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The Tomb of the Cybermen (TV story): Difference between revisions
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* In this story, the Cybermats were remote-controlled and pull-back-and-go designs. ([[DOC]]: ''[[Tombwatch]]'') | * In this story, the Cybermats were remote-controlled and pull-back-and-go designs. ([[DOC]]: ''[[Tombwatch]]'') | ||
* This story had the working titles of ''The Ice Tombs of Telos'' and ''The Cybermen Planet'' (also sometimes referred to as ''The Cyberman Planet''). | * This story had the working titles of ''The Ice Tombs of Telos'' and ''The Cybermen Planet'' (also sometimes referred to as ''The Cyberman Planet''). | ||
* This is the only Cybermen story of the 1960s to feature the word | * This is the only Cybermen story of the 1960s to feature the word "Cybermen" in the title. | ||
* This serial was believed lost in 1978 (when the BBC's film archive was first properly audited, although it is absent on earlier 1976 listings) until 16mm black & white film telerecordings of all four episodes were returned to the BBC by the Hong Kong television company ATV (formerly called RTV) in late 1991. The serial was released, to much fan excitement and with a specially recorded introduction by director Morris Barry, on VHS in May 1992 and, within the first week of being on sale, it out-sold ''Silence of the Lambs''. | * This serial was believed lost in 1978 (when the BBC's film archive was first properly audited, although it is absent on earlier 1976 listings) until 16mm black & white film telerecordings of all four episodes were returned to the BBC by the Hong Kong television company ATV (formerly called RTV) in late 1991. The serial was released, to much fan excitement and with a specially recorded introduction by director Morris Barry, on VHS in May 1992 and, within the first week of being on sale, it out-sold ''Silence of the Lambs''. | ||
* Following the story's recovery in 1991 and return early in 1992 after decades of being presumed wiped, the episodes were screened to a packed audience at BAFTA in Piccadilly on [[26 April (releases)|26 April]] [[1992 (releases)|1992]], along with guests including director [[Morris Barry]], producer [[Peter Bryant]], story editor [[Victor Pemberton]] and actors [[Frazer Hines]], [[Deborah Watling]], [[Shirley Cooklin]], [[Clive Merrison]], [[George Roubicek]] and [[Michael Kilgarriff]]. [[Tony Clark]], one of the audience members, recalled huge rounds of applause and thought that "everyone did love it". The broad verdict of a group of reviewers in ''DWB'' issue 101 agreed that the long-missing story lived up to the hype of its reputation of existing "at the very apex of ''Doctor Who''{{'}}s pyramid of masterpiece stories" when it was originally released on VHS. [[Gary Russell]], reviewing the story in [[DWM 187]], gave a "largely positive" review and said he "could go on forever about what's good in ''The Tomb of the Cybermen''". ([[TEDW 1]]) | * Following the story's recovery in 1991 and return early in 1992 after decades of being presumed wiped, the episodes were screened to a packed audience at BAFTA in Piccadilly on [[26 April (releases)|26 April]] [[1992 (releases)|1992]], along with guests including director [[Morris Barry]], producer [[Peter Bryant]], story editor [[Victor Pemberton]] and actors [[Frazer Hines]], [[Deborah Watling]], [[Shirley Cooklin]], [[Clive Merrison]], [[George Roubicek]] and [[Michael Kilgarriff]]. [[Tony Clark]], one of the audience members, recalled huge rounds of applause and thought that "everyone did love it". The broad verdict of a group of reviewers in ''DWB'' issue 101 agreed that the long-missing story lived up to the hype of its reputation of existing "at the very apex of ''Doctor Who''{{'}}s pyramid of masterpiece stories" when it was originally released on VHS. [[Gary Russell]], reviewing the story in [[DWM 187]], gave a "largely positive" review and said he "could go on forever about what's good in ''The Tomb of the Cybermen''". ([[TEDW 1]]) | ||
* Toberman was originally intended to be deaf, hence his lack of significant speech; his hearing aid would foreshadow his partial transformation into a Cyberman. These elements were included in the novelisation. | * Toberman was originally intended to be deaf, hence his lack of significant speech; his hearing aid would foreshadow his partial transformation into a Cyberman. These elements were included in the novelisation. | ||
