The final adventure of the Tenth Doctor would always have been a significant story in of itself- David Tennant is the only actor to have successfully challenged Tom Baker for the title of most popular Doctor. And what a story it is- two and a quarter hours in length (a six-parter in old money) with cameos from every actor to have played a regular role and the return of the Time Lords. The plot is simple and just about works, albeit with an odd structure. There are a few problems with the script. The resurrection of the Master is presented as a necromantic ritual, a move which could work had the emphasis been different. However, mentions of ‘potions of life’ and ‘the secret books of Saxon’ are a bit too Harry Potter. The plot means that the critical characters of Naismiths are given short shrift in the second episode- a pity, considering David Harewood’s fine performance. The means by which the Time Lords escape, although comprehensible, is in danger of being misread. Donna’s ‘defence mechanism’ seems to have been constructed purely to season the cliffhanger.These are all valid criticisms all raised by perceptive critics of the programme (together with others raised by those who cannot tell the difference between a plot hole and something that they have failed to spot). However, like The Evil of the Daleks, like Logopolis, The End of Time manages to overcome these shortcomings to produce a story of real wonder and excitement.
However, once the Master is properly back after his Voldemortesqe resurrection, we are again blessed with John Simm’s electrifying take on the character. The Master started off being simply an evil opposite to the Doctor, but since The Keeper of Traken, he has become a Time Lord who is physically, as well as mentally 'wrong'. His return in "Utopia" was as a fully fledged Time Lord, but his botched rebirth here leaves him a nightmarish horror- his flesh repeatedly vanishing to reveal the skeleton beneath, able to fire lightning from his fingers; and all the time, he is ravenously hungry, as shown in scenes that must have caused Yuletide gastric discomfort in a few viewers. The relationship between him and the Doctor is as deftly written as ever. Both need each other on a visceral level- the Master instinctively holds the Doctor as he falls from his own assault. However, once he finds out what is returning, he is perfectly willing to let the Doctor die- his visceral feelings were grounded in his own selfishness.
The story starts off by an imposing voice narrating events in a rather florid manner (but who are the ones who have an infinite capacity for pretension?) which reaches a crescendo in the middle of the first episode- to reveal the face of the Narrator. The Master Plan with his Master Race is only a small part of the grand scheme- for the Time Lords have returned. We are treated to Gallifrey on the last day of the Time War- the dome of the Capitol shattered, the wrecks of Dalek saucers strewn around. The High Council are in session and it is clear that these are a grimmer, more ruthless race than we have ever seen before. The Lord President (as the Narrator turns out to be) deals out disintegration for dissent and, as they descend on Earth, bringing the raging inferno that is the dying Gallifrey with them, it is clear that the destruction of the Time Lords was no accidental side effect. Twisted by the Hell that the war had become, they chose to ascend to godhood- ripping space-time apart in the process, as the final act of the war. Davies’ depiction of the final days of the Time War prove that it is an event that should never be explored on screen- how can anything compare to the images in our minds of The Nightmare Child, the Horde of Travesties and, most wonderful of all, the Could-have-been King with his army of Meanwhiles and Never-weres? It should remain a series of images in our head that point to something we can never fully understand. The Lord President is played with relish by Timothy Dalton, arguably the best actor to play James Bond. He is actually named as Rassilon himself by the Doctor, which makes sense- if the Master was brought back as the ultimate warrior, it makes sense that the founder of Time Lord society be resurrected to lead his people- a people who become just as much the Doctor’s enemy as the Daleks. The Time Lords are truly awesome in their power, Rassilon overcoming the Master’s schemes with a flick of his gauntlet (The Great Glove of Rassilon?) but it is clear that they know that the Doctor is not someone to be underestimated, even with something as primitive as a service revolver in his hand.
Euros Lyn is often overlooked as a director, despite his amazing track record. As the revived programme’s longest serving director, it is fitting that he helms Tennant’s finale. The spectacle demanded by the script is easily realized by Lyn, from the stunning scenes set on Gallifrey to the wonderful Star Wars inspired sequence where the Vinvocci ship has to evade and shoot down seemingly every missile on planet Earth. The appearance of Gallifrey is as awesome as it should be (it seems to be as large compared to the Earth as we are to the Moon). Lyn makes sure every performance counts (even in minor roles such as the Visionary and Shaun, we have Brid Brennan and Karl Collins). I must also mention the incredibly likeable Sinéad Keenan as Addams and a cheeky role for the legendary June Whitfield, in the wonderful sub-plot of the ‘Silver Cloak’- Wilf’s network of OAPs who know everything there is to know in London. Then there is the appearance of the legendary Claire Bloom as a woman who guides events to try and help the Doctor. We never find out who she is (or indeed, her fellow partisan, whose face is never revealed) which is for the best- until we do find out, let us revel in our theories.
There is spectacle to be had, for sure, but there is a heart to the story- the relationship between the Doctor and his companion. Here, that role is taken by Donna’s granddad, Wilf. It is great to see his joy in seeing the Earth from space and to feel the thrill he has in finally sharing in the adventures his granddaughter had. It is in the quieter moments between the Doctor and Wilf that the characters really shine. Both are old men, reaching the end of their lives, which means the Doctor is more open, more emotional with Wilf than he has been with anyone else. Wilf’s decency comes through in every scene, from his refusing to be shamed by the fact that he never took a life as a soldier, to the scene where he immediately rescues a man he has never met from being sealed in the Nuclear Bolt chamber, even though it means he gets sealed himself. Bernard Cribbins is wonderful in the role, mixing his natural lovability with a really strong performance.
But he does get stuck, which leaves us with the Doctor. He has prevailed against the Master, against Rassilon and his Glove (and, no doubt, his Key, Rod and Sash). However, the four knocks come- Wilf in the chamber. The Doctor knows that this is why Wilf has figured so often recently- he is the bringer of his Doom. He will not give his life to save the Universe or even Earth- but to save one man. On Mars he was at his most arrogant, speaking in condescension of ‘the little people’. It is for such a little person that he will make the ultimate sacrifice. He rages like an alcoholic Welsh poet, but in the end, in a scene of genuine heart-wrenching emotion, he saves Wilf, while the old man begs him not to. The scene of the Doctor’s irradiation itself is shot simply- it would scarcely have looked different twenty years ago. Although he gets up, it is clear that the regeneration has started. In the short time given to him, he visits his friends- Martha, Mickey, Sarah Jane, even the descendant of Joan Redfern in a series of scenes that have been earned and therefore avoid being self-indulgent. Although he cannot speak to Donna, he does make sure that she is secure for the future, before taking a trip to the Powell Estate in 2005. But his time has run out.
David Tennant has made the Doctor his own in the hearts and minds of millions in a way no-one has done since Tom Baker. He never failed to put in a great performance and, in some stories, he put in the best performance yet in the role. In watching the entire programme from the beginning one thing is clear- William Hartnell finally has his match in this fantastic actor. It is fitting that the Tenth Doctor’s passing nearly rips the TARDIS apart, in a scene that is shot and scored immaculately. ‘I don’t want to go!’ are his last words- and I’m sure that no-one sane wanted him to go either. Matt Smith seems good enough in his short appearance as the end- but he has a hell of an act to follow.
Showing posts with label Mickey. Show all posts
Showing posts with label Mickey. Show all posts
Monday, 11 January 2010
Wednesday, 30 December 2009
"The Stolen Earth"/ "Journey's End"
Rose. Martha. Captain Jack and Torchwood. Sarah Jane and Luke. The Daleks. Harriet Jones. This was what we were promised in the teaser for "The Stolen Earth" and it was an increasingly poorly kept secret that Davros was returning. In addition to this, we have the return of Mickey and Jackie and not one, but two Doctors- the phrase ‘everything but the kitchen sink’ springs to mind, but this will be the last regular Doctor Who story until 2010 and so it must have that end-of term feeling of going out with a bang. The Daleks return in a truly spectacular manner- the Earth is moved across space to a location amongst 26 other planets. They do their usual thing of mercilessly subduing any opposition, but this merely incidental. Their ultimate plan is their most ambitious and masterful one since, erm, The Dalek Master Plan. These Daleks were born when Dalek Caan managed to do the impossible and travel back to the Time War. Despite the fact that his sanity was destroyed he managed to bring back Davros himself. Unwittingly taking a leaf from Sutekh’s papyrus, this new Dalek Empire intends to destroy all matter except themselves, leaving them the only life forms in every Universe and every dimension and reality, by using the gravitational fields on the 27 planets to amplify the effects of the ‘reality bomb’. This is a threat that dwarfs even the collapse of the Universe in Logopolis.
