Writer: James Moran
Director: Colin TeagueCast: David Tennant (The Doctor), Catherine Tate (Donna Noble), Peter Capaldi (Caecillius), Tracey Childs (Metella), Phil Davis (Lucius), Karen Gillan (Soothsayer), Phil Cornwell (Stallholder), Sasha Behar (Spurrina), Francesca Fowler (Evelina), Francois Pandolfo (Quintus), Lorraine Burroughs (Thalina), Victoria Wicks (High Priestess) & Gerard Bell (Majordomo)
The Doctor and Donna arrive in Pompeii, on the eve of Mount Vesuvius' eruption, and argue about whether to change the course of history...As is almost customary now, the second episode is an historical adventure; this time focusing on the real-life disaster of Pompeii in 79 A.D, but with fictional links to alien goings-on beneath the surface. Writer James Moran (who penned Torchwood's excellent Sleeper) crafts a far more expansive story here; in size, scope, emotions and impact.
The episode's big theme is something Doctor Who has touched on before: whether or not The Doctor (David Tennant) should change history, if it means saving lives. The Fires Of Pompeii did a much better job of answering that question; as Donna (Catherine Tate) is amazed The Doctor just wants to leave everyone to their doom, as some things are "fixed events" in time. A later speech, revolving around a Time Lord's intrinsic ability to know which events are in "flux" or "fixed", is also a handy explanation of how The Doctor operates – and the burden he's constantly under.
As is typical, an extra-terrestrial explanation is offered for Vesuvius' eruption, in the form of dormant creatures called Pyrovillians; secretive "underworld Gods" local soothsayers are being controlled by. One such "seer" is Lucius (a scowling Phil Davis), while another girl called Evelina (lovely Francesca Fowler) also has the gift, and is destined for recruitment by a fanatical group called the Sibylline sisterhood -- a group of psychics led by a High Priestess (Victoria Wicks), hidden behind a curtain.
There's an invigorating mix of pace, comedy and action throughout this episode, which is indicative of Doctor Who at its most playful, deceptively emotive, best. Some of the gags worked into the script are cheesy ("he's armless enough!" exclaims The Doctor, after ripping someone's stone arm off), while others are acknowledged as naff by its characters ("don't get yourself in a lava!") But it's all good fun, and there are some genuinely amusing japes -- from Donna and The Doctor claiming they're both called Spartacus, to a Fawlty Towers reference when The Doctor apologizes about Donna, explaining "she's from Barcelona..."
In the dramatic stakes, the connection between the psychics and subterranean aliens isn't obvious from the start, and the mystery managed to unpeel logically -- with a mounting sense of urgency and peril. When the knockabout story shifts into full-on action spectacle mode -- with The Doctor and Donna battling creatures underground and the (inevitable) city-wide destruction -- the scale and ambition of the episode becomes second to none...
Yes, visually it's a sumptuous treat for the eyes. The production design is exemplary (they filmed on the awesome sets built for the HBO/BBC series Rome), the special effects are magnificent -- from Balrog-like rock-beasts (in Roman helmets?), to a climactic volcanic eruption that's usually beyond a TV budget. Its superficial in some peoples' eyes, but well-polished visuals always enrich episodes of Doctor Who – making it easier to invest in the world being presented.
Catherine Tate wasn't too bad, although the way Donna suddenly lurches into an aggrieved caricature undermines a few scenes. But generally, Donna's involvement in the storyline was well-handled, and her viewpoint on how to deal with the situation was nicely at odds with The Doctor's. It was particularly great how everything boiled down to a big decision for The Doctor: to save the world, but at the cost of 20,000 lives, all with the throw of a lever. That dilemma reminded me of the classic moment with Tom Baker's Doctor, deliberating about whether or not to commit genocide by wiping out the Daleks, by just connecting two wires...
While there a few gripes with minutiae (especially an unnecessary and silly denouement set 6 months later in Rome, and contemporary "yoof" in Ancient Rome), the general sweep and urgency of the episode was a welcome tonic after last week's simpleminded start. The comedy and dramatics were balanced well, and there were even some nods to season 4's "masterplan" in a scene of combatative prophesizing: "She is returning" The Doctor is told (Rose, surely), and Donna has "something on her back" according to Lucius. Interesting...
The Fires Of Pompeii was a very strong episode, visually one of the best in Doctor Who's history, and yet no slouch when it came to telling a fast-paced, dramatic and funny adventure story. The guest cast were all good (especially Davis as Lucius and Peter Capaldi's patriarch Caecillius), and the pace never let up for one second – delivering humour, thrills and gorgeous visuals, with a potent moral dilemma at its core.
12 April 2008
BBC1, 6.45 pm
Bloody hell Dan, did you actually like something on telly???