* ''Radio Times'' credits [[Peter Hawkins]] as "Cybermen Voices" for episode two, and as "Cyberman Voices" for episodes three and four. All on-screen credits read "Cybermen Voices". | * ''Radio Times'' credits [[Peter Hawkins]] as "Cybermen Voices" for episode two, and as "Cyberman Voices" for episodes three and four. All on-screen credits read "Cybermen Voices". | ||
* Actress [[Shirley Cooklin]] (Kaftan) was married to producer [[Peter Bryant]]. Her character was written especially for her by Gerry Davis. [[Frazer Hines]] actually flirted with her, not realising that she was his boss' wife. | * Actress [[Shirley Cooklin]] (Kaftan) was married to producer [[Peter Bryant]]. Her character was written especially for her by Gerry Davis. [[Frazer Hines]] actually flirted with her, not realising that she was his boss's wife. | ||
* [[Peter Bryant]], who had previously been assistant to [[Gerry Davis]] and been newly promoted to script editor on the preceding story, was allowed to produce this serial to test if he could take over from [[Innes Lloyd]] as producer later in the season. Bryant's own assistant, [[Victor Pemberton]], acted as script editor on this serial, but left the series after production of the serial was finished. He did not want to be a script editor. When Bryant's eventual promotion to producer came, [[Derrick Sherwin]] became script editor. | * [[Peter Bryant]], who had previously been assistant to [[Gerry Davis]] and been newly promoted to script editor on the preceding story, was allowed to produce this serial to test if he could take over from [[Innes Lloyd]] as producer later in the season. Bryant's own assistant, [[Victor Pemberton]], acted as script editor on this serial, but left the series after production of the serial was finished. He did not want to be a script editor. When Bryant's eventual promotion to producer came, [[Derrick Sherwin]] became script editor. | ||
* [[Victor Pemberton]] actually served as story editor from ''[[The Evil of the Daleks (TV story)|The Evil of the Daleks]]'' to ''[[The Ice Warriors (TV story)|The Ice Warriors]]'' but this was the only story in which he received credit. | * [[Victor Pemberton]] actually served as story editor from ''[[The Evil of the Daleks (TV story)|The Evil of the Daleks]]'' to ''[[The Ice Warriors (TV story)|The Ice Warriors]]'' but this was the only story in which he received credit. | ||
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* When Klieg fires the X-Ray laser for the first time, the end flies off. | * When Klieg fires the X-Ray laser for the first time, the end flies off. | ||
* An arm is briefly visible in the bottom right corner of the screen just before the Controller says, "Release the Cybermats." | * An arm is briefly visible in the bottom right corner of the screen just before the Controller says, "Release the Cybermats." | ||
* In episode four, a boom | * In episode four, a boom microphone shadow is visible near the Controller in the top left corner of the screen just after Klieg says, "First, you release our man". | ||
* A shadow of a boom | * A shadow of a boom microphone (and its operator) is visible in the background as the Doctor, Jamie and Parry watch the Controller struggle into the revitalisation machine. | ||
* As Jamie pushes the Cyberman he has just shot back down the hatch, its arms move. | * As Jamie pushes the Cyberman he has just shot back down the hatch, its arms move. | ||
* In episode three, Jim Callum goes to great lengths to deduce which lever opens the door | * In episode three, Jim Callum goes to great lengths to deduce which lever opens the door ‒ only for Captain Hopper to throw a completely different one not thirty seconds later. | ||
* There is an inconsistency of the Cybermat's size between shots. | * There is an inconsistency of the Cybermat's size between shots. | ||
* At the very end of the story, immediately after Hopper says " | * At the very end of the story, immediately after Hopper says "Let's go", something moves into the shot on the left hand side. | ||
== Continuity == | == Continuity == | ||