The return of practically every recurring character that appeared in the programme since its revival could have resulted in a self-indulgent mess, but Davies knows what he is doing and he understands the characters he has invented and the audience's reaction to them. The webcam session where they all meet is cannily constructed with Rose being an outsider, which probably gave the Martha worshippers a warm feeling inside. It is obvious from Rose's first materialisation that all these characters have changed. Rose spends a lot of time carrying a gun the size of a porpoise. Martha, clad in black, literally holds the key to the destruction of the Earth. As Davros says, the Doctor takes ordinary people and fashions them into weapons. Davies still manages to lighten scenes with some very funny lines- Wilfred's reason for not having a webcam had me in stitches and, of course, even the Daleks know who Harriet Jones is. I also love the fact that the mysterious Shadow Proclamation that has been hinted at since "Rose" is merely a police force, seemingly made up of Judoon and what look like space-age albino versions of the Bennet family from Pride and Prejudice. The cliffhanger is the most thrilling yet and its resolution, although it seems cheap at first, makes sense in terms of the programme's continuity and results in serious plot developments.
Graeme Harper gives this story the epic treatment it deserves with scenes looking incredibly cinematic. He is helped by the most spectacular special effects the programme has had up to this point, from the Dalek attack on the Valiant, to the flotilla of Dalek saucers to the awesome Crucible. Harper makes sure that all the performers are up to scratch. Any quibbles about Piper's performance in "Turn Left" are instantly quashed- Rose Tyler is definitely back with a wonderful performance by Piper. We also see the welcome return of Jackie and Mickey and, I must again heap praise upon Noel Clarke for another moving, yet very dignified performance. However, the best performance is definitely Julian Bleach as Davros. Bleach is definitely Michael Wisher's equal in realising the role, being both cold and calculating and a shrieking madman. The make-up is a fitting update for the character and anyone who wished to know what Davros had under his tunic get the unpleasant shock that they deserve.
This is very much the end of an era, so we are fittingly, given a series of endings that bring to mind Return of the King. We are taken back to Bad Wolf bay again and Rose is left in the parallel universe with the other Doctor. This manages to work because of the deep understanding of the characters that Russell T Davies has. Rose has a selfish streak, but it is proved here that she is not, ultimately, a truly selfish person. However, any emotion that Rose's second departure might have had is eclipsed by the rueful fate of Donna Noble. Of the companions who have travelled with the Doctor, Donna started off with the least and developed the most- a thirtysomething temp from Chiswick becomes half- Time Lord and saves all of creation. However, her human body cannot cope with the intelligence of a Time Lord so, to save her life, the Doctor removes from her memory all of her experiences with him. Once again, she is the eternal temp, eagerly awaiting a new Pringle flavour. Catherine Tate was never less than spectacular as Donna in a performance that should have silenced all her critics, but didn’t, as her critics could not see past their own prejudices. In my opinion, she was the best companion since the return of the programme, a character that was always interesting to watch and I will miss her.
We end on the Doctor being alone (thankfully not jarred by a teaser for the Christmas Special) after a real thrill-fest that had me gripped throughout. And yes, that includes towing the Earth home!
NEXT: "The Next Doctor"
The return of practically every recurring character that appeared in the programme since its revival could have resulted in a self-indulgent mess, but Davies knows what he is doing and he understands the characters he has invented and the audience's reaction to them. The webcam session where they all meet is cannily constructed with Rose being an outsider, which probably gave the Martha worshippers a warm feeling inside. It is obvious from Rose's first materialisation that all these characters have changed. Rose spends a lot of time carrying a gun the size of a porpoise. Martha, clad in black, literally holds the key to the destruction of the Earth. As Davros says, the Doctor takes ordinary people and fashions them into weapons. Davies still manages to lighten scenes with some very funny lines- Wilfred's reason for not having a webcam had me in stitches and, of course, even the Daleks know who Harriet Jones is. I also love the fact that the mysterious Shadow Proclamation that has been hinted at since "Rose" is merely a police force, seemingly made up of Judoon and what look like space-age albino versions of the Bennet family from Pride and Prejudice. The cliffhanger is the most thrilling yet and its resolution, although it seems cheap at first, makes sense in terms of the programme's continuity and results in serious plot developments.
Graeme Harper gives this story the epic treatment it deserves with scenes looking incredibly cinematic. He is helped by the most spectacular special effects the programme has had up to this point, from the Dalek attack on the Valiant, to the flotilla of Dalek saucers to the awesome Crucible. Harper makes sure that all the performers are up to scratch. Any quibbles about Piper's performance in "Turn Left" are instantly quashed- Rose Tyler is definitely back with a wonderful performance by Piper. We also see the welcome return of Jackie and Mickey and, I must again heap praise upon Noel Clarke for another moving, yet very dignified performance. However, the best performance is definitely Julian Bleach as Davros. Bleach is definitely Michael Wisher's equal in realising the role, being both cold and calculating and a shrieking madman. The make-up is a fitting update for the character and anyone who wished to know what Davros had under his tunic get the unpleasant shock that they deserve.
This is very much the end of an era, so we are fittingly, given a series of endings that bring to mind Return of the King. We are taken back to Bad Wolf bay again and Rose is left in the parallel universe with the other Doctor. This manages to work because of the deep understanding of the characters that Russell T Davies has. Rose has a selfish streak, but it is proved here that she is not, ultimately, a truly selfish person. However, any emotion that Rose's second departure might have had is eclipsed by the rueful fate of Donna Noble. Of the companions who have travelled with the Doctor, Donna started off with the least and developed the most- a thirtysomething temp from Chiswick becomes half- Time Lord and saves all of creation. However, her human body cannot cope with the intelligence of a Time Lord so, to save her life, the Doctor removes from her memory all of her experiences with him. Once again, she is the eternal temp, eagerly awaiting a new Pringle flavour. Catherine Tate was never less than spectacular as Donna in a performance that should have silenced all her critics, but didn’t, as her critics could not see past their own prejudices. In my opinion, she was the best companion since the return of the programme, a character that was always interesting to watch and I will miss her.
We end on the Doctor being alone (thankfully not jarred by a teaser for the Christmas Special) after a real thrill-fest that had me gripped throughout. And yes, that includes towing the Earth home!
NEXT: "The Next Doctor"
Tuesday, 10 November 2009
"Army of Ghosts"/"Doomsday"
"Army of Ghosts" immediately kicks off with a wonderful prologue, narrated by Rose that somehow manages to be both joyful and a lament- ‘the story of how I died’. Our interest has been piqued and is sustained by the intriguing scenario- ‘ghosts’ are appearing all over the world and they have thoroughly captured humanity’s attention. Of course, the Doctor realises that something more material and more sinister is behind the ‘ghosts’. The cause is, in fact, the covert organisation known as Torchwood, who have discovered a breach in space-time, through which has come a mysterious sphere which cannot touched, scanned or perceived in any way apart from sight. Torchwood have been waiting for the Doctor to come back for years but, as always, his arrival brings disaster. The ‘ghosts’ are the impressions of beings who have been trying to break through- the Cybermen from the parallel Earth. Millions of the creatures materialise worldwide- but worse is yet to come. The Sphere, which heralded their coming is not theirs. It cracks open- to reveal Daleks!
The ‘event finale’ is a very welcome development that the relaunched Doctor Who brought along with it. The previous series had the outstanding "Bad Wolf"/ "The Parting of the Ways" so expectations were high; to say they were met is something of an understatement. "Army of Ghosts"/ "Doomsday" is, first of all, tremendous, glorious fun from start to finish, so much so that it doesn’t strike one just how brilliantly written it is. The plot is full of intriguing concepts and ideas from the start, with the ‘ghosts’ and the idea of ‘The Void’ (which has a great deal in common with ‘brane theory’ in astro-physics). Torchwood is finally revealed in all its glory- a mysterious secret organisation that ruthlessly protects its airspace from the alien, yet maintain a ‘people-friendly’ working environment. However, there is one thing about this story that has occurred in the dreams of all Doctor Who fans for decades- Daleks v Cybermen. This is a basic ‘fan-fiction’ idea that has been elevated to something else entirely by a great writer. There is no fan-fulfilling contest to see which is best, as that is certain within a few minutes- the Daleks are a race with hugely advanced technology, capable of time travel, the destruction of entire planetary systems etc. The Cybermen are just bionic humans- they don’t stand a chance. The face-off between Dalek Sec and the Cyberleader shows that you can have memorable dialogue between ‘Stephen Hawking and the speaking clock’ in a scene that is funny, without belittling either of the two races. However, this is not merely an all-action shoot-out, but a story featuring real characters and a great understanding of human nature. The effect of the ‘ghosts’ on humanity is brilliantly observed- they have an instant effect on popular culture, but also appeal to a very basic yearning that all people have. Jackie imagines the shadowy figure that appears in her front room has the smell of her deceased father, but it is obvious that she is deluding herself. In the middle of a pitched battle, Jackie meets the alternative Pete in a scene that is funny, touching and, most importantly, does not make us want to fast-forward to the next bit of action. Davies plays with our preconceptions and confounds them with something simpler- and better. We see something called the ‘Genesis Ark’ which must, of course contain Davros. It is, instead, a dimensionally transcendental prison ship- with an army of Daleks inside.
