The Chase

Region 1
Box Set

Region 2
Box Set
VHS Video
boxed set with "Remembrance of the Daleks"
(Doctor Who Story No. 16, starring William Hartnell)
  • written by Terry Nation
  • directed by Richard Martin
  • produced by Verity Lambert
  • music by Dudley Simpson (and if you're lucky, the Beatles)
  • 6 episodes @ 25 minutes each:
    1. The Executioners
    2. The Death of Time
    3. Flight Through Eternity
    4. Journey Into Terror
    5. The Death of Doctor Who
    6. The Planet of Decision
Story: During an exploration of the planet Aridius, the Doctor, Ian, Barbara, and Vicki make a horrific discovery - the Daleks have constructed their own time machine, and are now pursuing the TARDIS to exterminate the Doctor for interfering with their plans in previous adventures! Will a hurried odyssey through time and space throw the Daleks off their trail and end the chase? Or will the Doctor and his friends need to make a final stand against their greatest enemies?

DVD Extras include:

  • Audio commentary by William Russell (Sir Ian Chesterton), Maureen O'Brien (Vicki), Peter Purves (Steven Taylor / Morton Dill),
    and director Richard Martin.
  • "The Thrill of the Chase" making-of featurette (10 min.) with director Richard Martin.
  • "Last Stop White City" featurette (13 min.) on the story of Sir Ian Chesterton and Barbara Wright,
    with Russell, Martin, and vision mixer Clive Doig.
  • "Daleks Conquer and Destroy" featurette (23 min.) on the appeal of the Doctor's earliest enemies, with Richard Martin,
    producer Verity Lambert, designer Raymond Cusick, actors Carole Ann Ford (Susan) and Nick Briggs (Dalek Voices),
    plus Mike Tucker, Robert Shearman, and Matthew Savage.
  • "Shawcraft - The Original Monster Makers" featurette (17 min.) on the prop makers who built the original Daleks,
    with designers Raymond Cusick, Barry Newbery, Spencer Chapman, and John Wood.
  • "Follow That Dalek" (12 min.) - a 1967 colour look at the premises of Shawcraft Models, with optional information subtitles.
  • Pop-up Production Note Subtitles
  • Photo Gallery
  • "Cusick in Cardiff" Raymond Cusick gets a tour of the sets on the new Doctor Who. (13 min.)
  • "Daleks Beyond the Screen" featurette on Dalek merchandising. (22 min.)
  • Give-a-Show Slides (12 min.)
  • DVD bundled with the previous story: "The Space Museum" and all its extras....

Buyers' Guide Review

by Martin Izsak

(A more in-depth analysis, containing "SPOILERS" and intended for those who have already seen the program, can be accessed here.)

The basic idea for this story sells well - get ready for a rip-roaring roller-coaster ride through time, with your favourite 1960's TV monster on the tail of the lovable good old Doctor and his friends the whole time. But wait. Once again, we get a large dose of experimental, off-the-point directing from Richard Martin. If you can go along with that, it's possible to enjoy this faced-paced romp through time.

The intended sarcasm doesn't quite work as Vicki promptly declares herself useless, and her initial scenes of irritating her fellow travellers are decidedly useless, lacking any sense of warmth or charm or entertainment value. The Doctor proceeds to make a truly terrible noise with his latest toy as well. The Dalek voices are lame once more, not as bad as in "The Dalek Invasion of Earth" (story no. 10), but close. Under this director, the Daleks also like to run around in circles and agitate back and forth a lot, which is out of character and distracting. Ray Cusick may have come up with a great design for a trick Dalek time capsule, but the director goes out of his way to make sure the camera moves right in to show the audience how to see through it to the studio wall on the other side, destroying the illusion. Following that, he can't even get it to dematerialize with a standard effect. Another needless zoom in on the Visualizer's blank screen confuses the grams operator, causing him to think he's jumped ahead of his cue with the TARDIS dematerialization noise, only to have to restart it again moments later. Utter chaos reigns once more in a Richard Martin studio session, and again particularly in the first episode. Sound is the chief culprit this time around, but having William Hartnell operate an invisible control console was no stroke of brilliance either, as if no one would notice! Even the title sequence gets botched with a needless stop and re-start! (One wonders how many of these gaffes the restoration team will try to fix for the DVD release?)

