Monthly Archives: November 2016
Time has been limited the past few weeks, so I’m behind on Class reviews. However, John Connors asked me to review The Power of the Daleks, animated version, for his site Timelines, and my look at that story was published a few hours ago. However, reading the review back, I’ve realised that apart from having committed some very cumbersome phraseology indeed at times, I have managed to write a review of Patrick Troughton’s first Doctor Who story, without mentioning Troughton himself.
Troughton’s performance in The Power of the Daleks remains enigmatic even after the valiant and effective reconstruction by the animation team led by Charles Norton. There’s a sense from the telesnaps and from recollections by those who worked on or watched the serial that there was a lot of physical comedy of which we see very little – only the leapfrog in episode one, I think, is achieved, the point of which is to subvert the viewers’ expectations of the Doctor, as it appears that he isn’t measuring the rock for the purposes of geological, petrological or mineralogical study, but as a precursor to testing his new body’s physical capabilities. There’s a great diffidence about this Doctor, which often makes him irritating rather than charming, his recorder-playing a puzzle as it leaves so few cues for Ben, Polly and the viewer to draw conclusions. Even his destruction of the Daleks is left ambiguous by the script, as it’s not clear what the Doctor had anticipated from his attack on the power supply.
As for Troughton’s playing of the Doctor, it’s difficult to draw conclusions from the evidence we have. I remember, many years ago, going through one particularly frantic scene on the first VHS release of The Seeds of Death, where it appeared that Troughton changed his facial expression completely on each frame. With such flexibility and control, the animators can’t be expected to keep up with Troughton within the parameters of this project, though they have a good try. The New Doctor Who of 1966 is still a mystery to the 2016 audience, but we can at least now see with more definition the space the acted performance would fill.