Graeme Harper truly makes this an epic visual feast- the scene where a legion of Cybermen shoot up at a flotilla of dive-bombing Daleks is a sight which, were it to be taken back in time and shown to a 1980s Doctor Who fan, would probably kill them from pure ecstasy. The script has changes of mood and pace that require direction that is equally as sophisticated- and this is precisely what we get. From the nightmarish appearance of a Cyberman in a child’s bedroom to the beauty of the opening scene, Harper shows he is still, very much, at the top of his field. The cast is superb, with Tracy-Ann Oberman being phenomenal as Yvonne- ruthless and driven, but keen to know all of her underlings, and by no means evil. Raji James is also quietly effective as Dr Singh. One of the highlights is the reappearance of Mickey, brilliantly played, as always, by Noel Clarke.
It ends, of course, with the Doctor and Rose separated in different dimensions. These final scenes are beautiful and heartbreaking, a triumph for both Davies and Harper, but also a final showcase for the skills of Billie Piper. Rose was our identification figure for the relaunch of the most bonkers and brilliant idea in television history and Piper never put in a bad performance and this, her last one as a regular, is simply phenomenal. It is odd to remember how apprehensive some were about David Tennant- by the time this was broadcast, he was Doctor Who and he gives his best performance yet.
So it ends with a beautifully heartbreaking scene, very reminiscent of His Dark Materials (a comparison that Philip Pullman welcomes with his typical generosity) that caps a fantastic story and a great season.
NEXT: "The Runaway Bride"
The ‘event finale’ is a very welcome development that the relaunched Doctor Who brought along with it. The previous series had the outstanding "Bad Wolf"/ "The Parting of the Ways" so expectations were high; to say they were met is something of an understatement. "Army of Ghosts"/ "Doomsday" is, first of all, tremendous, glorious fun from start to finish, so much so that it doesn’t strike one just how brilliantly written it is. The plot is full of intriguing concepts and ideas from the start, with the ‘ghosts’ and the idea of ‘The Void’ (which has a great deal in common with ‘brane theory’ in astro-physics). Torchwood is finally revealed in all its glory- a mysterious secret organisation that ruthlessly protects its airspace from the alien, yet maintain a ‘people-friendly’ working environment. However, there is one thing about this story that has occurred in the dreams of all Doctor Who fans for decades- Daleks v Cybermen. This is a basic ‘fan-fiction’ idea that has been elevated to something else entirely by a great writer. There is no fan-fulfilling contest to see which is best, as that is certain within a few minutes- the Daleks are a race with hugely advanced technology, capable of time travel, the destruction of entire planetary systems etc. The Cybermen are just bionic humans- they don’t stand a chance. The face-off between Dalek Sec and the Cyberleader shows that you can have memorable dialogue between ‘Stephen Hawking and the speaking clock’ in a scene that is funny, without belittling either of the two races. However, this is not merely an all-action shoot-out, but a story featuring real characters and a great understanding of human nature. The effect of the ‘ghosts’ on humanity is brilliantly observed- they have an instant effect on popular culture, but also appeal to a very basic yearning that all people have. Jackie imagines the shadowy figure that appears in her front room has the smell of her deceased father, but it is obvious that she is deluding herself. In the middle of a pitched battle, Jackie meets the alternative Pete in a scene that is funny, touching and, most importantly, does not make us want to fast-forward to the next bit of action. Davies plays with our preconceptions and confounds them with something simpler- and better. We see something called the ‘Genesis Ark’ which must, of course contain Davros. It is, instead, a dimensionally transcendental prison ship- with an army of Daleks inside.
Graeme Harper truly makes this an epic visual feast- the scene where a legion of Cybermen shoot up at a flotilla of dive-bombing Daleks is a sight which, were it to be taken back in time and shown to a 1980s Doctor Who fan, would probably kill them from pure ecstasy. The script has changes of mood and pace that require direction that is equally as sophisticated- and this is precisely what we get. From the nightmarish appearance of a Cyberman in a child’s bedroom to the beauty of the opening scene, Harper shows he is still, very much, at the top of his field. The cast is superb, with Tracy-Ann Oberman being phenomenal as Yvonne- ruthless and driven, but keen to know all of her underlings, and by no means evil. Raji James is also quietly effective as Dr Singh. One of the highlights is the reappearance of Mickey, brilliantly played, as always, by Noel Clarke.
It ends, of course, with the Doctor and Rose separated in different dimensions. These final scenes are beautiful and heartbreaking, a triumph for both Davies and Harper, but also a final showcase for the skills of Billie Piper. Rose was our identification figure for the relaunch of the most bonkers and brilliant idea in television history and Piper never put in a bad performance and this, her last one as a regular, is simply phenomenal. It is odd to remember how apprehensive some were about David Tennant- by the time this was broadcast, he was Doctor Who and he gives his best performance yet.
So it ends with a beautifully heartbreaking scene, very reminiscent of His Dark Materials (a comparison that Philip Pullman welcomes with his typical generosity) that caps a fantastic story and a great season.
NEXT: "The Runaway Bride"
Sunday, 1 November 2009
"Rise of the Cybermen"/"The Age of Steel
When the Daleks came back, the obvious question that cropped up was when the second most-popular Doctor Who monsters would return, and this question was answered in the run up to the 2006 series. This is,to be frank, something that I was more excited about at the time than I would have been now, because I hadn’t watched/ listened to all the Cyber-stories in order. The Cybermen, let’s face it, have rarely had the opportunity to shine in the way that the Daleks did- of their nine previous appearances, I would only wholeheartedly recommend The Invasion and would recommend Earthshock with reservations. All the other stories have grievous flaws that cannot be overlooked. There was also the case of the other very successful long-running sci-fi TV franchise- it has been claimed that Star Trek’s Borg are a ‘rip-off’ of the Cybermen. This could well be true but (and I speak as someone who considers Who to be greatly superior to Trek in all its forms) I believe the Borg are everything that the Cybermen should have been and are a far better conceived and far more frightening race of monsters that the Cybermen ever were- a great Doctor Who villain that never appeared in the programme. < /controversy >
It is refreshing, therefore, that the Cardiff production team decided to reinvent the Cybermen for a new era. The origins of the original Cybermen are based in a future that never came to pass and contains much that the modern viewer would be unwilling to suspend their disbelief for. So we are now given a race of Cybermen from an alternative universe, who originated on Earth- a whole new origin story that is far more resonant, without contradicting the programme’s mythology. The reason for their creation is one that can easily be understood- John Lumic, an electronics and industrial magnate is dying. He is mostly confined to a wheelchair which also contains other life-support systems (shades of a certain other creator of a race of monsters!) and has created a cybernetic body that will allow him to live on, free of the agony that has tormented him for years. He is obsessed with taking away pain- in all its forms- from humanity, so he makes it his mission to ‘upgrade’ humanity- the results of which, we all know. This rings true and is tied in well with the current obsessions with software upgrades and built-in obsolescence. The parallel world is reasonably well constructed- Zeppelins are an obvious, yet undeniably impressive shorthand for ‘this is an alternate reality’- presumably the Hindenburg never crashed here. Tom MacRae paints a Britain that is a bit more oppressive than our own, but not so much that it feels alien . The character work is excellent with the yearning that Rose has for her father with the regret that Mickey has about his grandmother working very well. The Preachers are excellently characterised as a group and individually- it is very refreshing that an older female character like Mrs Moore can be included. The plot is very straightforward- some would say a bit too straightforward and there is a bit of clumsiness, such as the scene where Crane attacks Lumic and the resolution to the cliffhanger might have some slapping their heads. However, it does work dramatically, which is the main thing.
A very welcome step by the production team was the return of Graeme Harper as director and he doesn’t disappoint. Every shot and sequence is constructed with love and understanding and Harper brings a truly epic sensibility to the story- the loss of Joe Ahearne from the show’s roster has clearly been compensated for. The production is flawless, with excellent location filming being combined with brilliant effects work- the Zeppelins are awe inspiring, as is the moment the TARDIS drops out of the time vortex. The new Cybermen look fantastic and benefit tremendously from Harper’s direction- his gradual revelation of their appearance being expertly done.
The performances are generally very good. Don Warrington is fantastic as the President and Helen Griffin very believable as Mrs Moore. Mona Hammond always seems to play a West Indian matriarch, nowadays, but it is a part she plays very well indeed. Shaun Dingwall makes a very welcome return as Pete Tyler (who, as he feared, is now bald!) I am not entirely sure about Roger Lloyd Pack as Lumic, who seems to go a bit OTT in some scenes, but he doesn’t actually ruin them. The regulars are excellent, with Tennant all improvisation, righteousness and sympathy and Piper doing brilliant work, mixing Rose’s heroism with her streak of selfishness- I love the scene where she discovers who her counterpart in this world is! However, the best performance is that of Noel Clarke. He effortlessly makes Ricky and Mickey different versions of the same character and the emotion he puts into the scenes with his grandmother and the farewell scene is totally convincing.
