Ano 2150: A Invasão da Terra

I sat through, and was utterly bored by, the first of the Peter Cushing/Dr Who movies, DR WHO AND THE DALEKS. It was a chore to sit through in places, a resolutely twee attempt to transfer the TV series to the big screen for children to enjoy. The good news is that this sequel is a different beast entirely, even though it brings back much of the same cast and crew (including the director).

Put simply, DALEKS INVASION EARTH: 2150 AD is an action-packed romp. If you think that scenes of Dalek war-bands patrolling the streets of a post-apocalyptic London sounds like a good time, then you'd be right. This is a film that sacrifices character set-up in favour of all out action, and it works a treat.

Cushing plays the crusty old buffoon once more, and the only reason he's not as irritating is because he's given far less screen time here. For most of the time his character is a mere observer, watching a guerrilla war between Ray Brooks (THE FLESH AND BLOOD SHOW) and his rebels and the Daleks and their goons. Bernard Cribbins contributes some comedy schtick, but he's nowhere near as irritating as Roy Castle was in the last one.

The technical effects are surprisingly decent, from the Dalek spaceships to the explosions, firefights, and large-scale destruction. Scenes of buildings collapsing are vivid and exciting and the Daleks are more of a menace here (and thankfully their voices aren't irritating anymore). There are lots of great visual moments, like the solitary Dalek rising out of the Thames or the humans vs. Dalek fight scenes. A rousing score and decent supporting cast serve as the icing on the cake here.

I am a fan of the Doctor Who TV show, both in its original incarnation and in modern dress. I've also seen the two earlier movies and thought them odd and sad. I was therefore shocked and pleased to find this movie version of "The Dalek Invasion of the Earth" serial to be excellent. The pacing is better, the color photography by John Wilcox has its moments of beauty -- even the Technicolor Daleks have a peculiar beauty.

Working with only minor variations from the television serial, this demonstrates something I have long maintained: the writing on the TV DOCTOR WHO was often first rate. It was the cripplingly tiny budgets that often made it seem ridiculous, with its impossible shooting schedules, cardboard sets and monsters that frequently seemed to be a man lurking under a cast-off shag rug.

The memories of children often play them false in later years. People report on seeing a particular favorite DOCTOR WHO serial from childhood and being shocked at how much better it is in memory than looking at it as adults. Children assume the lovely details that the adult mind demands. How very pleasant for this adult to see them filled in here!

The On Her Majesty's Secret Service of the Doctor Who world, the two Peter Cushing-Dalek films have seen occasional reappraisal that labels them as "coolly kitsch" or "lovably camp". In reality, of course, they're complete pants.

The Doctor Who TV series actually had a considerable integrity, despite being made on a budget of 50p and never managing to shake off the "Kid's Telly" tag. Here Cushing plays the Doctor of the title, his surname actually becoming "Who". The Tardis, his sophisticated space-time machine, is now "Tardis", a naff-looking thing with a Yale lock on the door. Around the time this was made a "Carry On" actor would do his only television work in the Doctor Who series – Peter Butterworth as the Meddling Monk. For the film we got Bernard Cribbins as P.C. Tom Campbell, a similar character to the one that married the Doctor's granddaughter on TV. Though as the film Susan is only ten that would be inappropriate here.

Both films (the other – Doctor Who and the Daleks, Cushing joined by Roy Castle) were based directly on actual TV stories, the novelty being they were in colour. By the time the second came around the novelty was over and it didn't do the business of the first, despite being someway the better film. Perhaps this is because the original serial – The Dalek Invasion of Earth – was an attempt to mount a film's epic scale on a TV budget. To this end it transfers better to the medium, and its setting (future Earth as opposed to the first film's alien planet Skaro) is more accessible to audiences.

The big failure is, of course, send-up. Some of the series' b-movie concepts (mutated nuclear war victims get robot-armoured shells and invade Earth to steal its core) are ludicrous, but played straight can be rewarding. The films make a mockery of the whole concept, showing a total lack of respect for their source material. My advice is: if you don't like 'em, don't make 'em. Bearing in mind the Daleks were hot merchandise properties at the time, this is a cynical cash-in on the nation's youth. There's even a shameless product placement for Sugar Puff Cereals.

