Here it is: the behemoth 12-episode serial that remains the longest story in Doctor Who history - and with 9 of its 12 episodes missing, also ends up being quite a project to sit through.
:thumbsup::thumbsup::thumbsup::thumbsup:
This is the closest thing to a space opera Doctor Who has ever been; Terry Nation and Dennis Spooner have co-written a vast story with characters, ideas and concepts that, for the most part, will never appear again (such as the infamous Time Destructor or the aptly titled SSS, or Space Security Service) but that gives the adventure a sense of scale not before seen on Who. The story develops slowly, but for once, there is time devoted to characterizations and set-ups, making the entire adventure feel fulfilling. The change of setting every other episode or so also helps to keep this gigantic story fresh and dynamic. Some of the best parts of this serial are the high stakes, coming from the Daleks' destructive plan to take over the universe. We are constantly reminded of the threat posed by the Daleks and Mavic Chen, so even during sillier and less tense moments; we know danger is lurking behind every corner.
The characterization and establishing of a strong atmosphere are so good even during the Nation-penned episodes (1-6) that I can overlook his habit of recycling elements from his previous stories (I think you can spot them by now!). Spooner brings some of his trademark lightheartedness into the later episodes (most notably the cat and mouse game between the TARDIS team and the Monk in Ancient Egypt) before making a total 360 and delivering some of the darkest Doctor Who episodes ever at the close of the serial. The biggest thing Part 8 has going for is playing around with the chameleon circuits of the two featured TARDISes, and showing just what forms a TARDIS can possibly have.
"It came from Uranus, I know it!" is some good adult humour in a family show. And the short cricket pitch scene in Part 8 is eerily similar to what Douglas Adams wrote for Doctor Who and the Krikkitmen (and later brought over to his novel Life, the Universe, and Everything) in 1976...
What a shame the final two parts of Master Plan haven't been recovered. These are the darkest and most intense episodes within the serial, with everything Nation and Spooner have been building up to finally crashing down on the viewer and offering some of the most satisfying 50 minutes a Doctor Who fan could ever get from a 1960s Who story.
William Hartnell puts his heart and soul into his performance, clearly wanting to prove to the children of 1965 that he is the Doctor who will always defend the universe from the Daleks. This is Hartnell's Doctor at his fiercest and most defiant, and the performance is a highlight of the late Hartnell era. It's made clear now, more than ever, just how influential the Doctor can be when dealing with universal threats! And isn't it just lovely how Hartnell breaks the fourth wall and wishes us all a Happy Christmas in Part Seven?! Nicholas Courtney makes his Doctor Who debut here as Bret Vyon, one of the temporary companions and a rather effective character, who steals the show from the very start (although it is difficult to not see him as the Brigadier, that's not his fault). Vyon is something of a hotheaded hero type, well suited to the requirements of the narrative, and given his character, it's a shame how he is disposed of at the end of Part Four. Courtney plays him straight, but I really don't think you could portray the character in any other way. Sara Kingdom's entrance in Part Four brings new energy to the story. She is much more independent and fearless than most companions (until Leela, arguably) a decade later. Jean Marsh makes yet another memorable and convincing performance on the show as this ruthless spy (after appearing as Lady Joanna in The Crusade, 1965) and it's a shame she doesn't stay on for longer.
We spend a lot of time with the Daleks and their scheming ally Mavic Chen, so they feel fleshed out by the end of the story. I particularly like how the Daleks are portrayed as cold, ruthless and determined yet again, so they feel like palpable threats. They also very nearly succeed with their master plan this time around. Kevin Stoney is one of those actors whose every appearance on the show is immensely memorable. His Mavic Chen is a creepy, megalomaniac guardian of the Solar System but also a naive human being, who believes he can control the Daleks (and looks like a Bond villain). It's a larger than life performance, and I'm happy there's so much of it in the story because we get the satisfaction of following his quick rise to power only for him to lose it all to the Daleks in the end. Stoney puts his all into Chen's final onscreen moments, once he realizes that he has been betrayed and will be exterminated. Golden stuff! I also feel that Mavic's little henchman Karlton (perfectly portrayed by ) should deserve more love, as he is a sly little a-hole. Our beloved Peter Butterworth returns for a quick rematch (the first villain to do so!) in Parts Eight to Ten, and he is just as giggly, sly and likeable as last time, but perhaps a bit more bitter, due to having been ousted by the Doctor in The Time Meddler (1965). The Monk’s creator Dennis Spooner, who wrote these episodes, captures the voice of the Monk and the chemistry between him and the Doctor well.
