Am I getting overexcited if I say that this episode had everything? The Guardian series blog says that at its heart this was just a story of love between a man and his car, “perfectly pitched”. But I think that’s a simplification of the abundance of ideas in The Doctor’s Wife and a misunderstanding of the bond between Doctor and machine. If the TARDIS is a car it’s the fastest and most exclusive vehicle on the roads. And the machine is so deeply rooted in Time Lord culture, carrying such a magical image with divine possibilities, that its equivalent as a car would have to be the very latest model opening up the world for travel in a time of horse and carts. The Doctor, after all, is more than just a poser in a Porsche; he’s an adventurer, explorer and conquering genius. And the TARDIS is his home, the one constant in his lonely existence.
There is too much to talk about after such a spot on execution of a tantalising premise. I had not heard of Neil Gaiman before this week but he brings a distinctive and fresh feel to this episode, with its industrial junk and grimy Victoriana costume. Yes we’re clearly in the classic setting of a quarry, but it isn’t samey; the set is wonderfully lit and decorated to create a unique rubbish dump environment.
His glittering CV in sci-fi and fantasy is evident everywhere but Gaiman also grasps the history of Who and mines it for inspiration. More than any other incoming writer he creates a fan fest for die hard followers. The focus on a personification of the TARDIS and distress calls from Time Lords such as the Corsair, provides the pudding for lifelong Whovians, whilst the running around corridors is a classic treat many newer fans will have missed from the RTD era.
But it’s not just running around corridors. With the jaw dropping concept of the soul of the Doctor’s beloved blue box transplanted into a woman, it would be easy to gloss over the scenes with Amy and Rory. There’s no doubt that the Suranne Jones and Matt Smith double act steals the show. However the scenes with our married couple continue running themes of Moffat’s reign, raising further questions about the story arc.
What is it with constantly killing Rory? Mysterious and powerful entity House, brilliantly voiced by Michael Sheen, twice kills him with his hallucinogenic tricks. He also turns him against Amy, which is something many are saying might happen for real later on. There are chilling psychological scares with “Kill Amy” daubed all over the walls and some classic Whovian prosthetic frights with the tentacle strewn beard of the Ood.
What next? How about the marvellously creepy and eccentric Auntie and Uncle, both “patchwork people” continually “repaired” by the sadistic House? They add a delightfully quirky touch with touches of humour as well as menace. And Auntie, with what many might have missed as a throwaway line, hints at the story arc of Amy’s pregnancy. She grabs her and says “House loves you” and given that House feeds off of Time Lords or at least their TARDISes, are we meant to take that as a hint that the regenerating child at the end of The Day of the Moon is Amy’s? How on earth do the Doctor and Amy have a child? Is this just an elaborate red herring?
Enough speculation and back to the genius of this episode. House is a great idea for an adversary for the Doctor, an intelligent “entity” and one that simply wants to feed off of Time Lord energy, whilst also having fun with his food. The lovely sci-fi idea of a “bubble on the outside of a soap bubble” of the universe was also introduced through fantastically playful dialogue. Suranne Jones, effectively playing the TARDIS, did an absorbing and varied job of realising the rest of Gaiman’s excellent lines.
Indeed Gaiman’s script was perfectly structured as the TARDIS adjusted to human form, moving the character from nonsense, by degrees, to harmonious cooperation with the Doctor. This is an episode that really rewards a second viewing, as all the seemingly mad ramblings from Idris/TARDIS at the beginning, turn out to be quotes from later in the script or confused foresights from the time machine of what’s to come. For once the accompanying episode of Doctor Who Confidential was a total joy, as Gaiman read extracts from his screenplay that sounded more like intoxicating poetry and far better in many ways than the action brought to life in the episode itself.