"Rise of the Cybermen"/"The Age of Steel" is not the best story that Doctor Who has had since its revival, but it is still very good. It is in a league above most of the Cyberman stories of the 20th Century, not just because it is better written and realised, but because McRae and Davies understand the Cybermen better than their creators Gerry Davis and Kit Pedler ever did. Here, they are genuinely emotionless and a reason is given for them being so- because an unaltered brain would not be able to cope with waking up in a metal body, free, not only of pain, but of all tactile and gustatory senses. The dehumanisation of the creatures is cannily revealed in the fact that the two Cybermen who mention their previous identities were women. These are creatures of nightmare that we thank our lucky stars that we will never become- something they rarely were originally.
NEXT: "The Idiot’s Lantern"
It is refreshing, therefore, that the Cardiff production team decided to reinvent the Cybermen for a new era. The origins of the original Cybermen are based in a future that never came to pass and contains much that the modern viewer would be unwilling to suspend their disbelief for. So we are now given a race of Cybermen from an alternative universe, who originated on Earth- a whole new origin story that is far more resonant, without contradicting the programme’s mythology. The reason for their creation is one that can easily be understood- John Lumic, an electronics and industrial magnate is dying. He is mostly confined to a wheelchair which also contains other life-support systems (shades of a certain other creator of a race of monsters!) and has created a cybernetic body that will allow him to live on, free of the agony that has tormented him for years. He is obsessed with taking away pain- in all its forms- from humanity, so he makes it his mission to ‘upgrade’ humanity- the results of which, we all know. This rings true and is tied in well with the current obsessions with software upgrades and built-in obsolescence. The parallel world is reasonably well constructed- Zeppelins are an obvious, yet undeniably impressive shorthand for ‘this is an alternate reality’- presumably the Hindenburg never crashed here. Tom MacRae paints a Britain that is a bit more oppressive than our own, but not so much that it feels alien . The character work is excellent with the yearning that Rose has for her father with the regret that Mickey has about his grandmother working very well. The Preachers are excellently characterised as a group and individually- it is very refreshing that an older female character like Mrs Moore can be included. The plot is very straightforward- some would say a bit too straightforward and there is a bit of clumsiness, such as the scene where Crane attacks Lumic and the resolution to the cliffhanger might have some slapping their heads. However, it does work dramatically, which is the main thing.
A very welcome step by the production team was the return of Graeme Harper as director and he doesn’t disappoint. Every shot and sequence is constructed with love and understanding and Harper brings a truly epic sensibility to the story- the loss of Joe Ahearne from the show’s roster has clearly been compensated for. The production is flawless, with excellent location filming being combined with brilliant effects work- the Zeppelins are awe inspiring, as is the moment the TARDIS drops out of the time vortex. The new Cybermen look fantastic and benefit tremendously from Harper’s direction- his gradual revelation of their appearance being expertly done.
The performances are generally very good. Don Warrington is fantastic as the President and Helen Griffin very believable as Mrs Moore. Mona Hammond always seems to play a West Indian matriarch, nowadays, but it is a part she plays very well indeed. Shaun Dingwall makes a very welcome return as Pete Tyler (who, as he feared, is now bald!) I am not entirely sure about Roger Lloyd Pack as Lumic, who seems to go a bit OTT in some scenes, but he doesn’t actually ruin them. The regulars are excellent, with Tennant all improvisation, righteousness and sympathy and Piper doing brilliant work, mixing Rose’s heroism with her streak of selfishness- I love the scene where she discovers who her counterpart in this world is! However, the best performance is that of Noel Clarke. He effortlessly makes Ricky and Mickey different versions of the same character and the emotion he puts into the scenes with his grandmother and the farewell scene is totally convincing.
"Rise of the Cybermen"/"The Age of Steel" is not the best story that Doctor Who has had since its revival, but it is still very good. It is in a league above most of the Cyberman stories of the 20th Century, not just because it is better written and realised, but because McRae and Davies understand the Cybermen better than their creators Gerry Davis and Kit Pedler ever did. Here, they are genuinely emotionless and a reason is given for them being so- because an unaltered brain would not be able to cope with waking up in a metal body, free, not only of pain, but of all tactile and gustatory senses. The dehumanisation of the creatures is cannily revealed in the fact that the two Cybermen who mention their previous identities were women. These are creatures of nightmare that we thank our lucky stars that we will never become- something they rarely were originally.
NEXT: "The Idiot’s Lantern"
Friday, 30 October 2009
"The Girl in the Fireplace"
After "The Empty Child"/"The Doctor Dances", fans eagerly looked forward to what Steven Moffat would come up with next and he certainly didn’t disappoint. Moffat tells the tale of a spacecraft in the 51st Century that contains ‘time windows’ that lead to various stages in the life of one woman- Jeanne-Antoinette ‘Reinette’ Poisson, better known as ‘Madame de Pompadour’. For some reason, the maintenance robots on the ship need her head- but only when she is ‘complete’. This is a story where the Doctor fights the monsters and wins, but it is also the story of a woman who has loved the Doctor her entire life and the Doctor’s deepening feelings for her, despite the fact that, from his perspective, he has known her for only a few hours. This can be seen as an illustration of the Doctor’s view of his human companions in "School Reunion"- Reinette grows from childhood to youth to middle age in front of our eyes, as well as the Doctor’s. Moffatt’s writing of the relationship between Reinette and the Doctor is as excellent as you would expect from the writer of Press Gang and Joking Apart. For her, the Doctor is prepared to do something he has never done before- being stranded for the rest of his life on one time and place and, crucially, we are prepared to believe he will do so. Reinette comes to life magnificently via Moffat’s pen, highlighting her intelligence, wit and irresistible je ne sais quoi with some choice lines- her description of her trans-temporal relationship with the Doctor is sublime writing. There is also the wonderful scene where she uses the Doctor’s telepathic technique to look inside his head. Moffat, being Moffat, also includes some brilliantly funny lines that somehow work hand-in-hand with the horror aspects. Moffat also makes the sci-fi aspects work magnificently, with intriguing concepts like the clockwork robots and their gristly repair plan. Like "The Empty Child"/"The Doctor Dances", there is no villain, just an automated system that has followed its program a bit too literally.
Euros Lyn commands a sumptuously triumphant production. The period detail for 17th century France is phenomenal and the grimy spacecraft is equally successful and Lyn manages to make them both work together magnificently- sometimes within the same shot (the linked sets are a very bold and eminently successful move) with beauty and futuristic squalor being juxtaposed perfectly. There are a multitude of memorable scenes- showpieces like the monster under the bed, the attack on Versailles and the wondrous scene where the Doctor bursts through the mirror on horseback work wonderfully, but there are also quieter scenes such as Rose and Mickey waiting on the other side of the broken mirror, which work just as well.
The performances are sublime, but the key guest role is Madame de Pompadour herself, played to perfection by the very talented and very beautiful Sophia Myles. David Tennant is outstanding as the Doctor, combining the humorous heroics that we associate with the character with something more tender. Piper and Clarke are in more in the background, but they do not slacken, by any means. A special mention must be given to Arthur the horse- the bit where the Doctor tells him to stop is one of the best pieces of animal acting I’ve seen!
I have said before that, although plot is important, it is not the only important part of the story and, in certain cases, other factors should take precedence. "The Girl in the Fireplace" contains an intriguing plot that would work well on its own, but, more importantly, it deals with the question of what an immortal loving a mortal must feel like. This is why, when we find out the reason for the robots’ interest in Madame de Pompadour, it does not feel like a massive twist ending, but an ironic coda in an ultimately tragic story, as the episode ends on a note of subdued and beautiful melancholy that hasn’t been seen since The Green Death. This is one of the most moving, intriguing and beautiful stories ever to be broadcast under the Doctor Who banner.
NEXT: "Rise of the Cybermen"/"The Age of Steel"
Euros Lyn commands a sumptuously triumphant production. The period detail for 17th century France is phenomenal and the grimy spacecraft is equally successful and Lyn manages to make them both work together magnificently- sometimes within the same shot (the linked sets are a very bold and eminently successful move) with beauty and futuristic squalor being juxtaposed perfectly. There are a multitude of memorable scenes- showpieces like the monster under the bed, the attack on Versailles and the wondrous scene where the Doctor bursts through the mirror on horseback work wonderfully, but there are also quieter scenes such as Rose and Mickey waiting on the other side of the broken mirror, which work just as well.
The performances are sublime, but the key guest role is Madame de Pompadour herself, played to perfection by the very talented and very beautiful Sophia Myles. David Tennant is outstanding as the Doctor, combining the humorous heroics that we associate with the character with something more tender. Piper and Clarke are in more in the background, but they do not slacken, by any means. A special mention must be given to Arthur the horse- the bit where the Doctor tells him to stop is one of the best pieces of animal acting I’ve seen!