Just as well really, since if You didn't I'd have had to kill you - I thought it was amazing and I don't even LIKE Dr. Who normally! The whole eruption coming down to the doctor was a fantastic examination of the "kill (a certain amount of) people to save (a certain amount of) people" question that philosophers favour so much.
What do you mean, Lucy?? I like a lot of stuff. Everything I review I either like, or want to like. Reviews for Lost, 24, Mad Men, Prison Break, etc are always very strong (generally). It's just been a bad few months for TV :)
Yes, this DW was fantastic. I get a bit nervous when a writer I've communicated with pens an episode, as I WON'T lie about my feelings. But James Moran did a fine job here. Far better, grander, than his TW episode (although that was more intellectually stimulating). But Pompeii was really great stuff, with only a few flaws (most of which *weren't* of his making, as an interview with him shows on the DW site).
It's just a shame DW wobbles so erratically in quality from writer to writer -- although it's comparatively rock solid compared to TW! :)
Personally, I thought it passed 50 minutes but there wasn't much to shout about in the final analysis.
At least Phil Davis got to snarl a lot, but Peter Capaldi may as well have phoned his performance in.
The plus about Donna not fancying the Doctor - and let's hope they stick to that, is that it allows more scope for tension, such as her insistence that they at least save someone, with him saying a few times in a row, in despair, that he can't, before relenting. And the best part about that was that they didn't just end with a silly snog.
I'd probably give this ep 5/10 as it was okay for a piece of light entertainment, but when you've got the likes of Davis (great in the Steptoe drama, but woefully underused in Ashes To Ashes) and Capaldi, you really need to give them some meat to their role.
It's certainly a fresher spin with Donna and her attitude -- Rose and Martha would have both grumbled, but been pretty compliant with The Doc. So I enjoyed that.
I do agree that Capaldi and Davis were somewhat underutilized, but would it have helped if they were unknown actors? Possibly we just *expect* more from famous faces, but the characters did what they were supposed to. It could have been better, sure -- but it was a small criticism really.
I was swept along by the visuals, pace, energy and some beautifully handled moments and CGI sequences. For a big, escapist romp, this was right up there.
I thought it was great.
Does anyone know how much it costs to make an episode of 'Doctor Who'? The visuals in this, as you've noted already, were just breathtaking at points.
I also thought Catherine Tate was excellent in parts - and I say that as someone who was really worried about her joining the show.
I remember hearing that the first season cost £13m, so about £1m each episode. It may have come down slightly now, because they can recycle costumes, props, sets, etc. Or maybe they BBC have kept it at £13m a season, and they can do more with the cash now. Who knows. Maybe someone reading? ;) Let us know!
I wouldn't be surprised if they spent more on TFOP and we'll have a "low-budget" episode later on, though!
Tate hasn't been too bad, agreed. I especially liked her tearful moment with The Doc at the end. But the way she suddenly spits out lines like a younger-version of Nan from her sketch show makes me squirm. But she's FAR better than in Runaway Bride, certainly!
I hate to sound like the Telegraph, but surely we should be able to find out how the Beeb is spending our money?
A quick bit of googling turns out references to a £10-£13 million budget, but nothing concrete.
It can't be much more than £1m an episode, can it? I'd be surprised if it was. £1.2m at the most. Mind you, I was very surprised to learn that that Casualty costs £500,000 an episode -- and that doesn't have anywhere near as many aliens! Although I've long had my suspicions about Charlie...
You "want to like" a lot of TV? I'll give you that... I feel similar about many series.
Also: TV costs way more than you imagine - and when I say "you" I mean "anyone".
I was shocked to hear the average soap opera costs in the region of £80,000 to produce PER EPISODE and that's BEFORE any of the actors are paid. We're talking the likes of even Hollyoaks and Doctors, so when you factor in all the specialist stuff that Casualty and Holby has with just set dressing, then stuff like special F/X (inside people, wounds etc and the occasional lorry driving into the side of the building etc) then it's easy to see where the moolah goes. It's not just aliens and graphics that cost big bucks!
Whether you like Dr. Who or not though, thank God someone is willing pay out those big bucks for stuff that ISN'T just soap or cops and docs... Whilst I infinitely prefer those three admittedly, we need a broad range of stuff to appeal to a broad range of people, not just people like me. Plus kids need something to fire off their imagination and stuff like Dr. Who, Sarah Jane, Young Dracula and yes, even Torchwood does that and does it well. It might not hit the mark 100% of the time but the networks are taking lots of risks at the moment with high concept stuff - even ITV with the likes of THE FIXER - and it hasn't come a moment too soon for me.
There's a great episode of Charlie Brooker's Screenwipe, where the cost of filming someone "falling off a log" is exhaustively broken down into how much it cost. It's very funny and quite frightening to consider all the factors that go into making TV.
Watch it here: http://uk.youtube.com/watch?v=oQB2mL4UBvs