Dudley Simpson's music has returned closer to the "cutesy" style he used in "Planet of Giants" (story no. 9), although it's a bit more jazzed-up and adult here. Too bad we're denied something similar to his superior work on "The Crusade" (story no. 14). At least there are a few interesting themes.

The writing isn't much on character or dialogue, but it is fast paced, whisking the audience away from each time and place before any of it becomes too boring. Episode one begins with some historical snippets, including an all-right clip of the ancient Beatles performing "Ticket to Ride". Vicki's historical point of view of them gets more appropriate with each passing year. Sadly, it seems not everyone gets to see this part of the episode, due to overcomplications with Beatles music / video rights. Apparently, PBS re-runs include this bit. Store-bought VHS video all over the world did not. Word is, DVD versions have it back in, IF you can get the European Region 2 copy, and IF you have an appropriate player and TV monitor for it. North Americans may still be expected to shell out for a copy that leaves it out - and who knows how butchered the audio commentary will be that talked over this clip as well.

Episode Two's title - "The Death of Time" - seems to have nothing whatsoever to do with anything in the episode. I think that's all I'll say here to avoid possible spoilers. Come back and read the in-depth analysis version of this review after you've seen the story.

In our director's defense, we have to give Richard Martin credit for giving us the FIRST example of the TARDIS dematerialization sound being REVERSED during a landing in episodes three and four. Nice one! All that remains is to lop off the final wheeze and add a thud, and you'd have the sound we all became accustomed to hearing throughout the 1970's and 1980's.

The acting still remains cheesy throughout though. The tour guide's New York accent isn't bad, but somehow it's still obviously faked. The dialogue isn't very natural either - too much emphasis on sounding like a New Yorker, and not enough on saying something intelligent. Then we come to Peter Purves' debut as Morton Dill. I admire the way he can usually throw himself completely into a role with a lot of energy and make it watchable, but poor old Morton is scripted to go way over the top, so that's what you get.

There are some better performances in the later half of episode three, not to mention a very atmospheric sequence, but many of the scripted interactions are pretty dull at this point. The same can be said of the early episode four sequences - as far as horror and suspense goes, the location and its characters are far too much of a badly-acted joke. I think it was a mistake to hide the true nature of both of these locations for so long. In the first one, not enough interest in the place is allowed to build until it is too late. Sir Ian Chesterton and the Doctor come up with some fascinating theories for the second location, which would support what they witness. All good. The actual revelation cheapens the whole sequence, and more considering the story as a whole.

What we get for action here is pretty cheesy anyway, more mindless mayhem and running about. Some itchy cameraman had to readjust the frame of the TARDIS inlay shot, giving away the effect once again. At least we get plenty of drama out of some makeshift travel arrangements and the Daleks' increasingly devious plans.

Simply by exercising his sole right to pilot the TARDIS, the Doctor has generally had more important things to do than any of his companions so far in this adventure. At long last, episodes five and six give us some excellent examples of Hartnell Heroism, which season two has sorely been lacking. A bit of "double trouble" provides interest for the episode, but it's not quite as easy to tell who's Who as you might think at first sight. And I think we have to give thanks to both Terry Nation for asking for this sequence and Richard Martin for delivering it, because this is so much better than the TV version of "The Massacre" (story no. 22), which tried in part to base itself much more heavily on a similar idea, and failed to come up with as entertaining or effective a sequence as what we get here. The Doctor's character also finally seems to shift towards the noble traits he would eventually become better known for. William Hartnell's the man in episode five. Thank you, Terry Nation, for finally figuring it all out! Episode five also has the best cliffhanger. Things are really looking up!