I have said before that, although plot is important, it is not the only important part of the story and, in certain cases, other factors should take precedence. "The Girl in the Fireplace" contains an intriguing plot that would work well on its own, but, more importantly, it deals with the question of what an immortal loving a mortal must feel like. This is why, when we find out the reason for the robots’ interest in Madame de Pompadour, it does not feel like a massive twist ending, but an ironic coda in an ultimately tragic story, as the episode ends on a note of subdued and beautiful melancholy that hasn’t been seen since The Green Death. This is one of the most moving, intriguing and beautiful stories ever to be broadcast under the Doctor Who banner.
NEXT: "Rise of the Cybermen"/"The Age of Steel"
Wednesday, 28 October 2009
"School Reunion"
"School Reunion" has a perfectly respectable plot. A school in London has been infiltrated by the Krillitanes, a race who take physical characteristics of the races they conquer and add them to their own. They are using the children of the school as an organic computer to crack the ‘Skasis Paradigm’, apparently a formula that is the key to everything in creation. Mickey has noted something odd going on and has summoned the Doctor and Rose back to Earth. However, Mickey is not the only one who has noticed something odd, because there is also a freelance journalist who may look familiar to some of those viewing, together with something in her car boot…
Toby Whithouse creates a very entertaining story that seems, at first glance, to be aimed squarely at kids. The school setting and the use of the children in the adversaries’ dastardly plan is reminiscent of the Demon Headmaster books and TV series. However, the presence of Sarah Jane adds a different dimension altogether. Sarah Jane does not live in the past, but it is clear that her time with the Doctor will be with her forever. This also has an effect on Rose as she says, ‘I’ve been to the year 5,000,000, but this is really looking at the future’. The initial tension between Rose and Sarah Jane is written with wit and real understanding of the characters and their eventual reconciliation is joyful to behold. Just as interesting, if not more so, is the Doctor’s reaction to this, giving us insights into how he views the all-too mortal humans he travels with and his reluctance to ever say goodbye. The farewell scene between the Doctor and Sarah Jane is utterly beautiful- the line ‘I think it will be someone else’s grandchildren’ is heartbreaking and the Doctor finally saying goodbye shouldn’t leave a dry eye in the house. James Hawes makes another impressive show in the director’s chair, mounting scenes with expert shooting (although some of the editing is a bit off) but paying attention to the little things- I love the scene where Rose reaches out, expecting to get the Sonic Screwdriver, only for the Doctor to hand it to Sarah Jane. In Hawes’s hands, K9 is not just the lovable tin mutt of the past- the scene where he shoots down the Krillitane is completely awesome and K9’s apparent death genuinely left me shocked. The special effects are great, with the Krillitanes being very memorable.
The Doctor is written with more depth than in David Tennant’s previous stories and Tennant proves that Russell T Davies was fully justified in the risk he took in employing him. From his physics lesson at the start to his joyful reunion with K9, to his grim face-off with Mr Finch, Tennant is brilliant. Billie Piper is great in a performance that sometimes highlights one of Rose’s less laudable characteristics- her occasional selfishness. Noel Clarke is again utterly wonderful, with his realisation that he is the ‘tin dog’ leading him to join the TARDIS crew. The tin dog himself is obviously ace, with John Leeson returning. Then there is Elisabeth Sladen, who effortlessly gives a more mature, yet still recognisable Sarah Jane. Despite all these headlining performances, Anthony Head still manages to be fantastic as Mr Finch/ Brother Lassar, which would have satisfied Buffy fans as much as Sladen and Leeson satisfied Doctor Who fans. In smaller roles, Joe Pickley is great as Kenny and the Krillitane staff are also memorable but still very much ‘teacherly’.
"School Reunion" could have been fan-pleasing rubbish, but we are in skilled hands. It can be watched by those who don’t know who Sarah Jane is, without them losing anything, for it is a great paean to living one’s life with the belief that the best is yet to come.
NEXT: "The Girl in the Fireplace"
Toby Whithouse creates a very entertaining story that seems, at first glance, to be aimed squarely at kids. The school setting and the use of the children in the adversaries’ dastardly plan is reminiscent of the Demon Headmaster books and TV series. However, the presence of Sarah Jane adds a different dimension altogether. Sarah Jane does not live in the past, but it is clear that her time with the Doctor will be with her forever. This also has an effect on Rose as she says, ‘I’ve been to the year 5,000,000, but this is really looking at the future’. The initial tension between Rose and Sarah Jane is written with wit and real understanding of the characters and their eventual reconciliation is joyful to behold. Just as interesting, if not more so, is the Doctor’s reaction to this, giving us insights into how he views the all-too mortal humans he travels with and his reluctance to ever say goodbye. The farewell scene between the Doctor and Sarah Jane is utterly beautiful- the line ‘I think it will be someone else’s grandchildren’ is heartbreaking and the Doctor finally saying goodbye shouldn’t leave a dry eye in the house. James Hawes makes another impressive show in the director’s chair, mounting scenes with expert shooting (although some of the editing is a bit off) but paying attention to the little things- I love the scene where Rose reaches out, expecting to get the Sonic Screwdriver, only for the Doctor to hand it to Sarah Jane. In Hawes’s hands, K9 is not just the lovable tin mutt of the past- the scene where he shoots down the Krillitane is completely awesome and K9’s apparent death genuinely left me shocked. The special effects are great, with the Krillitanes being very memorable.
The Doctor is written with more depth than in David Tennant’s previous stories and Tennant proves that Russell T Davies was fully justified in the risk he took in employing him. From his physics lesson at the start to his joyful reunion with K9, to his grim face-off with Mr Finch, Tennant is brilliant. Billie Piper is great in a performance that sometimes highlights one of Rose’s less laudable characteristics- her occasional selfishness. Noel Clarke is again utterly wonderful, with his realisation that he is the ‘tin dog’ leading him to join the TARDIS crew. The tin dog himself is obviously ace, with John Leeson returning. Then there is Elisabeth Sladen, who effortlessly gives a more mature, yet still recognisable Sarah Jane. Despite all these headlining performances, Anthony Head still manages to be fantastic as Mr Finch/ Brother Lassar, which would have satisfied Buffy fans as much as Sladen and Leeson satisfied Doctor Who fans. In smaller roles, Joe Pickley is great as Kenny and the Krillitane staff are also memorable but still very much ‘teacherly’.
"School Reunion" could have been fan-pleasing rubbish, but we are in skilled hands. It can be watched by those who don’t know who Sarah Jane is, without them losing anything, for it is a great paean to living one’s life with the belief that the best is yet to come.
NEXT: "The Girl in the Fireplace"
Thursday, 22 October 2009
"The Christmas Invasion"
"The Christmas Invasion" was the first episode produced by a production team that knew that the relaunch of Doctor Who had succeeded beyond anyone’s wildest dreams. However, they also had to contend with the fact that the lead role had just been vacated by one of the foremost British actors of our generation. For a whole generation of viewers, this was the equivalent of William Hartnell being replaced by Patrick Troughton. As I said, many moons ago, this required a special sort of story- and again, this is precisely what we got. Russell T Davies takes the bold step of taking the Doctor out of the action for a good portion of the episode. This may, at first glance, seem like madness, but as one watches the episode, the soundness of this thinking is all too evident. At the start, the characters and the viewers want the new Doctor. By the time of the final act, they need him. We are given an invasion crisis that seems hopelessly insoluble without the Doctor. We are even told that the Doctor is ‘broken’- the alien Sycorax cannot be understood, because the Doctor is an integral part of the translation circuits of the TARDIS. The Sycorax invasion itself is shown with a refreshing degree of ‘realism’- without the Doctor holding their hands, the programme shows the government reacting in a plausible way. There are some intriguing concepts, such as ‘blood control’ and the robot ‘pilot fish’ who travel in the wake of another alien force. The Sycorax are a well thought-out alien race, with them treating their science as a form of magic. Davies manages to mix in his trademark witty dialogue with the plot and his skewering of Christmas iconography is funny without seeming ridiculous. In 2009, it is impossible to ignore the fact that this is an antecedent of the outstanding Torchwood: Children of Earth, especially the scene where the A-positives are controlled into standing on the edge of tall buildings and, of course, the sting the story has in its tail- again courtesy of Torchwood. It is testament to the formidable writing on both this and Children of Earth that neither is diminished by the other.
The production is epic, with a giant ship made out of an asteroid floating above London and is expertly helmed by James Hawes. Scenes such as the hypnosis of the A positives are realised excellently, symptomatic of a show that knew that it was a success and resolutely refused to rest on its laurels. Even when it refers to other things (Harriet Jones's television plea to the Doctor recalls Superman II, Torchwood's weapon is like the Death Star) the story manages to make these things its own. Hawes brings a more cinematic feel that is excellently done, making this truly a 'special'. The cast is also superlative. Penelope Wilton effortlessly makes Harriet Jones a credible leader of a major power as well as the slightly batty figure we all know and love and she is ably supported by Daniel Evans and Chu Omambala. Noel Clarke and Camille Coduri again play their parts to perfection- we care about these characters deeply, now, and their inclusion is always welcome.