All involved are capable of better. Peter Cushing, respected in adult horror films, here opts for a no-effort parody of TV Doctor William Hartnell's performance. There is no trace of depth or consideration for the part he has chosen. Full credit does go to Ray Brooks, Andrew Keir and Philip Madoc for at least trying to take it seriously. Madoc was rewarded with four seperate roles in the television series, most notably as mad scientist Solon (1976) and The War Lord (1969). On the plus side, direction in terms of camera angles is actually very, very good, but is offset by incidental music so loud and outdated that it works against the mood entirely. Think SF drama with Carry On music and you're almost there.

Bright and colourful, (including a funky red Dalek) the film certainly has visual appeal. But the Daleks' voices, their volume increased considerably, are extremely grating. They also lack their trademark warmth and charm, being little more than robots. Their weaponry was scheduled to be flame-throwers, but was disallowed due to the young audience. This is perhaps fortunate as their gas sprays aid the Nazi allegory. Best bit? The exploding shed.

Trite jazz, lame comic setpieces and binliner outfits, the film is on TV virtually every Bank Holiday in England. And you know the strangest part? As bad as it is, come next Bank Holiday I'll probably be tempted to see it again.

When I first saw this on TV as a kid, I was really taken with the fanciful far-out concepts of a conquered Earth. For a 12 year-old boy into sci-fi, this was and is the ultimate escapist fare. I had no knowledge of the British TV series at the time so my intro to Dr.Who was Peter Cushing (playing older than he is), the movie version of the old-time traditional Doctor. I probably saw this film before the previous one "Dr. Who and the Daleks" as I was puzzled by the Doctor's recognition of his old foes, the unforgettable Daleks. Yes, who can forget those frog-like voices, warped by metallics, usually screaming for the death of humans. The British cast is really keen, especially Cribbins as an out-of-place copper and Andrew Keir as a hobbled resistance fighter. They bring a curious reality to the fantastic setting.

The picture has a decidedly British flavor and, of course, is filmed in the British countryside. Though I didn't reason this out at the time when I was a kid, it had an obviously different taste to it; I was mostly familiar with U.S. low budget sci-fi pics of the '50s and '60s at the time. The scope of the picture seemed really huge back then: London in a destroyed state, humanity decimated. There was that really cool flying saucer, looking fully functional and detailed. And there were the creepy Robo-men, in their slick black bodysuits and far-out helmets, like some futuristic Nazis or space zombies. All of this stuff really just took me over and I couldn't wait for the next time the local TV channels would run it again (not very often, as it happened). Some years later, I realized the title, 2150 AD, sounded cool, but the invasion by the Daleks must have occurred only a few years before the events of this movie, and the dilapidated buildings all looked like they'd been wrecked in the sixties. Ah, no matter. Many years later, I got the DVD and the thrill, tho muted by the long passage of experience and adulthood, is still there. They really knew how to make 'em back then.

In this British science fiction adventure, London policeman Tom Campbell (Bernard Cribbens) enters what he thinks is a police call-box only to discover that it's the TARDIS, the physics-defying home/ship of Doctor Who (Peter Cushing). Campbell is brought along as the Doctor, along with his granddaughter Susan (Roberta Tovey) and assistant Louise (Jill Curzon), travel through time to the year 2150, only to discover a London in ruins. The nefarious alien race known as the Daleks have conquered the Earth, and is rounding up the few surviving people to work as either slave labor, or even worse, as mind-controlled Robo-Men. It's up to the Doctor and his companions to free the human race from bondage.

This is the sequel to 1965's Dr. Who and the Daleks, which had also starred Cushing in the title role, although neither of these films are considered part of the ongoing Dr. Who canon. From what I've read, most true-blue Who fans detest these movies, although I don't have any special feeling toward the series so these movies didn't bother me in that respect. They are both slightly dopey, with a comical undertone and definite targeting of the younger members of the audience. I've always found the Daleks to be quite silly, and their accented, screamed statements ("Exterminate!") a source of much amusement. However, the movie is generally entertaining, and it doesn't overstay its welcome. Plus, I always like to see something I haven't seen before with Peter Cushing.