The group dynamic between the heroes is believably strained, but also effective (Katarina not included). The Doctor is unusually grumpy and serious, perhaps somewhat scared even, while Steven steps up markedly from his recent endeavours. He is also slowly beginning to grow tired of the Doctor, which sets up his eventual departure further down the season. Bret is almost boringly serious, but Sara is a delight in her attitude and energy. Isn't it a shame, by the way, that when a Doctor Who story for once includes extended sequences of the Doctor doing scientific shenanigans (and quite a lot of that too!), most of those moments end up being lost?
Nation and director Douglas Camfield work seamlessly together to build a unique, serious atmosphere from the onset, therefore proving that this is set to be a dark and epic adventure with very different stakes and much more death and despair than previous Dalek stories. The atmosphere is particularly gripping during the first four and final two episodes, which are the bleakest and most serious ones.
That heartwrenching scream in the Part Three cliffhanger...
Katarina's death scene in Part Four is as shocking as it is surprisingly dark (and it is, ironically, the only surviving clip of said episode) and it makes an impact despite the fact that I feel nothing for the character. The moments leading up to the moment are genuinely stressful. Why, oh why did Loose Cannon have to add that haunting animation of Katarina's corpse flying through space? Chilling!
Part Eleven is the calm before the storm as we return to a nearly deserted Kembel with almost no Doctor in sight - and the build-up to tragedy is almost palpable; something isn't right here. Then we have the concluding episode, where all hell breaks loose. The Time Destructor is put to action and what follows is one of the scariest, most effective and morbid sequences in Doctor Who history; we follow the TARDIS travellers hurry back to the TARDIS while gradually ageing to death (Sara goes all the way, sadly). It's a shame we cannot see the scene in full, because it feels so damn effective, and sounds creepy as well. It makes for a pulse-pounding and stressful finale.
What a pity so much of this serial remains lost, because from what we can see, the production values and cinematography seem solid enough. There are plenty of sets here that come to life thanks to great direction from Camfield, particularly in close-ups and establishing shots, but also in capturing the scale of things. The forest world of Kembel and the council room are particularly effective sets. The effects of the Taranium core and the Time Destructor look incredible in the surviving material and the destructive effect of the Destructor is truly felt.
It's impressive how the Loose Cannon team have been able to add some simple movement and basic visual effects to the telesnaps and production stills to help bring key sequences to life better. LC has also done a good job bringing some excitement to the many action sequences set within the missing episodes. Overall, the reconstruction captures the details within the lengthy narrative with relative ease.
:thumbsdown::thumbsdown::thumbsdown::thumbsdown:
Some of the scheming and backstabbing turn a bit convoluted across the 12-episode runtime. There are perhaps too many lengthy council scenes here, and they don't progress the plot noticeably. Smack in the middle of the serial we have the sad excuse for a Christmas special (broadcast on Christmas Day 1965), The Feast of Steven (weird title, I know), AKA the most missing Doctor Who episode. It has nothing to do with the rest of the serial as it's a mess of a comedic romp with a faked crossover with Z Cars and loads of slapstick, shouting and metalevel humour; it's set on a police station and on a silent movie set. Do yourself a favour and skip it.
Katarina, unfortunately, is a burden during the first third of this serial - she is so hopelessly lost that even the simplest concept needs to be explained to her. This is mostly a fault of how the writers choose to portray her rather than the character herself, not to speak of her performer Adrienne Hill. It's also somewhat strange just how quickly the characters get over Katarina's death. Not to speak of how Sara furiously lets slip that the recently killed Bret is her brother and then never mentions him again!
The performances tend to turn a bit theatrical from time to time, and this goes especially for the other evil delegates (who, by the way, look marvellously ridiculous).
There are moments when this serial drags quite a bit, such as during the first third when it takes over for the Daleks' council to convene while our heroes sneak around doing nothing (nothing of note happens in Part Three, for instance). The entire middle part stretch (roughly parts 4-9) is mostly redundant; this is obvious when binge-watching because the heroes don't do very much else than stand around talking during these episodes.