Now, we come to the Doctor. It is hard to believe nowadays how much trepidation there was over the comparatively unknown David Tennant. However, it was soon clear that we were in good hands. Even in his incapacitated state, Tennant shines and in the utterly glorious revelation of the Doctor in full working order, Tennant grabs our affections and never lets go, from quoting The Lion King to sword-fighting for the planet, Tennant astonishes in every frame he is on screen. However, we must not forget Billie Piper's contribution- it is Rose who must accept this stranger as the Doctor and Piper brilliantly portrays the faith amid confusion that the character must have.
This is a wondrous story that proved that, not only was Doctor Who back, it was here to stay.
NEXT: "New Earth"
The production is epic, with a giant ship made out of an asteroid floating above London and is expertly helmed by James Hawes. Scenes such as the hypnosis of the A positives are realised excellently, symptomatic of a show that knew that it was a success and resolutely refused to rest on its laurels. Even when it refers to other things (Harriet Jones's television plea to the Doctor recalls Superman II, Torchwood's weapon is like the Death Star) the story manages to make these things its own. Hawes brings a more cinematic feel that is excellently done, making this truly a 'special'. The cast is also superlative. Penelope Wilton effortlessly makes Harriet Jones a credible leader of a major power as well as the slightly batty figure we all know and love and she is ably supported by Daniel Evans and Chu Omambala. Noel Clarke and Camille Coduri again play their parts to perfection- we care about these characters deeply, now, and their inclusion is always welcome.
Now, we come to the Doctor. It is hard to believe nowadays how much trepidation there was over the comparatively unknown David Tennant. However, it was soon clear that we were in good hands. Even in his incapacitated state, Tennant shines and in the utterly glorious revelation of the Doctor in full working order, Tennant grabs our affections and never lets go, from quoting The Lion King to sword-fighting for the planet, Tennant astonishes in every frame he is on screen. However, we must not forget Billie Piper's contribution- it is Rose who must accept this stranger as the Doctor and Piper brilliantly portrays the faith amid confusion that the character must have.
This is a wondrous story that proved that, not only was Doctor Who back, it was here to stay.
NEXT: "New Earth"
Tuesday, 20 October 2009
"Bad Wolf"/"The Parting of the Ways"
When Doctor Who was relaunched, I was, make no mistake, very happy it was back- but I didn’t expect that it would grow on me to such an extent that the week between "Bad Wolf" and "The Parting of the Ways" would be one of the longest weeks of my life. This story confounds expectations at every turn, pulling you in all the way. It starts off in, what is recognisably the UK version with Big Brother- ironically, I write this in the year that Big Brother UK was cancelled. The bloodthirsty futuristic versions of programmes such as Big Brother, What Not to Wear and The Weakest Link are funny without losing the sense of unease and disorientation. Davies starts with the Doctor, Rose and Jack already in the games, which adds to this sense. It is revealed that this is Satellite 5 from "The Long Game" a century on. The Doctor’s actions in "The Long Game" have not solved the wrongness of that future. Indeed, the head-chip technology seem to have evolved into the disturbing figure of the Controller- a woman who has lived her entire life plugged into what is now called the GameStation. There is a reason for this- this world has been twisted by the last surviving Daleks and they’re ready to invade…
The ways in which these pieces are slotted into place are expertly managed by Russell T Davies but this is just the plot and, to be honest, plot is only the most important thing in a story if you are a child. This is also the story how, by making Rose a better person, she redeems him. It is about how Jack is improved as a person and how he craves the Doctor’s love without being jealous of Rose. And, of course, it is the Doctor coming to terms with committing genocide and paying the ultimate price. One thing has been made abundantly clear in this season- with the Daleks, it is not a game for the Doctor. He is uninterested in their demands, has no room for negotiation- he just tells them what he will do, in a scene that, even on the nth viewing, still sends shivers down my spine. The story also shows a new type of Dalek, twisted by the fact of their hybrid nature into religious mania. The characters Davies creates are all very real, from the programmers to Rodrick, a character who acts like a bastard, but is clearly human, evidenced in his helping of Rose to acclimatise. We have the lovely Linda (sorry, Lynda), whom we all want to become a companion. Yet, in the middle of this, we have the very ordinary conversations that Rose has with Mickey and Jackie in the chippy, which only add to the drama. I also love the implication that watching mindless TV junk can save us- the Daleks have no time for reality TV! Through all of this, Davies writes dialogue that is evocative, funny, heartbreaking- all that we have come to expect from one of the greatest television writers in the world.
Sadly, this would be Joe Ahearne’s final stint in the director’s chair for the programme and he certainly goes out on a high, with an embarrassment of beautifully shot, memorable scenes that span multiple moods and textures- the revelation of the Dalek fleet, the disorientating opening scenes in the TV shows, the wonderful rescue of Rose from the Dalek mothership, the subtle revelation of the Dalek in reflection, the scenes with the Controller and whole armies of Daleks. Then there is the astonishing sequence when the Doctor believes Rose has been exterminated, the heartbreaking hologram scene and the death of Lynda. Ahearne juggles varying moods, settings and characters with expert skill. He also makes sure that the performances are superlative. We have the fantastic Paterson Joseph as Rodrick (thankfully made before "Numberwang!") and Jo Joyner being eminently lovable as Lynda. Nisha K Nayar and Jo Stone-Fewings give real depth to the programmers. Meanwhile, back on Earth, Noel Clarke continues his excellent, heartfelt portrayal as Mickey and is ably supported by Camille Coduri. John Barrowman plays Jack’s relationship with the Doctor as being half devotion to a superior officer and half unrequited love- there is genuine hurt on his face at times. Billie Piper continues to amaze- Rose is everything from determined everywoman to godly being, which she carries off with aplomb.
The production is of a consistently superb standard, with a brilliantly rendered (and refreshingly retro!) Dalek fleet and the jaw-dropping scenes that feature the Dalek Emperor. Nick Briggs manages to make him sound exactly like he did in The Evil of the Daleks and there is the pleasant surprise of hearing the ‘Dalek Computer’ sound effect. This is also a good time to praise two regular contributors. Murray Gold’s music was superlative, albeit sometimes a bit high in the mix, which is not his fault. Then there is the cinematography by Ernest Vincze, who managed to make every shot look fantastic.
And now we come to the end. The quandary faced by the Doctor- destroy the Daleks and the human race or let the Daleks spread their tyranny across the universe- is solved by Rose’s return, rippling with the power from the TARDIS, to destroy the Daleks. People cry ‘deus ex machina’ as if the writer has never heard of the term. Rose is turned into a super being by the TARDIS- she literally is a god from the machine! Whatever the plot niggles of this (and, as I think I explained earlier, plot is not the most important thing) the writing is beautifully epic, the direction superb. However, Rose is being destroyed by the energy, so the Doctor kisses her, to remove it and heal her. However, the damage is permanent and his body explodes with energy- to reveal a different face.
Christopher Eccleston was never less than brilliant in the role and he rounds off the season and the era with, perhaps his best ever performance. From his defiance of the Daleks, to his speechless anguish at seeing Rose apparently die, to his moment of turmoil after closing the TARDIS doors on the Daleks, he constantly arrests our attention. Doctor Who’s return was an utter triumph, with, perhaps, the most consistently great season since season 18 and the only Doctor for whom I would wholeheartedly recommend every story of his entire era.
NEXT: "Born Again"- Children In Need
The ways in which these pieces are slotted into place are expertly managed by Russell T Davies but this is just the plot and, to be honest, plot is only the most important thing in a story if you are a child. This is also the story how, by making Rose a better person, she redeems him. It is about how Jack is improved as a person and how he craves the Doctor’s love without being jealous of Rose. And, of course, it is the Doctor coming to terms with committing genocide and paying the ultimate price. One thing has been made abundantly clear in this season- with the Daleks, it is not a game for the Doctor. He is uninterested in their demands, has no room for negotiation- he just tells them what he will do, in a scene that, even on the nth viewing, still sends shivers down my spine. The story also shows a new type of Dalek, twisted by the fact of their hybrid nature into religious mania. The characters Davies creates are all very real, from the programmers to Rodrick, a character who acts like a bastard, but is clearly human, evidenced in his helping of Rose to acclimatise. We have the lovely Linda (sorry, Lynda), whom we all want to become a companion. Yet, in the middle of this, we have the very ordinary conversations that Rose has with Mickey and Jackie in the chippy, which only add to the drama. I also love the implication that watching mindless TV junk can save us- the Daleks have no time for reality TV! Through all of this, Davies writes dialogue that is evocative, funny, heartbreaking- all that we have come to expect from one of the greatest television writers in the world.
