Classic Doctor Who stories for a New Who watcher
Photo credit: Doctor Who/BBC
Image obtained from: bbc.co.uk/doctorwho
Want to watch the Classic Series, but don’t know where to begin? Here are eight stories that give you a good taste of the early years of Doctor Who.
Expressing our deep, authentic love for Doctor Who is both natural and arguably a quintessential trait of the Doctor Who fan. The Doctor Who fan is a social creature that delights in discussing the fine details of the show with others. It’s a jubilant experience, no doubt.
But on the flip-side, a deflating moment can often hit – the person you’re nattering away with has only seen the modern incarnation of the programme. It’s something a fan of Classic Who, in these contemporary television times, has to be prepared for.
Particularly the barrage of “I’m not sure about the old stuff”, “it looks boring”, “don’t the sets wobble?” and “the effects are rubbish”. Often these complaints or fears about the Classic era of Doctor Who are born out of the fact it’s old, somehow devaluing the merit of the storytelling in a New Who watcher’s eye.
Also, there’s the New Who watcher who hasn’t seen the Classic era, not because of fears of quality – but because they’d simply not dedicated their time to watching it. After all, there are decades worth of content which could be a tad intimidating to some.
So how do we convince people otherwise? What Classic era stories would be ideal viewing for someone whose only exposure to Doctor Who is the modern era? I have my personal picks that demonstrate the quality and range of stories from the Classic era – bringing a new-found sense of immersion for the viewer. For clarity, I have limited the list to the first four Doctors – William Hartnell, Patrick Troughton, Jon Pertwee and Tom Baker.
Photo credit: Doctor Who/BBC
Image obtained from: bbc.co.uk/doctorwho
An Unearthly Child
What better place to start than… the start? There’s something inherently magical and enigmatic about the inception of Doctor Who. The eeriness under the surface as a local police officer on his rounds whistles, whilst walking past a mundane junkyard. It’s this intrinsic air of otherworldliness cloaked behind normality that drives the first ever episode of Doctor Who. Just who is Susan Foreman? A young girl who exhibits seemingly impossible knowledge for her age? Why, to her teachers bemusement, does her address lead to a junkyard? The drama and mystery is well-paced, imbued with an atmosphere of discovery.
The characters have magnetic screen-presence too. Teachers Ian Chesterton and Barbara Wright both emit a comforting, but inquisitive aura. The chemistry between the two is undeniable. The titular “unearthly child” herself, Susan, is sharp-witted, with an underlying alien quirk. The First Doctor, meanwhile, is authoritative and aloof. But there’s also a hidden grandfatherly warmth and care, too. It’s all utterly compelling and essential viewing.
The rest of An Unearthly Child beyond the first episode has its detractors, particularly due to pacing issues. Personally I find the Neolithic power-struggle over fire in the subsequent episodes fascinating; however, it is ultimately the first episode that I would recommend to new viewers.
The Romans
Back in the 1960’s, Doctor Who episodes set in the past were a very different beast. Known as “pure historicals,” they were intended to be educational for children through the, arguably more entertaining, lens of a Science-Fiction show. So no alien threats and no timey-wimey machinations – they were always a grounded affair. This may seem strange to somebody only brought up on a diet of New Who, but, on the other hand, it would offer them a wholly unique take on historical stories. Stripping the alien and the bizarre makes for drama centred on the human plight more noticeable.
On a personal level, I much prefer many other pure historicals such as The Aztecs or The Gunfighters. For someone who’s new to them however, I believe The Romans to be a better fit. It combines a lot of humour into the drama, making it more accessible for a first entry to the pure historical genre. The Romans has a faster pace too. I adore The Aztecs but for somebody who’s never been exposed to this type of storytelling… well I could imagine them turning off after a while. I don’t think The Romans would have this issue. The Doctor shows a lighter, more playful side to his character in this story, also making it a great entry point.
Photo credit: Doctor Who/BBC
Image obtained from: bbc.co.uk/doctorwho
The Tomb of the Cybermen
Almost every Doctor Who fan will be familiar with the hauntingly iconic image of the Cybermen emerging from their stasis. Silently slicing through their chambers and assembling their army – there’s something distinctly ghostly about them, despite the fact they’re cyborgs. This horror/adventure is one of, if not the best story from Troughton’s tenure, and it commands your attention throughout.
