The Evil of the Daleks written by David Whitaker and directed by Derek Martinus

This story in a nutshell: Past, present and future combined… 

Oh My Giddy Aunt: A seminal story for Patrick Troughton who has been growing in confidence throughout the fourth season and who has now finally come into his own in a way that is a world away from his predecessor but definitively the Doctor. Troughton had what could only be referred to as a shaky start, tentatively feeling his way into the role (he was lucky enough to begin with Power of the Daleks, perhaps the strongest Dalek story of all but with The Highlanders and The Underwater Menace next his Doctor is characterised a little insanely for Troughton to truly make his mark). Come The Moonbase you have a director that is ready to crush the oddball antics, a delightfully subversive script in The Macra Terror that highlights the rebel in Troughton’s portrayal and then The Faceless Ones, which is where Troughton finally feels completely comfortable, having cast of the companions of his predecessor, butting heads with authority and revealing an insane curiosity for a mystery. The Evil of the Daleks sees a Doctor established and could very easily ride that confidence, which is kind of what happens in the first episode but come the point where he is putting Jamie through psychological and physical tests, we’re in much darker territory. Have we ever heard Troughton sound so scared as he does when he is first confronted with the Daleks? So authoritative when he commands Jamie to do as he is told? As devious as when he plays the Daleks at their own game? He’s quite brilliant throughout and backed up by dazzling guest actors and exciting dialogue, he gives what I would say is his second-best performance in his entire run (the zenith is in his swansong, Troughton really did save the best for last). This isn’t just an actor reacting to a script; this is a man who can reveal shades to a scene, bring the best out in his fellow actors (Hartnell, for all his strengths had a willingness to shout them down) and someone who is clearly relishing the role that he was born to play. He gets to show his pride and compassion for human beings, something that makes the audience puff with pride. With his ability to play people, to pick up clues and to manipulate his foes, Whitaker writes the second Doctor as the master of intelligence and not the whacky clown that has been portrayed as thus far. 

Sexy Scot: Never has that description of Jamie been more apt. Have you seen the telesnaps of this story? There’s no denying that Frazer Hines was extremely easy on the eye (another reason I think that he was favoured as the sole companion next Troughton) but it is also because Jamie displays every handsome characteristic you can imagine: heroism, chivalry, intelligence, a physical ability, anger in the face of adversity, autonomy and the ability to learn and grow as a person. It’s a beautiful showcase for the character and controversially (because this would probably be hotly contested) his best story as a result. Jamie, like the second Doctor took a while to establish but this is his breakout story and it also happens to be the one where he gets the most material, a chance to have a genuine fight with the Doctor (it’s very well scripted so the audience can see that Jamie is being baited whilst still being entirely on his side), to indulge in fisticuffs enough to sate even Jamie’s appetite for fighting, lust after several women and hold up the story as the identification character whilst Troughton is on holiday. Hines gives a masterful turn as the confused, angry charming Scot, a character from the past that may as well be from the present now because he is behaving much more like a sexy 60s geezer (albeit in with a gorgeous accent and a skirt). To be fair there was no way Jamie could have continued as a character in the same vein as he had been (‘The Phantom Piper!’) with everything having to be explained to him. The writers as good as give up on the approach of him being educated by the Doctor and simply acknowledge that he has experienced enough at this point to take everything in his stride. Come the next tale (Tomb of the Cybermen) he is cocksure about pretty much everything, which is how he would be portrayed until his departure. Is it realistic? Not in the slightest. Does it mean that he and Troughton can play off one another in an addictively mischievous and fun way? For sure, and I think the trade off is worth it. 

