IMDb > "Doctor Who" Four to Doomsday: Part One (1982)

"Doctor Who" Four to Doomsday: Part One (1982)

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Overview

User Rating:
6.9/10   99 votes »
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TV Series:
Original Air Date:
18 January 1982 (Season 19, Episode 5)
Genre:
Plot:
Trying to transport Tegan to Heathrow airport on present-day Earth, The TARDIS accidentally lands on-board... See more » | Add synopsis »
Plot Keywords:
User Reviews:
Driven by concepts rather than plot, "Four to Doomsday" is an unusual but worthwhile story See more (4 total) »

Cast

 (Episode Cast) (in credits order) (complete, awaiting verification)
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Episode Crew
Directed by
John Black 
 
Writing credits
Terence Dudley (by)

Sydney Newman  creator (uncredited)

Produced by
John Nathan-Turner .... producer
 
Original Music by
Roger Limb 
 
Film Editing by
Rod Waldron (videotape editor)
 
Production Design by
Tony Burrough 
 
Costume Design by
Colin Lavers 
 
Makeup Department
Dorka Nieradzik .... make-up artist
 
Production Management
Henry Foster .... production manager
 
Sound Department
Alan Machin .... sound
Dick Mills .... special sound
 
Visual Effects by
Dave Chapman .... video effects
Mickey Edwards .... visual effects designer
Sid Sutton .... title sequence
 
Camera and Electrical Department
Don Babbage .... lighting
Alec Wheal .... senior cameraman
 
Editorial Department
Carol Johnson .... vision mixer
 
Music Department
Ron Grainer .... composer: title music (uncredited)
Peter Howell .... music arranger: title theme (uncredited)
 
Other crew
Jean Davis .... production assistant
Robert Hignett .... technical manager
Val McCrimmon .... assistant floor manager
Antony Root .... script editor
Angela Smith .... production associate
 

Series Crew
These people are regular crew members. Were they in this episode?
Writing credits
(in alphabetical order)
Sydney Newman  creator (uncredited)

Production Design by
Bob Cove (1970s)
Victor Meredith 
 
Makeup Department
Dorka Nieradzik .... makeup designer (1982, 1984-1988)
 
Art Department
Peter Brachaki .... production designer: TARDIS interior
 
Special Effects by
Mat Irvine .... special effects (1970s-1980s)
Ian Scoones .... special effects (1960s-1980s)
Ron Thornton .... special effects (1980s)
Bernard Wilkie .... special effects (1960s-1970s)
 
Visual Effects by
Mitch Mitchell .... special video effects (1960's-1970's) (as A. J. Mitchell)
Bernard Lodge .... title sequence designer (1963-1979) (uncredited 1963-1969)
 
Stunts
Alan Chuntz .... stunts (1960's-1970's)
Peter Diamond .... stunts (1960s)
Max Faulkner .... stunts (1960's-1970's)
Stuart Fell .... stunts (1970s-1980s)
Alf Joint .... stunts (1960s-1980s)
Derek Martin .... stunts (1960s-1970s)
Roy Scammell .... stunts (1960s-1980s)
Lee Sheward .... stunt coordinator
Derek Ware .... stunts (1960s-1970s)
 
Music Department
Paddy Kingsland .... composer: incidental music (1980-1985)
Keff McCulloch .... composer: incidental music (1987-1989)
Humphrey Searle .... composer: incidental music (1965)
Dudley Simpson .... composer: incidental music (1964-1980)
 
Other crew
Christopher Baker .... production assistant
Ali Bongo .... magic advisor
Kenneth J. Bussanmas .... creative consultant (1979-1985)
 
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Additional Details

Runtime:
UK:24 min
Country:
Language:
Color:
Aspect Ratio:
1.33 : 1 See more »
Sound Mix:
Certification:
Australia:PG | UK:PG (DVD rating)

Did You Know?

Trivia:
This episode was watched by 8.4 million viewers on its original transmission.See more »
Quotes:
Persuasion:[Confiscates the Sonic Screwdriver but says] You may keep the pencil.See more »
Movie Connections:
Featured in A New Body at Last (2007) (V)See more »

FAQ

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5 out of 8 people found the following review useful.
Driven by concepts rather than plot, "Four to Doomsday" is an unusual but worthwhile story, 13 November 2008
Author: ametaphysicalshark from prejudicemadeplausible.wordpress.com

"Four to Doomsday" is a perfect example of why I love Tom Baker's last season and Davison's entire era. No, the stories themselves weren't always good, but perhaps for the first time since the third season of the show in the sixties (with a few exceptions to the ensuing adventure/horror/fantasy with elements of science fiction, admittedly), there were genuinely interesting science fiction concepts being explored, and beyond just that, it's generally done far better and with far more intelligence than the Hartnell era, mostly because John Nathan-Turner and the writers he was working with were now writing for the show's fanbase, which they knew included many adults.

No, Peter Davison's seasons are not nearly as consistently enjoyable and wonderful as Tom Baker's, Graham Williams' rather silly era excepted, but they cover a larger range of topics, and in terms of the quality of the writing and the concepts used, they were pushing "Doctor Who" in a new and fresh direction, some would say 'bloody boring', I would politely disagree. Still, "Four to Doomsday" is a real oddity. A forgotten and neglected gem, perhaps, and hopefully the recent DVD release will change that, but a real oddity nonetheless. There's never been anything quite like this in "Doctor Who". There's big concepts and intellectualism here, but absolutely no overblown dialogue (in fact, some of it is so subtly performed that you could miss the best lines and allusions on first viewing. I didn't even realize that Enlightenment's description of love was taken from Renoir's "La regle du jeu" until I looked in the DisContinuity Guide this morning.

It's rather pointless to try to explain what "Four to Doomsday" is about. It's pretty concept-driven, and the plot is pretty thin. Still, it's worth talking about the quality of the script here by Terence Dudley (who also wrote "Black Orchid" and "King's Demons" and directed "Meglos"). It's really very good. The general lack of a strong plot is the story's biggest weakness, and what keeps it from reaching the potential it had (the story honestly could have been one of the top 10 or so "Doctor Who" stories), but there's enough wit in the dialogue and intelligence in the writing to keep the viewer interested.

"Four to Doomsday" is an odd viewing experience which benefits from good acting, set design, and model work, as well as fine performances. It's a very unusual story, but also a very worthwhile one.

8/10

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