How did it ever come to pass that we could shed a tear for a six foot high lump of silicone and latex? The death of the Face of Boe in Gridlock - a character who had only featured very briefly twice in the series, the first occasion not even saying anything - was just the latest time that we found ourselves moved to tears by some incident in the revived series. But before we take a look at this broader range of emotional writing - which the classic series had rarely ever attained - an answer to that question.
Think King Kong. That's the original 1933 version, with Fay Wray. Audiences wept when Kong died - "It wasn't the aeroplanes. It was Beauty that killed the Beast". They had somehow emotionally connected to what was in reality only a foot high rubber model on a steel skeleton (or occasionally a full size prop head or hand).
The genius was in the writing to an extent, but mainly down to the animation skills of Willis O'Brien, who was able to imbue Kong with a wide range of human-like behaviours and emotion.
By the time the great ape had plunged to its death from atop the Empire State Building, and Robert Armstrong (playing impresario Carl Denham) had uttered the above quote, we had all become invested emotionally in the tale (and in the fate of the creature).
O'Brien's protégé, Ray Harryhausen, would later succeed in instilling human-like emotions in some of his wonderful creations.
Classic era Doctor Who only ever really managed any strong emotional impact at the time of a departure. The first was Susan's, at the conclusion of The Dalek Invasion of Earth. At the time, the impact of this on younger viewers would have been huge. She was their identification figure after all, even if they preferred Ian or Barbara. The scene was written and acted well, with that lovely speech by Hartnell. Later companion departures weren't handled quite so well - either feeling rushed or shoehorned in (or virtually non-existent in the case of Dodo, Liz and Romana I).
The next big emotional departure was that of Jo Grant, made more so by Jon Pertwee's playing of the party scene, and Michael E Briant's closing shot of the lonely Time Lord driving off into the sunset. Sarah's departure was the next big emotional moment. Some argue it's underplayed, which is exactly what's so brilliant about it.
I know lots of people were upset at Adric's death, but I wasn't one of them.
Only Rose had departed in the revived series up until this point, and didn't they milk it? Not content with the big separation scene in the lever room, we have that lengthy coda at Bad Wolf Bay.
Oddly, speaking only for myself, Doctor departures never seemed to have the same emotional resonance. For me only Tom's departure had impact, mainly due to his dominance in the role for 7 years and my age at the time. I was aged 11 to 17 during his tenure - formative years.
I also found Eccleston's hologram message a lot more moving than the actual regeneration.
Gridlock is a good example of a story which perfectly illustrates the more emotive story-telling of the RTD revival.
It isn't one of the tent-pole stories. It doesn't even have a villain. The abductors of Martha prove to be a nice young couple, who just want to get a house and a job as they await their first child. The Macra feature only as a token monster of the week, allowing RTD to throw in a fan-pleasing cameo of an old monster which would never stand a chance of being resurrected under any other circumstances.
Novice Hame, who had been a member of the "baddies" in New Earth is here a reformed character, nursing the Face of Boe as penance for her earlier associations. We see her grabbing a gun and going hunting for the Doctor, but this is misdirection. She's seeking him out just so he can help.
The worst that can happen to the vast majority of the people on the motorway is that they'll simply grow old and die waiting to get off it. Only an unlucky few will reach the lower level and confront the Macra.
With no big villain, and no big threat, Gridlock has to deliver something else - and what it gives is an emotional punch. The episode isn't a total waste of time. It's an important instalment for (re)shaping the relationship between Martha and the Doctor, and for setting up the series finale with the Face's cryptic message.
The Doctor sits down and reminisces about Gallifrey - something we never saw him do with Rose. This is also setting up the conclusion to the story arc, reminding us of the Time Lords and their home not long before we get to see them there in the flashback sequence of the young Master and the Untempered Schism.
What makes the sequences in Gridlock so heart warming? Tennant's performance in that Gallifrey scene (which quotes The Sensorites - another nod to the past), the reaction of the Doctor and Martha to the hymn singing, and Murray Gold's music throughout. That Old Rugged Cross scene has nothing whatsoever to do with the plot. It's just a beautiful moment. We get another hymn - Abide With Me - at the conclusion.
You don't have to be religious to appreciate these sequences - it's the context that counts.
Of course, RTD, and Gold to an extent, were often criticised for a cynical manipulation of the audience emotions. Nothing wrong with that. Good drama ought to cover all the bases, and if that means a bit of cynical manipulation which actually makes people feel good, then so be it.
It was noticeable that this level of emotional drama was dialled down when Moffat took over - with Vincent and the Doctor being the only comparable story of his first year (and that was written by arch emotional manipulator Richard Curtis).
RTD is about to make his comeback (RTD2 as it's been dubbed on-line). I will be interested to see if there are any significant changes in his storytelling, after his lengthy break. Judging by what he has written in the interim (Cucumber, Years And Years, It's A Sin), I don't think we will see any major shift in his favourite mix of styles - though he has fewer episodes per season to play with.
I expect big brash finales, some oddball stories like Gridlock, and a lot more heart-tugging.
We have another Donna departure on the cards, another regeneration for David Tennant - and let's not forget that the Specials will see the final performance by the late, great Bernard Cribbins - the last ever appearance by Wilf.
There's sure to be tears before bedtime...
No comments:
Post a Comment