The Good: What we have with Derek Martinus is a director who is willing to go the extra mile to achieve some stunning visual results. Douglas Camfield, David Maloney and Graeme Harper are his own contemporaries that have that touch of magic that can turn pretty much anything they direct into gold. If you watch the surviving episode there is a quality to the direction that stands out immediately; the willingness to move the camera to suggest fluidity of movement, to shoot through the beautiful sets, giving the actors a chance to truly express themselves with extreme close ups, using a fresh original score to heighten the atmosphere, deploying moody lighting to get the best out of the detailed, beautiful sets. It feels as though he inspires everybody he is working with because they are all working their nuts off to make this as memorable a tale as possible. It’s one of the bets looking pieces of Doctor Who there is and that isn’t because Whitaker was playing it safe. Much of the Troughton era looks impressive because the writers focus their imaginations on one impressive set whereas Whitaker dares the production team to realise everything from a contemporary bar to a Victorian manor house to an alien planet and city, which they rise to the challenge to brilliantly. Some of the imagery; the TARDIS on the back of the lorry, Molly being hypnotised, the fight with Kemel, the magnificent appearance of the Emperor Dalek, is extraordinary. The acting talent on display is breath-taking, and you have one of the most dedicated and impressive of guest casts bringing to life some memorable characters. John Bailey and Marius Goering must be commended for their engaging interplay, Waterfield and Maxtible light up the story every time they appear, snapping and biting at each other. Bailey is almost too good at convincing us of Waterfield's parental anguish and his appealing good nature means you are rooting for him all the way despite his actions that rival the Doctor. I also find the characters of Mollie, Ruth and Terall highly attractive, this may have something to do with my love of period drama but these three Victorian characters are written in a snappy and riveting manner. Rowbottom’s Molly is a delight, and would have made a far more suitable companion than Watling’s Victoria. Indeed, Ruth Maxtible is far more pro-active too (if less immediately likeable than Molly) and after Ara from the Underwater Menace and Sam Briggs from The Faceless Ones it really feels like we are attending the auditions of ‘next female companion after Polly’ this year. Much like The Power of the Daleks, Evil is a story that dares to do something different with the Daleks, once again peeking at this very familiar staple of the series from a refreshing psychological angle. Their plan, to test a human being so they can see what emotions and instincts they have that allow them to defeat the Daleks and then to rip those abilities away from the entire human race probably doesn’t hold up to scrutiny but it does serve to highlight their differences and show what makes these creatures uniquely evil. They know they have faults and they are determined to make everyone else as corruptible, that's pure villainy. I love the scenes with the Doctor explaining away Jamie's irrational behaviour to a confused Dalek, feelings such as remorse and forgiveness lost on the metallic meanie. The story is so good at highlighting why they are such good monsters, their absurd but terrifying appearance (somehow looking so right gliding through the hallways of an Edwardian Manor), their ruthless lack of conscience, their trigger happiness, their relentless scheming... it almost seems a shame they are being set up for destruction. 

Result: Season four is one I have never really had much time for in the past and in my latest marathon of the show I have come to appreciate what a pity that is because it has a great deal to offer. It is striving to be a much more entertaining show than in the past (where the word worthy would be much more appropriate), it’s reaching for iconic moments and imagery (the regeneration, the Dalek factory, the Cybermen on the moon, the Emperor Dalek), it has three of the most intellectual sixties stories in its midst (Power, Macra, Evil) and two of the shallowest too (Smugglers, Underwater Menace). Season four begins with the old regime in place, and ends searching for the Troughton base under siege formula; it’s far more inventive than season five and far more stylish than season six and it has the best viewing figures for the era. It sees a retiring Doctor bow out less than gracefully and a new Doctor hesitantly try and make his mark, which means it is a series that is always trying to prove itself. It’s such an odd cookie but breathlessly entertaining and unusual. Come The Evil of the Daleks all of the elements are in place and the show is not only firing on all cylinders but is ready to take off into orbit. A stunning Doctor and companion, a confidence in storytelling and direction, fine production values and a feeling that this is a triumphant send of for the old administration (where the show would lean on the Daleks whenever it was in trouble) so we can usher in a wealth of new monsters and terrors to come. Amazing in its simplicity and yet full of twists and intrigue, The Evil of the Daleks has a storyline most stories would kill for. David Whitaker’s script masters comedy (the humanised Daleks screaming "Dizzy Doctor!"), period drama (Jamie and Terall's vicious slanging match in front of Ruth, begging them to stop), mystery (what has happened to the TARDIS? What the hell are the Daleks REALLY up to?), intimate struggles (the Doctor and Jamie are tested to breaking point), horror (the deaths of Kennedy and Terall are given shocking gravity), epic confrontations (the Dalek civil War) and still fill the story with action. It is a mature script, bursting with clever dialogue and exchanges. Dudley Simpson is finally let off the leash and delivers one of his all-time best scores; dynamic, exciting and full of character beats. In the four seasons and manifest of episodes that have come before this there has been only one story that has come anywhere near as close to eclectic as this (The Daleks’ Masterplan) and with its ability to explore the past, present and future this is a story that explores the concept of Doctor Who like no other. The Evil of the Daleks is something very special indeed: 10/10