After a brief six week break, following the climax of The Reign of Terror, Doctor Who returned October 31st 1964 with Planet of Giants, the first adventure of the show’s second series. This three-part serial offers a refreshing change of pace, taking the TARDIS crew not to another planet or a historical era, but to their own backyard—albeit at a drastically reduced scale. It’s a bold and imaginative start to the new series, showcasing the show’s willingness to experiment with format and concept.
Revisiting Planet of Giants today, it’s a story that feels both innovative and oddly restrained. While the serial’s premise is packed with potential, its execution occasionally struggles to maintain tension, leaving it as an intriguing but uneven entry in the Doctor Who canon.
The Story
The TARDIS materializes in what initially appears to be a typical countryside setting, but the crew quickly realizes something is wrong. They’ve been shrunk to the size of insects, and the world around them—blades of grass, a dead earthworm, and an enormous matchstick—is suddenly vast and alien.
As they explore this miniature environment, the crew discovers a darker story unfolding. A businessman named Forester is manufacturing a dangerous insecticide, DN6, and is willing to resort to murder to cover up its deadly side effects. The TARDIS crew becomes accidental witnesses to his crimes and must find a way to stop him, despite their minuscule size and limited ability to influence events.
A Concept Full of Potential
The concept of shrinking the crew and placing them in a familiar yet threatening environment is inspired. Everyday objects become colossal obstacles, and the natural world is transformed into an alien landscape. This perspective shift allows for moments of genuine wonder, as when the crew marvels at a giant ant or a gargantuan sink.
However, the serial’s execution doesn’t fully capitalize on its premise. The tension between the high-concept shrinking plot and the more grounded industrial thriller occasionally feels disjointed. While the environmental and ethical themes are compelling, they struggle to find their footing within the larger-than-life setting.
The TARDIS Crew
The Doctor is at his most curious and inventive in this story, eager to explore the miniature world and quick to devise solutions to their predicament. William Hartnell brings a sense of wonder and determination to the role, even as the Doctor grapples with the physical limitations of their size.
Barbara takes center stage in a subplot involving her accidental exposure to DN6. Jacqueline Hill delivers a nuanced performance, conveying both Barbara’s inner strength and her growing fear as the effects of the insecticide take hold. Her plight adds an emotional weight to the story, grounding the more fantastical elements in genuine stakes.
Ian continues to shine as the practical and courageous everyman. William Russell’s chemistry with Hill remains a highlight, as Ian’s concern for Barbara drives much of his actions in the story.
Susan plays a supportive role, often acting as a bridge between the Doctor’s intellectual curiosity and Ian and Barbara’s emotional responses. While she has fewer standout moments, Carole Ann Ford brings warmth and energy to the character, helping maintain the group’s dynamic.
Themes of Environmentalism and Ethics
At its core, Planet of Giants is a cautionary tale about human hubris and the dangers of unchecked industrial progress. The DN6 insecticide represents the unintended consequences of scientific advancement, a theme that feels as relevant today as it did in the 1960s.
Forester’s willingness to prioritize profit over safety underscores the moral failings of corporate greed, while the TARDIS crew’s efforts to expose the truth serve as a reminder of the importance of accountability and ethical responsibility. These themes are woven subtly into the narrative, offering food for thought without overshadowing the story’s adventurous spirit.
Production and Effects
The production team’s creativity is on full display in Planet of Giants. The oversized props—giant seeds, matchboxes, and laboratory equipment—effectively convey the crew’s diminutive size, creating a visually striking world that feels both familiar and alien. The use of perspective and forced scaling is particularly impressive, adding a sense of depth and immersion to the sets.
However, the limitations of 1960s television are also apparent. Some effects, such as the superimposed insects, lack polish and can be unintentionally distracting. Despite these flaws, the ambition behind the visuals is commendable, and the overall design succeeds in bringing the concept to life.
From Two Episodes to Three
Originally conceived as a four-part story, Planet of Giants was edited down to three episodes during production to tighten the pacing. While this decision eliminates some of the padding common to longer serials, it also leaves certain aspects of the plot underdeveloped. The resolution, in particular, feels abrupt, with the environmental and ethical stakes resolved a bit too neatly.
The shorter runtime does give the story a brisker pace than many of its contemporaries, making it feel more accessible to modern viewers. However, one can’t help but wonder how the additional material might have deepened the story’s impact.
Legacy and Influence
Planet of Giants stands out as an early example of Doctor Who’s willingness to experiment with genre and scale. Its environmental themes and focus on the unintended consequences of human actions would resurface in later stories, such as The Green Death (1973) and The Waters of Mars (2009).
While it may not be as iconic as other serials from the Hartnell era, Planet of Giants is a fascinating piece of Doctor Who history, showcasing the show’s creativity and ambition as it embarked on its second series. It’s a story that invites viewers to see the familiar world from a new perspective, reminding us of the wonder and danger that can exist in even the smallest of things.
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