The Aztecs

Lucarotti returns with another top flight historical. Here, he takes us to Mexico in the 15th century for a look at one of the most fascinating cultures the world has produced. Barbara is mistaken for the reincarnation of the priest Yetaxa and she tries to use that power to stop the practice that is a stain on the culture of the Aztecs- the practice of human sacrifice. Ian must fight for his life against the warrior Ixta and the Doctor… but we’ll come back to that!

The dichotomy of Aztec culture is shown in the two figures of Autloc, High Priest of Knowledge and Tlotoxtl, High Priest of Sacrifice, but neither is painted in broad strokes. Autloc is wise and open minded, but he was born to a culture where the sunrise must be paid for in blood. Tlotoxtl comes off as a Mesoamerican Richard III at first and he realises that it is the sacrifice which gives him his power, but he is nevertheless sincere. He truly believes in the blood sacrifice in an attitude which combines self-deception and pragmatism. Lucarotti and the production team deserve credit for being as fair as they can be to Aztec culture. They are shown to be skilled artisans and engineers. They show respect for their elderly. The victims of sacrifice are rightly shown to be willing, and treated with great honour.

There is some great material for the regulars. Susan is sidelined somewhat but although Ian continues in the action man role, Lucarotti manages to make this role interesting- he bests Ixta with his thumb, using his brain, not his fists. However, it is the Doctor and Barbara who are at their best here. The Doctor’s ‘romance’ with Cameca is beautifully handled- the look on Hartnell’s face when the doctor realises he’s engaged is priceless, but the story treats Cameca with the respect she deserves. However, this is very much Barbara’s story, and Hill is captivating throughout.

The attitude of Barbara is very interesting- she is not only motivated by her disgust of human sacrifice, but out of a desire to save the Aztecs. Maybe if they stop the sacrifices, Cortés will not destroy them (which of course assumes that Cortés really was a far better person than, say, Pizarro. It also ignores the smallpox aspect, but I digress). The characters, and the script never treat the Aztecs as mere savages, but as people. Lucarotti again manages to blend beautiful dialogue and great characterisation. Very importantly, the rule of not changing history is established, and, while we feel Barbara’s anger, we understand why things must be as they are, and why the sacrifice goes on, even as the TARDIS dematerialises.

Barry Newberry’s design work is excellent- although the backdrops never really convince us that we are on the top of a tall pyramid, the sets themselves are fantastic. The direction is very good, but the fight scenes are a bit lacking- perhaps if Waris Hussein had directed, he could have worked the same magic as he did on 100,000 B.C.

None of this distracted me when I was watching it, however. One of the things that grabbed me about this and Marco Polo is that they work as good historical drama full stop, not just as a Doctor Who story. Everything comes together in yet another gem from the Hartnell era.

NEXT: The Sensorites