"Daleks in Manhattan" / "Evolution of the Daleks" brings the deranged dustbins into play rather earlier in the season than is expected. However, we get a sumptuous looking story set in 1930s New York; an odd idea on paper but a look at this story confirms that, stylistically, the Daleks actually fit in quite well, especially with that grandest example of Art Deco, the Empire State Building. The production is outstanding with excellent design work that makes the viewer feel the atmosphere of New York in the depression, despite the fact that only a few background plates were shot outside of Wales. The special effects are of an excellent standard and the cast is very impressive, ranging from experienced performers such as Hugh Quarshie to very talented newcomers such as Andrew Garfield. I say this at the start, because this story goes horrendously wrong in a way that the programme has not done since it returned and there is one reason- the script.
The set-up is sound enough, which is why "Daleks in Manhattan" is actually a very enjoyable episode. The juxtaposition between the brand-new splendour of the Empire State Building and the misery of Hooverville is used well and forms a strong basis for the initial mystery. However, characterisation is unusually basic- Solomon is the strong leader, Frank the smart youngster. Even the star-cross’d lovers Tallulah and Laszlo are not sufficiently well-written to form a ‘heart’ for the story. The dialogue is OK, but shows a degree of clunkiness that was not evident before. This is all forgiveable in "Daleks in Manhattan", but "Evolution of the Daleks" provides explanations and solutions; both of which are woefully inadequate. The Daleks are dying out, with only the Cult of Skaro remaining. Dalek Sec merges with Mr Diagoras to form a Dalek/human hybrid, but there are other humans kept in hibernation. The plan is to use a solar flare (or is it lightning?) to change their DNA to make them ‘human Daleks’. The DNA is transferred by use of a blue liquid (or is it the Dalekanium on the roof?) Never mind, the Doctor adds a big dose of free-will (that pesky free-will gene!) by getting in the way of the lightning and replacing one of the Dalekanium panels (Er…) which means that the human Daleks start to question and are destroyed.
This is all utter rubbish scientifically, but pseudo-science can be forgiven dramatically- if it is consistent. Helen Raynor’s own pseudo-definition of DNA changes from scene to scene, as does the application of the genetic engineering, which makes the plot hard to follow not because it is too clever, but because it is anything but. This leaves us with situations that are solved by barrages of technobabble, which hints at the atrocity that was the Arc of Infinity plot, and has a clumsiness of construction more reminiscent of the awful Pedler/Davis Cybermen stories than classic Dalek stories. However, plot isn’t everything is it? Unfortunately, as we have seen, the characterisation and dialogue is not at its best. This means that Solomon dies after giving a bizarre speech that is a) is in no way a realistic reaction that a character would make given the events and (b) full of clichés. Solomon conveniently ignores the Doctor’s warnings and the evidence of his own eyes to die in a totally unnecessary manner. The Dalek Sec hybrid is a thoroughly wasted character- any success that it has is due to the performer and special effects.
James Strong puts in a valiant show as director and makes it all look wonderful- the scene where Mr Diagoras is consumed by Dalek Sec is profoundly disturbing, looking both like a devourment and a mating. The revelation of the hybrid at the end of the episode is also masterful (despite being ruined by the Radio Times!) The stage-show scenes are also brilliantly shot and form a very welcome diversion in "Daleks in Manhattan". However, Strong is hamstrung by the limitations of the script- although the end, where the Doctor saves Laszlo’s life is wrecked due to silly decisions in realisation that may not be Raynor’s fault. As said before, the cast is very impressive and largely give good performances. Hugh Quarshie is fantastic as Solomon, in spite of the atrocious writing for the character. Miranda Raison is very memorable as Tallulah and Ryan Carnes effective as Laszlo. I cannot judge the effectiveness of the American accents, but they seem fine, if a little mannered to me. The regulars both emerge with their dignity intact- Martha is especially memorable in this. However, David Tennant has to work with some very generic writing for the Doctor- fortunately he is so good, he gets away with it.
"Daleks in Manhattan" / "Evolution of the Daleks" is a considerable disappointment- an entertaining first episode whose potential is squandered by "Evolution of the Daleks"- the worst episode Doctor Who has had since its revival and the only one I have no desire to revisit.
NEXT: "The Lazarus Experiment"
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3 comments:
I seem to recall the American accents were convincing. I even thought most of those actors -were- American! However, I don't think Ryan Carnes was really all that great as an actor. Also, the thankfully glided-over (and, honestly, not central) subject of race was treated rather uncomfortably. But not to an egregious extent. Not that it matters in a two-parter this horrendous to begin with. A serious low point for this series, if not this version of the show altogether.
I really wanted to comment on the issue of race, but I felt it would be too much of a diversion and I don't feel qualified enough to comment on American race-relations. However, although I can just about buy Solomon being a 'leader' in Hooverville, I feel that Martha's closeness with the Doctor would certainly have been commented on, if not been the focus of unpleasantness.
I agree that Ryan Carnes is no great shakes as an actor, but he does the job required, no better, no worse.
Thanks again for being my most faithful follower!
Yeah, American race-relations as a subject is extremely complicated and confusing, as well as really volatile. When you have a panoply of perspectives and unfortunately inherited and deep-seated preconceptions of other races, it's not a topic many have the tolerance, patience, knowledge, or even the nerve to bring up. (Present company excluded!) It's hardly done here in the States as it is. Though, thankfully, progress does seem to be being made outside any discussion or dialogue. Still, it's sad that people don't confront it more, as it's pretty much a universal topic and extends far beyond America's borders. I was recalling my own studies on the subject when I was following the Nick Griffin debacle recently...
But back to this episode, it's commendable that Raynor and company depicted a diverse NY in the 30's. I can buy that certain Hoovervilles might have been filled with down-and-outs of both races, and that being in the same boat, they came to accept each other...to an extent, anyway. Even Solomon, while he may seem farfetched, isn't anachronistic as a black man respected by both races. Booker T. Washington was a friend of Teddy Roosevelt decades earlier, though both men, while progressive, still had less-than-enlightened views about race.
But this is all moot, of course, considering that the episodes were more about the Daleks than anything else. All the same, it was a peculiar setting for Raynor to choose, and clearly unfamiliar territory for her. Points for trying, I guess. I also don't remember every detail as I saw these not very long after they initially aired. Especially what Martha was doing, apart from hanging out with Tallulah "with three l's". I don't remember much comment being made about her race, if any, so I'm sure you have a point there.
And you're welcome! I'm greatly enjoying these reviews, even the ones that I disagree with. It's interesting to see a different and more complete perspective on these episodes than a casual viewer like myself would give them. Great work! Keep it up!
Incidentally, I was wondering: are you going to be posting reviews here when following series 5 next year?
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