Electric atmosphere, and devilishly spooky, The Tomb of the Cybermen isn’t the type of Cybermen story a New Who viewer may be used to, but it’s one they should see. It’s terrifying and claustrophobic, really ramping up the tension and sense of dread permeating through the story. As a result, it’s a shining example of how the Classic era creates horror and puzzle-solving to foster immersion.
The Mind Robber
The Mind Robber might be a surprising inclusion for some, though I believe it would make for a riveting if outlandish viewing experience. It’s a peculiar story which demonstrates the Classic era’s sense of adventure. Taking place on another dimensional plane, the Second Doctor and his companions enter the Land of Fiction. It’s all engrossingly dream-like and ethereal; evading capture from life-size toy soldiers, coming face to face with a Minotaur and even meeting Rapunzel.
Not only is The Mind Robber a uniquely strange tale. It also contains one of the best ways a story got around behind the scenes difficulties. Constraints can breed creativity, and so was the case when Frazer Hines – the Doctor’s companion Jamie McCrimmon – contracted chicken pox. Jamie becomes trapped and distorted so the Doctor has to put his face back together. The Doctor gets it wrong and thus Jamie is played by a different actor for a few episodes. Bonkers, but brilliant.
Photo credit: Doctor Who/BBC
Image obtained from: bbc.co.uk/doctorwho
Spearhead From Space
Those well-versed in New Who will be firmly familiar with Rose – the episode that kick-started the re-launch back in 2005 with an Auton Invasion. Spearhead from Space also kick-started a brand new era for Doctor Who – a new Doctor in the form of Jon Pertwee, and the first Doctor Who story in colour. It also featured an Auton Invasion.
Jon Pertwee has innate charisma and gravitas, bringing to life the Doctor anew. The return of Brigadier-Lethbridge Stewart and the rest of U.N.I.T. are re-established also. Making it a thoroughly entertaining invasion and post-regeneration story all at once, an exciting flurry of adventure, intrigue and action that cultivates a good jumping-on point for audiences.
The Curse of Peladon
I chose The Curse of Peladon mainly for its political undertones and world-building. Two concepts I personally have a thirst for. First of all, the alien world and the society that operates within it are engrossing. The depiction of religion and fears of ‘demonic’ beings and the Royal Family who head the planet are well-realised and, perhaps, are still resonant themes today. The politics of Peladon, and that of the Galactic Federation, are still relevant. It deals with superstition, distrust, prejudice and co-operation.
Seeing the different alien beings and their over-arching ideologies further adds to the world-building and political storytelling in the Doctor Who universe. It’s both mature and a reflection of troubles and hurdles humanity are dealing with. It’s Science-Fiction that makes you think.
Photo credit: Doctor Who/BBC
Image obtained from: bbc.co.uk/doctorwho
Genesis of the Daleks
Genesis of the Daleks is not only one of the best Doctor Who stories of all time, but one of the best pieces of Science-Fiction of all time. It’s an essential Classic era story not only due to its quality, but also because of its important place in the Doctor Who mythos. The backdrop is Skaro, in the midst of a long-running Civil War between the two indigenous races: the Kaleds and the Thals. During the horrors, we witness the scientist Davros create Doctor Who’s most infamous villains: the Daleks.
The performances’ across the board, from the Fourth Doctor, Davros and the supporting characters is stellar and brings to life the setting and the stakes. The story wrestles with the themes of war, the thirst to survive, the palpable sense of urgency and the right to kill. It deftly explores the differing ethos of two great minds – the Doctor and Davros.
Pyramids of Mars
Pyramids of Mars is one of the finest representations of the gothic era of Doctor Who. A hammer-horror vibe, esoteric themes and Egyptian iconography combine to form a truly majestic experience. The atmosphere is dripping with darkness and concealed evil. A New Who viewer with a hunger for more villains like the Beast would appreciate the style of villainy portrayed.
The villain, the proclaimed God, Sutekh is a formidably intimidating foe. The voice work is suitably creepy being both soft but authoritative. Doctor Who doesn’t always stray into the realms of the supernatural, but it does here with confidence.
Next: Review: The Sontarans (First Doctor audio)
So what do you think to my recommendations? Do you have different recommendations? Write them down in the comments below!