Edited:4th May 2009
What makes Doctor Who better than any other program when our heroes go around saving the world? The Doctor. Wasn't that painless? All I ask of an episode is buckets of character moments, and this had them in abundance. Perhaps it was the shorter running time, chopping out padding in favour of what is absolutely necessary? It certainly defines his attitude towards the Master better than anywhere else, and vice versa.
The Doctor is on his merciful finest form here, trying to save everyone, in various ways and with mixed results. The Doctor's open offer of help to the family defines his motives just as the Master's "universe domination" speech spells out his ultimate goal. While the Doc comments the Master's plan is only "small time" villainy, to me it seemed thoroughly consistent with his character. It works through disguise and subtlety; he manipulates the robot-king, the Doctor and his hosts in turn, and is one of his few plans cunning enough to actually succeed. I love all the double dealing that goes on, each of them adapting to the changing situation with that poor family stuck in the middle.
Their final scene also made me understand their relationship better than ever before. Despite the lives at stake, I felt a genuine sense of chess honour in their dealings, like a sophisticated game for the two higher beings. The Doctor and the Master could have permanently stopped the other, hundreds of times; here, there is a sense that to do that would be very unsporting and not at all cricket - especially with the Master's claim that the challenge "inspires him". The Master does eventually get to cry "kill the Doctor!", but in my reading of the episodes I've seen (excepting, um, Logopolis), I don't believe he would actually let it happen - not permanently. The Doctor's language here reinforces the image - his reminder that humans are "a primitive people", his question "can anyone play?" As much a game to both of them? Once the Doctor liberates Kamelion, he doesn't press his advantage (does he ever?). He dashes off, with an unspoken agreement that the Master will leave too. He could have easily continued without the robot - instead, he leaves immediately. The Doctor even leaves the Tissue Compression Eliminator - a blatantly terrible idea from a moral standpoint, but not in terms of a game. Screwing up his TARDIS is part of the fun and well within the rules; confiscating it would put it on an all too serious level. Particularly coming straight after Enlightenment, another story about rival higher beings who are entertaining themselves at the expense of everyone else. There, the Doctor is naturally horrified; but there is something similar in his dealings with the Master.
The Master gets a lot of fun in this story. Once he has lost the swordfight (which is terribly fun in its own right), his control over the robot-king could have easily followed up on the Doctor's unwillingness to kill him, and let him depart in a simple way. Instead, he demonstrates how he knows his old friend and gives him a good moral twist - letting the robot-king condemn him to death, making the Doctor choose between them, and knowing that he will be forced to "kill" him by a different route. These adversaries go way back - the Master's accusation of "moral scruples", or suggestion he regenerate is as much the banter of friends.
The Doctor is on his merciful finest form here, trying to save everyone, in various ways and with mixed results. The Doctor's open offer of help to the family defines his motives just as the Master's "universe domination" speech spells out his ultimate goal. While the Doc comments the Master's plan is only "small time" villainy, to me it seemed thoroughly consistent with his character. It works through disguise and subtlety; he manipulates the robot-king, the Doctor and his hosts in turn, and is one of his few plans cunning enough to actually succeed. I love all the double dealing that goes on, each of them adapting to the changing situation with that poor family stuck in the middle.
Their final scene also made me understand their relationship better than ever before. Despite the lives at stake, I felt a genuine sense of chess honour in their dealings, like a sophisticated game for the two higher beings. The Doctor and the Master could have permanently stopped the other, hundreds of times; here, there is a sense that to do that would be very unsporting and not at all cricket - especially with the Master's claim that the challenge "inspires him". The Master does eventually get to cry "kill the Doctor!", but in my reading of the episodes I've seen (excepting, um, Logopolis), I don't believe he would actually let it happen - not permanently. The Doctor's language here reinforces the image - his reminder that humans are "a primitive people", his question "can anyone play?" As much a game to both of them? Once the Doctor liberates Kamelion, he doesn't press his advantage (does he ever?). He dashes off, with an unspoken agreement that the Master will leave too. He could have easily continued without the robot - instead, he leaves immediately. The Doctor even leaves the Tissue Compression Eliminator - a blatantly terrible idea from a moral standpoint, but not in terms of a game. Screwing up his TARDIS is part of the fun and well within the rules; confiscating it would put it on an all too serious level. Particularly coming straight after Enlightenment, another story about rival higher beings who are entertaining themselves at the expense of everyone else. There, the Doctor is naturally horrified; but there is something similar in his dealings with the Master.