Sadly, this would be Joe Ahearne’s final stint in the director’s chair for the programme and he certainly goes out on a high, with an embarrassment of beautifully shot, memorable scenes that span multiple moods and textures- the revelation of the Dalek fleet, the disorientating opening scenes in the TV shows, the wonderful rescue of Rose from the Dalek mothership, the subtle revelation of the Dalek in reflection, the scenes with the Controller and whole armies of Daleks. Then there is the astonishing sequence when the Doctor believes Rose has been exterminated, the heartbreaking hologram scene and the death of Lynda. Ahearne juggles varying moods, settings and characters with expert skill. He also makes sure that the performances are superlative. We have the fantastic Paterson Joseph as Rodrick (thankfully made before "Numberwang!") and Jo Joyner being eminently lovable as Lynda. Nisha K Nayar and Jo Stone-Fewings give real depth to the programmers. Meanwhile, back on Earth, Noel Clarke continues his excellent, heartfelt portrayal as Mickey and is ably supported by Camille Coduri. John Barrowman plays Jack’s relationship with the Doctor as being half devotion to a superior officer and half unrequited love- there is genuine hurt on his face at times. Billie Piper continues to amaze- Rose is everything from determined everywoman to godly being, which she carries off with aplomb.
The production is of a consistently superb standard, with a brilliantly rendered (and refreshingly retro!) Dalek fleet and the jaw-dropping scenes that feature the Dalek Emperor. Nick Briggs manages to make him sound exactly like he did in The Evil of the Daleks and there is the pleasant surprise of hearing the ‘Dalek Computer’ sound effect. This is also a good time to praise two regular contributors. Murray Gold’s music was superlative, albeit sometimes a bit high in the mix, which is not his fault. Then there is the cinematography by Ernest Vincze, who managed to make every shot look fantastic.
And now we come to the end. The quandary faced by the Doctor- destroy the Daleks and the human race or let the Daleks spread their tyranny across the universe- is solved by Rose’s return, rippling with the power from the TARDIS, to destroy the Daleks. People cry ‘deus ex machina’ as if the writer has never heard of the term. Rose is turned into a super being by the TARDIS- she literally is a god from the machine! Whatever the plot niggles of this (and, as I think I explained earlier, plot is not the most important thing) the writing is beautifully epic, the direction superb. However, Rose is being destroyed by the energy, so the Doctor kisses her, to remove it and heal her. However, the damage is permanent and his body explodes with energy- to reveal a different face.
Christopher Eccleston was never less than brilliant in the role and he rounds off the season and the era with, perhaps his best ever performance. From his defiance of the Daleks, to his speechless anguish at seeing Rose apparently die, to his moment of turmoil after closing the TARDIS doors on the Daleks, he constantly arrests our attention. Doctor Who’s return was an utter triumph, with, perhaps, the most consistently great season since season 18 and the only Doctor for whom I would wholeheartedly recommend every story of his entire era.
NEXT: "Born Again"- Children In Need
Sunday, 18 October 2009
"Boom Town"
One of the great things about Russell T Davies is how deftly he plays with the perceived structure of the average Doctor Who storyline. Here, the villain’s plan is discovered and the villain captured within the first third of the episode which means that the characters, as well as the audience, have to pass the time until the final act. This is filled by the Doctor having a meal with his enemy and Rose and Mickey examining their relationship. In the hands of a lesser writer, this would invariably mean skipping from chapter 6 to chapter 10 on the DVD. However, we have the expected ‘humanisation’ of Blon Fel-Fotch Pasameer-Day Slitheen who insists that she was brought up to be a murderer and her sojourn in Cardiff has made her more empathetic, which is followed by the unexpected dismissal of it by the Doctor- these are just mechanisms so that a killer can live with themselves, begging the question that Blon then asks… These scenes are almost Tarantinoesque in their combination of humour (such as Blon’s repeated attempts to kill the Doctor) and mundanity of setting which belies the fact that the participants are chipping away at each others defences. The interaction between Rose and Mickey is also beautifully written. Rose talks about the wonderful places that the Doctor has taken her (very well written- sometimes telling is better than showing) while Mickey tries in vain to re-establish the connection he once had with her. Mickey’s attempts to make her jealous fall apart very quickly and he admits that he is prepared to wait for her forever. Rose is a great character and we are with her all the way, but Davies realises that there a streak of selfishness in her- as she says at the end Mickey ‘deserves better’. When the climax comes, it is spectacular, but is resolved in that most maligned of plot devices, the deus ex machina. There is some justification given- she genuinely wants to start again, but I’m still not sure whether it works.
Joe Ahearne’s skill in this more low-key story is still very much evident. The conversation between Blon and the Doctor progresses with tighter and tighter shots, fuelling the drama all the way. He also makes the funny bits work excellently- Blon teleporting, her aforementioned murder attempts and Mickey’s plonker-thon when attempting to capture Blon. The climactic quake in Cardiff is astonishingly shot, with some of the most impressive effects work of the season. Most critically, Ahearne makes the Slitheen work in a way that Keith Boak never could. This is not just because of his shooting style, but in his mastery of directing actors. Annette Badland is superb as Margaret/ Blon, far more memorable than she was in "Aliens of London"/ "World War Three". Jack is a very welcome addition to the crew and Billie Piper puts in a very sensitive performance. The best performances come from Eccleston, and, especially, Noel Clarke, who is nearly heart breaking as Mickey. Of note is the joyous scene where the Doctor, Rose, Jack and Mickey are having lunch and they are all having a laugh as friends, but with Mickey looking like someone who has just penetrated a very exclusive clique.
"Boom Town" is excellent drama with great performances, fantastic dialogue, a monster and an explosive climax. What more do you want?
NEXT: "Bad Wolf"/"The Parting of the Ways"
Joe Ahearne’s skill in this more low-key story is still very much evident. The conversation between Blon and the Doctor progresses with tighter and tighter shots, fuelling the drama all the way. He also makes the funny bits work excellently- Blon teleporting, her aforementioned murder attempts and Mickey’s plonker-thon when attempting to capture Blon. The climactic quake in Cardiff is astonishingly shot, with some of the most impressive effects work of the season. Most critically, Ahearne makes the Slitheen work in a way that Keith Boak never could. This is not just because of his shooting style, but in his mastery of directing actors. Annette Badland is superb as Margaret/ Blon, far more memorable than she was in "Aliens of London"/ "World War Three". Jack is a very welcome addition to the crew and Billie Piper puts in a very sensitive performance. The best performances come from Eccleston, and, especially, Noel Clarke, who is nearly heart breaking as Mickey. Of note is the joyous scene where the Doctor, Rose, Jack and Mickey are having lunch and they are all having a laugh as friends, but with Mickey looking like someone who has just penetrated a very exclusive clique.
"Boom Town" is excellent drama with great performances, fantastic dialogue, a monster and an explosive climax. What more do you want?
NEXT: "Bad Wolf"/"The Parting of the Ways"
Thursday, 8 October 2009
"Aliens of London"/"World War Three"
The first two parter of the 21st century is a significant story for long-standing fans of the programme. It is similar in length to the 4-parters that the programme used to have and, perhaps even more critically, this means that "Aliens of London" ends with the first proper cliffhanger the programme has had in 16 years. But, what of the story itself? Russell T Davies's script definitely proves one thing- he can make ordinary human drama funny, intelligent and touching. This is immediately apparent from the very beginning of "Aliens of London". The Doctor has brought Rose back home, but has accidentally arrived a year after they left. Rose returns to find that her mother believes she is dead and Mickey is rumoured to have done the deed. These scenes are excellently done and drive home a fact that we never consider about the Doctor- his companions are, effectively, alien abductees and, for the first time, we see the trauma for those who have been left behind. This is as good time as any to address a fandom criticism of 'New Who' that has always infuriated me- the accusation of 'soapiness'. For a certain minority of fans (not just of Doctor Who, but all sf/fantasy) anything that does not involve aliens, monsters, spaceships etc is 'soap opera'- an attitude that says more about the lack of sophistication of such fans than the quality of the programme/ film/ book. Davies creates interesting characters who behave in ways appropriate to their personality and situation and this aspect of his writing is phenomenally strong.
This helps to make "Aliens of London" a very strong episode indeed. The alien threat is very intriguing- a crashed spaceship contains a surgically augmented pig, but the Doctor suspects that there may be more to this than meets the eye. Politicians and key people in other areas are disappearing, and the (rather corpulent) people who remain appear to have certain flatulence problems. It turns out that they are aliens from the planet Raxacoricofallapatorius, all members of the Slitheen family, who are keen to remove any threat to their eventual plan. This gradual revelation of the alien plan is very well written and work very well with the more domestic scenes- the Doctor trying to watch the news while a toddler steals the remote control. "World War Three" reveals the plan, but the perfunctory way in which the threat is overcome is rather disappointing- a missile strike is used to dispose of the aliens- but Davies's character writing remains excellent.