Other odds and ends then: Matt Smith was excellent, getting the chance to be emotional, crazy and angry and determined. If we didn’t get many answers relating to this year’s story arc, we did get some partial ones to age old questions about the TARDIS and the Doctor’s past. For one thing we finally ventured beyond a control room. Ok the budget didn’t stretch to that swimming pool, but there was a lovely cameo from Tennant’s old control room. The TARDIS, given a voice, was at pains to say it was she that chose the Doctor to see the universe, not the other way around. And a satisfying explanation for all the random thrills and battles with evil: “You didn’t always take me where I wanted to go,” /”But I always took you where you needed to”.
After last week’s enjoyable run around, The Doctor’s Wife was a romp, romance and refreshing ideas episode rolled into one. Hopefully Gaiman will be persuaded to return and deliver the kind of one off story Moffat used to do so well. Next week The Rebel Flesh looks set to bring back some sort of Cassandra like creature. But things still look dark, dingy and dangerous.
P.S Are all humans like this? Bigger on the inside?
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The most stylish person in a room looks different to everyone else. Often the first step to style, the boldest move towards quality, is doing something different and distinctive. A lot of the time these risky moves will end in tears but some people just have the knack for it.
Three such people are directors Quentin Tarantino, Jason Reitman and Roman Polanski. Recently I’ve watched some of the best known, latest works of all of these men and it’s clear they’re endowed with the lucky gift of success when embracing the unconventional.
Firstly Tarantino’s Inglorious Basterds is such a fascinating, intriguing picture. Events within the plot and elements of the execution bear Tarantino’s sensational touch – leading Nazis weren’t slaughtered in reality in a cinema in Paris – but that does not mean there aren’t serious elements to this film too. On the surface it’s a simplified, warped version of history, with a non-existent band of American Jews exacting revenge for the Holocaust, which wasn’t widely known about until the discovery of death camps at the end of the conflict. But at the very least it’s a sumptuous exercise in the best of filmmaking and with its faithful use of various languages, does say something factual rather than fictionalised about the misunderstandings and deceptions of war. It’s also, somehow, hilarious.
As the film’s star Brad Pitt says in one of the interviews on the Blu-Ray disc, this film plays out more like a novel. It’s broken into chapters, the first handful of which establish the characters and the rest bring them together for an explosive, visually stunning finale. Only a few of these characters are typical and expected for the wartime context; the French farmer in the marvellous opening scene for example. But the rest are Tarantino creations. They’re extremely vivid and engaging but also wild, sometimes implausible extremes, almost as if plucked from the pages of a striking graphic novel. Somehow the director/writer makes them wonderfully believable and then gives them bags of room to play in his chapters, which often consist of one, long and extended scene.
The opening scene establishes the marvellous character of the “Jew hunter” played by Christoph Waltz. There are some splendid, picturesque shots of the French countryside, followed by a wonderfully tense dialogue scene indoors. The interrogative German is sinister through his politeness, only to reveal the true nature of his visit. Other scenes in the film get similar space to breathe and come to life, in particular another edge of the seat, tense encounter in a tavern. This is the film’s longest scene and is incredibly realistic and satisfying as the spies, including the wonderful Michael Fassbender, attempt not to blow their cover. Language again plays an important role, and does so throughout, becoming almost another character. Often Inglorious Basterds feels more like a play, only for some explosive action to remind you that only a film could deliver such thrills, laughs and intrigue. Ultimately the spot-on dialogue, lengthy scenes, exploration of language and sensational characters and events, is not only stylish but says something worthwhile about the war.
All of these films say something worthwhile. Juno chips in with messages about taking people at face value and what really makes relationships work, as well as challenging views of young people. And The Ghost, whilst being primarily an impressive exercise in storytelling rather than a substantive study of politics, does have some underlying messages about identity and ethics.
If you had one word to describe Juno, chances are it would be “quirky”. Anywhere you look online you’ll find this label plastered to the film’s witty face. Personally it seems an unfair, limiting term for such an intelligent, funny, well-acted production. But I guess it is undoubtedly true. Juno isn’t your average teenager. She’s witty, quick and cynical. She wasn’t used by some sex mad male but got knocked up by banging the best friend who’s crazy about her out of boredom. She sets about helping a deserving couple, rather than unthinkingly obliterating the fledgling life inside her.