Review by Theo KallströmVIP 6BlockedParentSpoilers2022-04-21T08:05:27Z
:white_check_mark:80% :thumbsup:65 :thumbsdown:16
Here it is: the behemoth 12-episode serial that remains the longest story in Doctor Who history - and with 9 of its 12 episodes missing, also ends up being quite a project to sit through.
:thumbsup::thumbsup::thumbsup::thumbsup:
This is the closest thing to a space opera Doctor Who has ever been; Terry Nation and Dennis Spooner have co-written a vast story with characters, ideas and concepts that, for the most part, will never appear again (such as the infamous Time Destructor or the aptly titled SSS, or Space Security Service) but that gives the adventure a sense of scale not before seen on Who. The story develops slowly, but for once, there is time devoted to characterizations and set-ups, making the entire adventure feel fulfilling. The change of setting every other episode or so also helps to keep this gigantic story fresh and dynamic. Some of the best parts of this serial are the high stakes, coming from the Daleks' destructive plan to take over the universe. We are constantly reminded of the threat posed by the Daleks and Mavic Chen, so even during sillier and less tense moments; we know danger is lurking behind every corner.
The characterization and establishing of a strong atmosphere are so good even during the Nation-penned episodes (1-6) that I can overlook his habit of recycling elements from his previous stories (I think you can spot them by now!). Spooner brings some of his trademark lightheartedness into the later episodes (most notably the cat and mouse game between the TARDIS team and the Monk in Ancient Egypt) before making a total 360 and delivering some of the darkest Doctor Who episodes ever at the close of the serial. The biggest thing Part 8 has going for is playing around with the chameleon circuits of the two featured TARDISes, and showing just what forms a TARDIS can possibly have.
"It came from Uranus, I know it!" is some good adult humour in a family show. And the short cricket pitch scene in Part 8 is eerily similar to what Douglas Adams wrote for Doctor Who and the Krikkitmen (and later brought over to his novel Life, the Universe, and Everything) in 1976...
What a shame the final two parts of Master Plan haven't been recovered. These are the darkest and most intense episodes within the serial, with everything Nation and Spooner have been building up to finally crashing down on the viewer and offering some of the most satisfying 50 minutes a Doctor Who fan could ever get from a 1960s Who story.
William Hartnell puts his heart and soul into his performance, clearly wanting to prove to the children of 1965 that he is the Doctor who will always defend the universe from the Daleks. This is Hartnell's Doctor at his fiercest and most defiant, and the performance is a highlight of the late Hartnell era. It's made clear now, more than ever, just how influential the Doctor can be when dealing with universal threats! And isn't it just lovely how Hartnell breaks the fourth wall and wishes us all a Happy Christmas in Part Seven?!
Nicholas Courtney makes his Doctor Who debut here as Bret Vyon, one of the temporary companions and a rather effective character, who steals the show from the very start (although it is difficult to not see him as the Brigadier, that's not his fault). Vyon is something of a hotheaded hero type, well suited to the requirements of the narrative, and given his character, it's a shame how he is disposed of at the end of Part Four. Courtney plays him straight, but I really don't think you could portray the character in any other way.
Sara Kingdom's entrance in Part Four brings new energy to the story. She is much more independent and fearless than most companions (until Leela, arguably) a decade later. Jean Marsh makes yet another memorable and convincing performance on the show as this ruthless spy (after appearing as Lady Joanna in The Crusade, 1965) and it's a shame she doesn't stay on for longer.
We spend a lot of time with the Daleks and their scheming ally Mavic Chen, so they feel fleshed out by the end of the story. I particularly like how the Daleks are portrayed as cold, ruthless and determined yet again, so they feel like palpable threats. They also very nearly succeed with their master plan this time around. Kevin Stoney is one of those actors whose every appearance on the show is immensely memorable. His Mavic Chen is a creepy, megalomaniac guardian of the Solar System but also a naive human being, who believes he can control the Daleks (and looks like a Bond villain). It's a larger than life performance, and I'm happy there's so much of it in the story because we get the satisfaction of following his quick rise to power only for him to lose it all to the Daleks in the end. Stoney puts his all into Chen's final onscreen moments, once he realizes that he has been betrayed and will be exterminated. Golden stuff! I also feel that Mavic's little henchman Karlton (perfectly portrayed by ) should deserve more love, as he is a sly little a-hole.