The Master gets a lot of fun in this story. Once he has lost the swordfight (which is terribly fun in its own right), his control over the robot-king could have easily followed up on the Doctor's unwillingness to kill him, and let him depart in a simple way. Instead, he demonstrates how he knows his old friend and gives him a good moral twist - letting the robot-king condemn him to death, making the Doctor choose between them, and knowing that he will be forced to "kill" him by a different route. These adversaries go way back - the Master's accusation of "moral scruples", or suggestion he regenerate is as much the banter of friends.
That's pretty much all the fun that is to be had here. The medieval background is atmospheric and nicely done - especially the musical interlude, which sets the scene and makes for a creepy reveal. The supporting characters are about as good as ever they are, although the faux-Shakesperian talk got old quickly. King John is also excellent - sinister, powerful, and pantomime in the best of ways.
As for the companions, Tegan again gets to demonstrate why she polarises people - on the one hand, all she does is moan; on the other, she is a fully rounded human being, who takes objection to being cold and threatened with death when they could be on a warm space-beach instead (it's interesting to see her attempt murder too, just a few episodes after a great conversation between her and Turlough on the topic in Terminus. It's easy to forget Auntie Vanessa, but boy doesn't she get vital.). We also get to see the Doctor finally react to her nagging, in a scene which says a lot about both of them. Certain quarters could also have a field day with Kamelion turning into Tegan, and the suggestion that that image is the strongest in the Doctor's mind. I leave that romantic minefield to you...
Turlough doesn't have as much to do, although a friend has noted he whines just as much without the Black Guardian over his shoulder as with. His final line to the Master is pretty good too - it's nice to allow the boy a flash of heroism once in a while, even if provoked by irritation. Companions are always fatally under-written, especially in the older bits of the old series. Turlough has always been for me a triumph of performance over script - he really can wring an interesting role even out of the most mundane dialogue, as here.
It also contains one of the few "goofy moments" the Fifth Doctor would ever pull. The Doctor is, at his core, a curious and arrogant genius who tries to help people, while mucking about to disguise how dark and scary he can get. You could give points, if you like - 3 was more arrogant and less dark, 4 was predominantly daft arrogance, 7 is famously darker and scarier. When you cut it down to points, the 5th Doctor does seem to be lacking in several quarters. He can be all of those things at times, but just isn't. This backs up my theory that he is the "mid life crisis Doctor", which I'll someday explain (the gist is, he does all the things he's always done, but somehow it doesn't work as well - Midnight in slow motion, spread over 3 years if you like).
All in all, an enjoyable episode which is unfairly maligned. It certainly comes highly recommended for AinleyMaster fans, because I think its one of his best (I prefer Planet of Fire, but I love that for other reasons and he's much better here).
As for the companions, Tegan again gets to demonstrate why she polarises people - on the one hand, all she does is moan; on the other, she is a fully rounded human being, who takes objection to being cold and threatened with death when they could be on a warm space-beach instead (it's interesting to see her attempt murder too, just a few episodes after a great conversation between her and Turlough on the topic in Terminus. It's easy to forget Auntie Vanessa, but boy doesn't she get vital.). We also get to see the Doctor finally react to her nagging, in a scene which says a lot about both of them. Certain quarters could also have a field day with Kamelion turning into Tegan, and the suggestion that that image is the strongest in the Doctor's mind. I leave that romantic minefield to you...
Turlough doesn't have as much to do, although a friend has noted he whines just as much without the Black Guardian over his shoulder as with. His final line to the Master is pretty good too - it's nice to allow the boy a flash of heroism once in a while, even if provoked by irritation. Companions are always fatally under-written, especially in the older bits of the old series. Turlough has always been for me a triumph of performance over script - he really can wring an interesting role even out of the most mundane dialogue, as here.
It also contains one of the few "goofy moments" the Fifth Doctor would ever pull. The Doctor is, at his core, a curious and arrogant genius who tries to help people, while mucking about to disguise how dark and scary he can get. You could give points, if you like - 3 was more arrogant and less dark, 4 was predominantly daft arrogance, 7 is famously darker and scarier. When you cut it down to points, the 5th Doctor does seem to be lacking in several quarters. He can be all of those things at times, but just isn't. This backs up my theory that he is the "mid life crisis Doctor", which I'll someday explain (the gist is, he does all the things he's always done, but somehow it doesn't work as well - Midnight in slow motion, spread over 3 years if you like).
Sir Extra -"But he is the best swordsman in France!" The Doctor - "Luckily, we are in England..."
All in all, an enjoyable episode which is unfairly maligned. It certainly comes highly recommended for AinleyMaster fans, because I think its one of his best (I prefer Planet of Fire, but I love that for other reasons and he's much better here).
1 comment:
Finally, nice to read a review from someone who really enjoys this episode. There is indeed a great deal going on and you have covered it nicely. This is one of my fave. Who stories and, for thing, is simply enjoyable. I've seen myself watch it three times in a row without any effort.
Post a Comment