The main problem with the story as a whole is the direction. Keith Boak deals well with the more domestic parts of the story, but his direction of the sci-fi aspect is all over the place. Although he comes up with some memorable shots and scenes, there are a few which are carelessly sloppy, especially in his supervising of editing. Most serious of all is the tone of some of the Slitheen scenes, which seem to come from the bad end of the 'kids TV' spectrum. Some of the performances by the Slitheen actors are painfully unsubtle, but in a way that makes it clear that the fault is with the director- Annette Badland's talent manages to overcome Boak's limitations, notably in the scene where she is threatened by the Doctor. This is a pity, as the production is of a very high standard- the crash-landing of the spaceship is phenomenal, one of the best special effects seen on the small screen. The Slitheen are realised with some effective CGI and some good costumes- which lose something when Boak directs.
Slitheen aside, the cast is excellent from Navin Chowdhry's Indra Ganesh (odd name, by the way- it's like calling a Greek man 'Uranus Apollo'!) to a pitch-perfect cameo by Andrew Marr. However, Penelope Wilton's brilliant Harriet Jones is instantly memorable and a special mention must be given to Noel Clarke, whose performance as Mickey is phenomenal. Christopher Eccleston is brilliant in every scene, from his reactions to life on a council estate to his memorable face-off with Margaret the Slitheen. Rose has to cope with a veritable emotional barrage and Billie Piper conveys this with aplomb.
"Aliens of London" / "World War Three" has its faults, but it is entertaining and by no means a bad story.
NEXT: "Dalek"
This helps to make "Aliens of London" a very strong episode indeed. The alien threat is very intriguing- a crashed spaceship contains a surgically augmented pig, but the Doctor suspects that there may be more to this than meets the eye. Politicians and key people in other areas are disappearing, and the (rather corpulent) people who remain appear to have certain flatulence problems. It turns out that they are aliens from the planet Raxacoricofallapatorius, all members of the Slitheen family, who are keen to remove any threat to their eventual plan. This gradual revelation of the alien plan is very well written and work very well with the more domestic scenes- the Doctor trying to watch the news while a toddler steals the remote control. "World War Three" reveals the plan, but the perfunctory way in which the threat is overcome is rather disappointing- a missile strike is used to dispose of the aliens- but Davies's character writing remains excellent.
The main problem with the story as a whole is the direction. Keith Boak deals well with the more domestic parts of the story, but his direction of the sci-fi aspect is all over the place. Although he comes up with some memorable shots and scenes, there are a few which are carelessly sloppy, especially in his supervising of editing. Most serious of all is the tone of some of the Slitheen scenes, which seem to come from the bad end of the 'kids TV' spectrum. Some of the performances by the Slitheen actors are painfully unsubtle, but in a way that makes it clear that the fault is with the director- Annette Badland's talent manages to overcome Boak's limitations, notably in the scene where she is threatened by the Doctor. This is a pity, as the production is of a very high standard- the crash-landing of the spaceship is phenomenal, one of the best special effects seen on the small screen. The Slitheen are realised with some effective CGI and some good costumes- which lose something when Boak directs.
Slitheen aside, the cast is excellent from Navin Chowdhry's Indra Ganesh (odd name, by the way- it's like calling a Greek man 'Uranus Apollo'!) to a pitch-perfect cameo by Andrew Marr. However, Penelope Wilton's brilliant Harriet Jones is instantly memorable and a special mention must be given to Noel Clarke, whose performance as Mickey is phenomenal. Christopher Eccleston is brilliant in every scene, from his reactions to life on a council estate to his memorable face-off with Margaret the Slitheen. Rose has to cope with a veritable emotional barrage and Billie Piper conveys this with aplomb.
"Aliens of London" / "World War Three" has its faults, but it is entertaining and by no means a bad story.
NEXT: "Dalek"
Saturday, 3 October 2009
"Rose"
We open in space and bear down upon Earth at frightening speed- to end up looking at the face of an alarm clock. This leads to a high-octane montage of a day in the life of Rose Tyler, a normal every-day girl who has something very unusual happen to her that changes her life forever. Ladies and gentlemen, Doctor Who is back!
The story is very easy to follow, which makes it difficult to appreciate how incredibly skilful the writing is. The ‘threat’ in the story is the Nestene Intelligence and the Autons, who are again brought back to usher in a new era. However, we never see how they invaded and we never get scenes of them plotting. They appear as an inexplicable menace, as they should to the average person. For this story is called Rose for a reason- she is the average person who has to be introduced to a legend that has lasted for 40 years. The characters that populate this story are real, from Rose's mother Jackie, who is obsessed with getting compensation for Rose to Clive, a very sympathetic portrayal of a conspiracy freak. This is due, in a large way, to Russell T Davies. What is rarely appreciated is his deep understanding of the programme, which led him to start the relaunch of the series with such a low-key tale- yet "An Unearthly Child" was similarly low-key, which made it all the more effective. The council-estate setting is also redolent of Survival. Davies not only understands what made the original series work, but knows how to reinterpret that for the 21st century. The story is helped, of course, by Davies’s phenomenal skills as a writer, writing dialogue that is realistic, funny and evocative. We can also see how acceptable subjects for family television have changed- ‘he’s gay and she’s an alien’, ‘kit-off!’ and references to breast implants would have been unthinkable in the original programme!
The look of the series is, of course completely different to anything that has gone before- the programme is now in widescreen and has a filmic look. The editing is frenetic as is the pace. Keith Boak directs with aplomb, although he would be quickly outclassed by other directors. The production values are all phenomenal from the headless Auton Mickey to the wonderful new TARDIS set.
Russell T Davies is a very highly respected name in television, which is why he was able to get one of the finest British actors to play the Doctor. Christopher Eccleston is unlike any Doctor previously seen, but we are seeing the character in a way we haven’t really seen him since Spearhead from Space- a force of nature that occasionally stops to chat. The Doctor is manic, sometimes absent minded, funny, but possessing deep wisdom and intelligence and Eccleston is instantly effective in the role. However, this story is called "Rose" and it is Billie Piper who is the real lead player. It seems hard to believe the incredulity her casting caused, but it is easy to believe the complete evaporation of that bad feeling that occurred after the episode aired. Piper exudes star quality and talent from the start and it is clear that a great Doctor/Companion dynamic has started. The supporting cast are great, with Camille Coduri being great fun as Jackie and Noel Clarke making Mickey very real, and a complete plonker!
Doctor Who is unique and some would say an acquired taste. It is an easy taste to acquire, however, provided the right starter is presented- and this hugely entertaining 45 minutes truly whets the appetite.
NEXT: "The End of the World"
The story is very easy to follow, which makes it difficult to appreciate how incredibly skilful the writing is. The ‘threat’ in the story is the Nestene Intelligence and the Autons, who are again brought back to usher in a new era. However, we never see how they invaded and we never get scenes of them plotting. They appear as an inexplicable menace, as they should to the average person. For this story is called Rose for a reason- she is the average person who has to be introduced to a legend that has lasted for 40 years. The characters that populate this story are real, from Rose's mother Jackie, who is obsessed with getting compensation for Rose to Clive, a very sympathetic portrayal of a conspiracy freak. This is due, in a large way, to Russell T Davies. What is rarely appreciated is his deep understanding of the programme, which led him to start the relaunch of the series with such a low-key tale- yet "An Unearthly Child" was similarly low-key, which made it all the more effective. The council-estate setting is also redolent of Survival. Davies not only understands what made the original series work, but knows how to reinterpret that for the 21st century. The story is helped, of course, by Davies’s phenomenal skills as a writer, writing dialogue that is realistic, funny and evocative. We can also see how acceptable subjects for family television have changed- ‘he’s gay and she’s an alien’, ‘kit-off!’ and references to breast implants would have been unthinkable in the original programme!
The look of the series is, of course completely different to anything that has gone before- the programme is now in widescreen and has a filmic look. The editing is frenetic as is the pace. Keith Boak directs with aplomb, although he would be quickly outclassed by other directors. The production values are all phenomenal from the headless Auton Mickey to the wonderful new TARDIS set.
Russell T Davies is a very highly respected name in television, which is why he was able to get one of the finest British actors to play the Doctor. Christopher Eccleston is unlike any Doctor previously seen, but we are seeing the character in a way we haven’t really seen him since Spearhead from Space- a force of nature that occasionally stops to chat. The Doctor is manic, sometimes absent minded, funny, but possessing deep wisdom and intelligence and Eccleston is instantly effective in the role. However, this story is called "Rose" and it is Billie Piper who is the real lead player. It seems hard to believe the incredulity her casting caused, but it is easy to believe the complete evaporation of that bad feeling that occurred after the episode aired. Piper exudes star quality and talent from the start and it is clear that a great Doctor/Companion dynamic has started. The supporting cast are great, with Camille Coduri being great fun as Jackie and Noel Clarke making Mickey very real, and a complete plonker!
Doctor Who is unique and some would say an acquired taste. It is an easy taste to acquire, however, provided the right starter is presented- and this hugely entertaining 45 minutes truly whets the appetite.
NEXT: "The End of the World"
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