going to rock and roll!” Slade tells the passengers as he pulls on the throttle. Meanwhile, on the ground, Kate rewards Nick by handcuffing him and then walking towards the bedroom while unbuttoning her blouse. Nick hops after her.
Also, on the ground, Joe Mantegna plays an FBI agent. All of the scenes with Mantegna take place in two locations, suggesting that Mantegna filmed all of his scenes in a day or two. Turbulence 3 proves that it is impossible to hear Mantegna’s voice without picturing Fat Tony.
Of all the films about heavy metal singers fighting terrorists and landing airplanes, Turbulence 3 might be the best. All credit belongs to John Mann’s Slade Craven who rocks every day, parties every night, and beats up terrorists all of the time. Slade Craven proves the nobody saved the world like a shock rocker. Sadly, there has never been a Turbulence 4. I would love to see the further adventures of Slade Craven.
When the long-running British science fiction show Doctor Who premiered over 50 years ago, it was originally envisioned as being a serialized educational program for children. Each serial would see The Doctor (William Hartnell), his granddaughter Susan (Carole Ann Ford), and teachers Ian (William Russell) and Barbara (Jacqueline Hill) traveling via TARDIS to a different historical period and interacting with real-life figure like Marco Polo and the Emperor Nero. The first serial, An Unearthly Child, featured the Doctor and his companions going back to prehistoric times and teaching cavemen how to make fire.
However, the show’s second serial forever changed the direction of the series. Written by Terry Nation, The Daleks introduced viewers to a race of militaristic aliens who, because they had nearly destroyed their planet in a nuclear war, could only exist inside of a tank-like shell. Devoid of all emotion except for hate, the Daleks were best known for their shrill battle cry of “EXTERMINATE!” Despite being defeated and apparently destroyed at the end of the serial, The Daleks returned to face the Doctor many times and the show itself shifted its focus away from teaching history lessons and instead became the show that we all know and love today.
At its height, the popularity of the Daleks rivaled that of the Doctor and his companions. In 1965, when Amicus Productions produced the first Doctor Who feature film, it was a no-brainer that it would feature the Daleks. With a few key changes (mostly to the character of the Doctor and his companions), Dr. Who and the Daleks recreates the plot of Terry Nation’s original serial. The Doctor (played by Peter Cushing), his granddaughters, Barbara (Jennie Linden) and Susan (Robert Tovey), and Barbara’s boyfriend Ian (Roy Castle) go to the planet Skaro, where they help the peace-loving Thals battle the war-obsessed Daleks.
Beyond selling the rights to the story, the BBC had nothing to do with the film’s production. Amicus obviously geared the film towards children, perhaps not understanding that, though Doctor Who may have started out as a kid’s show, the program itself had become much more adult as it grew in popularity. Hoping to make a film that could appeal to a wider (read: American) audience than the original TV show, Amicus changed a few key details. As a result, for fans of the original show, Dr. Who and the Daleks is a true oddity. It provides an alternative vision of what Doctor Who could have been.
One change that did work is that, at a time when Doctor Who was still being broadcast in black-and-white, Dr. Who and the Daleks was in color. Visually, the film has a pop art feel, full of primary color and featuring locations that feel like low-budget version of the villainous lairs that Ken Adam used to design for the James Bond films. This was the first time that the Daleks had been seen in Technicolor and the show even appropriated the film’s Dalek color-scheme when color episodes started to air in 1970.
Other changes do not work quite as well. The Daleks’ famous “EXTERMINATE” battle cry is never heard. The show’s beloved theme music has been replaced with an uninspired score from veteran Amicus composer Malcolm Lockyer. While the TARDIS still looks like a blue police box and is bigger on the inside than the outside, the sleek control console and the familiar grinding noise are both gone. Instead, the inside of the TARDIS is a cluttered mess of loose wires and flashing lights. The Doctor now has two granddaughters and, undoubtedly in order to appeal to children, Susan is much younger than she was in the television series. As well, in the television series, Ian was a science teacher who had no fear of standing up to The Doctor. The film’s Ian is clumsy and used mostly for broad comic relief.
The biggest change is to the character of the Doctor himself. For fans of the series, there is no bigger pet peeve than when unfamiliar critics refer to the main character as being “Dr. Who.” True fans know that the show’s title is a question and not a statement. No one knows the Doctor’s true name or his exact age. What they do know is that Doctor is a Time Lord from Gallifrey and that he stole his TARDIS. Whenever the Doctor’s body suffers too much damage, he regenerates into a new body (and a different actor).
Of course, in 1965, the Time Lords had yet to be officially introduced. The name “Gallifrey” had never been uttered on the television show. The Time Meddler, which was the first serial to introduce another member of the Doctor’s race, only aired a month before the release of Dr. Who and the Daleks. On the TV series, William Hartnell was still playing the First Doctor and it would be another two years before the character would regenerate for the first time. When Dr. Who and the Daleks was released, all that was known of the Doctor was that he was an alien and no one knew his true name.
Even those two facts are ignored in Dr. Who and the Daleks. Instead of being the abrasive alien that Hartnell played on the show, the film’s Doctor is portrayed as being a brilliant but absent-minded inventor who is very much a human being. The film also establishes early that his last name really is Who, with Ian regularly addressing him as “Dr. Who.” We never learn his first name. Maybe it was Larry.
Dr. Who was played by Peter Cushing, who Amicus felt would be a bigger box office draw than William Hartnell. Cushing does a good job playing his version of the character and it’s interesting to compare his kindly performance to both his better known work for Hammer and George Lucas and William Hartnell’s ruthless interpretation of the character. Cushing regularly goes back to save the life of Castle’s cowardly Ian. Hartnell would have just let him die.
Though the film bombed in North America (where, at the time, Doctor Who was still unknown) it did will enough in the UK to lead to a sequel, Daleks — Invasion Earth: 2150 A.D. When the sequel failed at the box office, plans for future movies starring Peter Cushing as the Doctor were abandoned. That was probably for the best. If the Amicus films had been a success, they could have changed the direction of Doctor Who just as surely as Terry Nation did when he first introduced the Daleks. Doctor Who could have reverted to being a show for children instead of becoming the show that it is today.
Still, it is hard not to wish that Peter Cushing could have gotten to play the Doctor in a “real” Doctor Who film. After all, Christopher Lee would have made a great Master.
Through the Shattered Lens 