Episode Six proceeds to be the most interesting of all during "The Chase". Although the model work shows up a bit at one point, the sequence remains interesting with scenes that double for exploration of the city and for first contact. A soon-to-be companion is introduced, bringing the main cast up to five, as Peter Purves switches to the role he will be most remembered for on Doctor Who. The scenes of Steven Taylor meeting the rest of the crew demonstrate that Purves is a much more sensible actor than he might have at first appeared, and Steven is quite a charming, friendly fellow. (On a PBS TV broadcast, Lionheart's episode six credits attempt to serve the entire story, and unfortunately Peter Purves is credited for Morton Dill again, with no mention of his more important role as Steven Taylor. Who does these credits? Don't they pay attention to the series?)

The script has a big hole in its logic here.... but I'll save the spoilers. It doesn't do the story much damage anyway.

Things begin interestingly enough when the five travellers tackle a major challenge, and Vicki's personal fears add extra tension. Sir Ian needlessly makes a real idiot out of himself at this point though, and it seems the whole thing is begging for more tasteful directorial choices once again.

The worst part of episode six are the Dalek portrayals in the video studio. The so-called conquerors of the universe act like anything but here. This is too lame for forgiveness.

However, the final battle on FILM is a VAST improvement. High energy is what is called for to keep the story moving, and there is plenty of it. Plus we get good, menacing, in-character performances here, so right on.

Post climax, we get an important bit of emotional drama. The writing, acting and everything are generally really well done from here on. I was always particularly impressed by the creativity in the still photo sequence. I later learned that Douglas Camfield took those shots. Somehow, I'm not surprised.


All in all, episode six is an action-packed landmark half hour, and the Doctor fares well in both the heroic and character departments. All things considered and balanced, an above average episode not to be missed. "The Chase" is definitely the best of Richard Martin's season two stories, and remains particularly gripping from the middle of episode four to the end.

Thus, director Richard Martin leaves the Doctor Who directing universe on a bit of a high note, and has become one of the most entertaining and lively participants on DVD interviews and commentaries. Nice. It's easy to see how his infectious enthusiasm became a driving force for his productions, and caused him to be asked back over other, more reluctant directors. Have I been too hard on him, considering the enormous technical restraints of television in those days? Perhaps, but other directors of the time faced the same constraints, and I think my preferences for their results will stand. I myself was heavily involved in a project with very similar limitations of time and technology, in producing a video for a live highschool rock and roll show. The show's director proper was only really concerned with the live performances; I did the live vision mixing and created the loose camera script that I and my cameramen followed. This was back in 1988 and 1989, when highschools generally didn't have much video equipment, and this wouldn't have been possible without bringing in some of my own gadgets and designing the entire wiring scheme from scratch. Knowledge of 1960's Doctor Who recording techniques inspired me, as did Richard Martin's notes for episode one of "The Edge of Destruction" included in Jeremy Bentham's book "Doctor Who: The Early Years". We had to record live and have no edits during a song or medley. I was also keen to stretch technology and include as many effects as possible. Some of them were cheesy, and I made my own boo-boos too. I still think I pulled off a more organized live multi-camera recording, so I know of what I speak. It's an intense job, and I salute all those directors and crews who tackled it to bring us shows as memorable and enjoyable as Doctor Who.

This story has become available on DVD and VHS video.
Click on the Amazon symbol for the location nearest you for pricing and availability:

DVD NTSC Region 1
Box Set
for the North American market:
in the U.S.
in Canada
DVD PAL Region 2
Box Set
for the U.K.
VHS Video boxed set with
"Remembrance of the Daleks" (story no. 152)
NTSC A in North America
NTSC B in North America
PAL for the U.K.

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Read the Buyers' Guide Review for the next story: "The Time Meddler"

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