Our beloved Peter Butterworth returns for a quick rematch (the first villain to do so!) in Parts Eight to Ten, and he is just as giggly, sly and likeable as last time, but perhaps a bit more bitter, due to having been ousted by the Doctor in The Time Meddler (1965). The Monk’s creator Dennis Spooner, who wrote these episodes, captures the voice of the Monk and the chemistry between him and the Doctor well.
The group dynamic between the heroes is believably strained, but also effective (Katarina not included). The Doctor is unusually grumpy and serious, perhaps somewhat scared even, while Steven steps up markedly from his recent endeavours. He is also slowly beginning to grow tired of the Doctor, which sets up his eventual departure further down the season. Bret is almost boringly serious, but Sara is a delight in her attitude and energy. Isn't it a shame, by the way, that when a Doctor Who story for once includes extended sequences of the Doctor doing scientific shenanigans (and quite a lot of that too!), most of those moments end up being lost?
Nation and director Douglas Camfield work seamlessly together to build a unique, serious atmosphere from the onset, therefore proving that this is set to be a dark and epic adventure with very different stakes and much more death and despair than previous Dalek stories. The atmosphere is particularly gripping during the first four and final two episodes, which are the bleakest and most serious ones.
That heartwrenching scream in the Part Three cliffhanger...
Katarina's death scene in Part Four is as shocking as it is surprisingly dark (and it is, ironically, the only surviving clip of said episode) and it makes an impact despite the fact that I feel nothing for the character. The moments leading up to the moment are genuinely stressful. Why, oh why did Loose Cannon have to add that haunting animation of Katarina's corpse flying through space? Chilling!
Part Eleven is the calm before the storm as we return to a nearly deserted Kembel with almost no Doctor in sight - and the build-up to tragedy is almost palpable; something isn't right here. Then we have the concluding episode, where all hell breaks loose. The Time Destructor is put to action and what follows is one of the scariest, most effective and morbid sequences in Doctor Who history; we follow the TARDIS travellers hurry back to the TARDIS while gradually ageing to death (Sara goes all the way, sadly). It's a shame we cannot see the scene in full, because it feels so damn effective, and sounds creepy as well. It makes for a pulse-pounding and stressful finale.
What a pity so much of this serial remains lost, because from what we can see, the production values and cinematography seem solid enough. There are plenty of sets here that come to life thanks to great direction from Camfield, particularly in close-ups and establishing shots, but also in capturing the scale of things. The forest world of Kembel and the council room are particularly effective sets. The effects of the Taranium core and the Time Destructor look incredible in the surviving material and the destructive effect of the Destructor is truly felt.
It's impressive how the Loose Cannon team have been able to add some simple movement and basic visual effects to the telesnaps and production stills to help bring key sequences to life better. LC has also done a good job bringing some excitement to the many action sequences set within the missing episodes. Overall, the reconstruction captures the details within the lengthy narrative with relative ease.
:thumbsdown::thumbsdown::thumbsdown::thumbsdown:
Some of the scheming and backstabbing turn a bit convoluted across the 12-episode runtime. There are perhaps too many lengthy council scenes here, and they don't progress the plot noticeably. Smack in the middle of the serial we have the sad excuse for a Christmas special (broadcast on Christmas Day 1965), The Feast of Steven (weird title, I know), AKA the most missing Doctor Who episode. It has nothing to do with the rest of the serial as it's a mess of a comedic romp with a faked crossover with Z Cars and loads of slapstick, shouting and metalevel humour; it's set on a police station and on a silent movie set. Do yourself a favour and skip it.
Katarina, unfortunately, is a burden during the first third of this serial - she is so hopelessly lost that even the simplest concept needs to be explained to her. This is mostly a fault of how the writers choose to portray her rather than the character herself, not to speak of her performer Adrienne Hill. It's also somewhat strange just how quickly the characters get over Katarina's death. Not to speak of how Sara furiously lets slip that the recently killed Bret is her brother and then never mentions him again!
The performances tend to turn a bit theatrical from time to time, and this goes especially for the other evil delegates (who, by the way, look marvellously ridiculous).
There are moments when this serial drags quite a bit, such as during the first third when it takes over for the Daleks' council to convene while our heroes sneak around doing nothing (nothing of note happens in Part Three, for instance). The entire middle part stretch (roughly parts 4-9) is mostly redundant; this is obvious when binge-watching because the heroes don't do very much else than stand around talking during these episodes.