The end of part two certainly scared our son, but otherwise he really enjoyed this story. It’s full of swordfights and explosions and knights and soldiers brawling. As ever, there aren’t enough extras and stuntmen – and what is with that one knight of Morgaine’s stomping around in red pajama pants? – but the stuntmen that they did employ got blasted and blown up and did somersaults in the air quite magnificently. So he loved the action and all the gags landed with bullseyes. He particularly loved the Doctor interrupting two fellows’ fight by walking between them like a comedian from the silent film era.
Jean Marsh gets a great finale during her final argument with the Doctor, although – and I say this as a huge fan of the Seventh Doctor and the fellow who portrays him – I’m afraid that Sylvester McCoy’s long experience in fringe and experimental comedy leaves him pretty far in the dust in a big, important scene against the classically-trained Marsh. I have no idea what he even looks like in this scene because you can’t take your eyes off Jean Marsh, who does more with disbelief in her eyes and a twitch of her lip than McCoy does with all his yelling. The writer, Ben Aaronovitch, gave the Doctor a great speech, but it’s how Morgaine responds to it that sells it.
So season 26 continued the trend of the crew taping way, way more than they had time to broadcast. I’ve never actually watched the “special edition” cut, which is about six minutes longer and I believe contains my favorite scene, which was cut from the broadcast edit (it’s in the More Than Thirty Years in the TARDIS documentary, which we’ll watch next month). About my only grumble with the otherwise splendid DVD range is that they re-edited a few stories into extended-length movies instead of into an original-but-longer episodic format. That said, we will be watching “The Curse of Fenric” in its full-length version next weekend, because it kind of demands to be seen in full.
And now we travel to 1989 – possibly – as Morgaine Le Fay invades our dimension from whatever realm she came from. Jean Marsh had previously played a witch queen in the films Return to Oz and Willow, and decided to make it a hat trick here. It’s also her third appearance in Doctor Who. Uniquely, Marsh played a guest star and a companion and a villain in the show.
I’ve never thought Ben Aaronovitch’s “Battlefield” was all that well realized, but behind its many poor line readings and stagings and a couple of diabolically bad performances – stop laughing, Mordred – there’s a good story here that comes across much better in Marc Platt’s novelization for Target Books. Later on down the line, David Tennant’s Doctor was completely baffled and stumped to meet River Song for the first time when she knew him already. That’s precisely what happens here – all these knights of old know a future Doctor and call him Merlin – and Sylvester McCoy’s Doctor understands it immediately. Maybe McCoy’s Doctor read the book The Time Traveller’s Wife and then erased his own memory.
It’s set a few years in Ace’s future, but we never learn exactly when Ace’s present is – there’s no reason to think it’s 1987 – and yet here we are in 2019, still without a king on England’s throne and without five pound coins. We were just talking today about old TV and books getting their future predictions wrong. And of course, Nicholas Courtney is back as Brigadier Lethbridge-Stewart, and this story is so set up to be his grand finale with a valiant death in episode four that when it doesn’t happen, it ends up feeling like they forgot to tape something important.
Incidentally, both Marc Platt’s novel and a subsequent title in Virgin’s New Adventure range establish that the future Doctor, the one who regularly had scraps with Morgaine and Mordred at King Arthur’s side, is a Doctor with red hair. If we ever do meet a red-haired Doctor on television, about nineteen of us are going to call him Merlin.
So what did our kid think? We gave him a crash course in King Arthur today to make sure he knew what was going on. He mainly reported that he thinks that Lancelot might have been like Tony Stark and Gawain like the Hulk. He was enjoying things just fine until episode two’s cliffhanger, where the Doctor and Ace set off a trap and a very 1980s computer effect hisses around the room and attacks them. I would never, ever have thought this moment would have been anywhere near Who‘s most frightening cliffhangers, but it scared him so badly that he left the room and ran to the top of the stairs. I’m always amazed by how he reacts to something I took for granted.
Why yes, as a matter of fact, our son really did love the Special Weapons Dalek. It’s a Dalek “tank” that can blow up two or three renegade Daleks at a time.
“Remembrance” may be a case of style over substance, but it’s an incredibly fun story. I kind of wish the music was a bit less eighties and a little more sixties, but it’s a fine production of a good script. I definitely wish the show had been this confident and this much fun every week between 1982 and 1986.
We’re in 1988 now, and the Doctor and Ace are back at Coal Hill School and I.M. Foreman’s junkyard in 1963 with Daleks, because it’s the 25th anniversary of Doctor Who and that’s what you do for anniversaries on television: go and revisit the past. But in the case of Ben Aaronovitch’s debut serial for the show, “Remembrance of the Daleks,” reveling in nostalgia works just fine. This is a splendid story with lots of location filming, some recognizable guest stars including Simon Williams and Pamela Salem as sort of the early sixties version of UNIT, and George Sewell as a fascist who’s allied himself with one of two rival factions of Daleks. They even found small roles for Peter Halliday and Michael Sheard, who’d appeared in something like a combined nine prior Who stories.
This looks and sounds a million times zippier than Who did just three years previously. We’ll hit a couple of places in the show’s last two years where the emphasis on speed will derail the program’s ability to tell a coherent story, but “Remembrance” gets it incredibly right. The action scenes are staged and directed far better than Who could typically manage, leading to the beautiful cliffhanger to part two, in which Sophie Aldred and her stunt double beat the daylights out of a Dalek using a supercharged baseball bat and then jump from table to table and out a glass window. I really love that scene!
Our son was in heaven, of course. There are Daleks and death rays and lots of explosions. In fairness, though, the two of us did see Godzilla: King of the Monsters this morning and he’s been dancing on air ever since. (I didn’t post about it because I didn’t want to sound like too much of a fuddy-duddy, but when we picked up Marie for lunch, she said “The movie was longer than I expected” and I replied “I checked its running time first and it was longer than I expected, too.”) So yes, he liked these two installments quite a lot, but I thought to remind Marie of Quatermass and the Pit between episodes so she’d catch the Easter egg in part three. She said “Yeah, the one with the buried alien monsters, right?” and our son said “That reminds me of Godzilla somehow!”