The couple she decides to “donate” her child to are almost as important to the story as Juno. Played by Jennifer Garner and Jason Bateman, they are the grown-up heart of the film, the crucial counterpoint to Juno’s usually happy exuberance. All the cast deal superbly with fast, funny dialogue, including Juno herself, Ellen Page, as well as her Dad and Step-Mom, J.K. Simmons and Alison Janney. And of course the love that suddenly blossoms at the end with Michael Cera, is wonderfully touching and encompassed by the duet which ends the film.
Of all these films it’s The Ghost with the most stylistic flourishes, perhaps ironic given the everyman Brit accent adopted by Ewan McGregor. There are no jaw-dropping stunts in this film; all the drama comes from the story and suffocating, tense locations. When crucial, potentially stunning events occur in the plot, Polanski deals with them with the utmost style. The film starts by simply showing an abandoned car to heighten the mystery surrounding the death of the previous Ghost Writer, rather than showing a spectacular murder scene. At the climax of the film McGregor’s character is abruptly hit by a car out of shot; we only see papers scatter and swirl in the traffic, littering the street.
Rich in detail, in The Ghost we learn surprisingly little about anything ever. Polanski somehow captures the Dan Brown like, page-turning twists of the novel and distils them on film, whilst also adding a layer of intelligence to the swerves of the plot. You are gripped, determined to keep watching for the big reveal. A reveal cunningly disguised throughout and then stylishly unveiled with an anticipation building close-up of a gradually passed note. The Ghost is immensely enjoyable and stylish; I couldn’t take my eyes off it.
So filmmakers do something different, unpredictable and restrained if you want to make it big and be lavished with praise.
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I have recently enjoyed three excellent and thoroughly engaging novels. Each had me gripped in very different ways, but each shares the key ingredient of successful storytelling; a strong narrative voice. The extremely distinctive first person narrators of each of these novels draws you in and captivates you. A narrative voice that feels real and engaging is the element I most struggle with when trying to write my own creative works. I certainly therefore don’t feel qualified to dissect the successful and unsuccessful subtleties of the writing in these books in review form, but feel compelled to record what made them so readable for me as “thoughts”, for that is all they are, and to recommend them to others nonetheless. I may inadvertently let slip the odd slight spoiler, for which I apologise but place a warning here.
First up then is Kazuo Ishiguro’s Never Let Me Go, which I admit I was only inspired to read due to the hype surrounding a forthcoming film adaptation and the allure and beauty of the trailer for it. What’s noticeable and striking even in that brief snippet of film is the overwhelming Britishness of the story and it’s a very British novel too. That sense of place comes not just from the boarding school setting, the childhood themes, the nostalgic reminisces and stunning countryside, but from the voice of the novel, Kathy H. Whilst it appears she is candidly telling her life story, with little reason or desire to embellish and hold back, you soon notice her strong focus on others, on those immediately close to her. If she criticises a friend she will qualify what she means and spend pages delving into another random memory of them to share their alternative, better side. In many ways this is a novel of memories, about the ones that slip away and the ones you never let go of. Given that she focuses on those most important to her, it’s enlightening, revealing and intriguing that she never actually says in the novel, as far as I can see or recall, that she loves the man events make clear to be her soul mate. Indeed Kathy does not spell things out about herself often and retells everything, overpowering emotions and all, with a simplicity and undertone of British restraint. It’s this restraint and modesty that is the most chokingly moving at times too. It’s clearly to Ishiguro’s immense credit that he simultaneously creates a strong, rounded character in Kathy, whilst also letting events, and things Kathy omits, paint a picture of their own. Kathy has confidence that, from what she has retold to us, she need not say explicitly “I loved him”.
I’m glad I read the original story as a novel before the release of the film in January. Despite the promise that attracted me in the trailer, Carey Mulligan will do well to play Kathy H as quite as compellingly as Ishiguro writes her. The film is also set to cut large chunks of Kathy’s childhood memories of Hailsham, in favour of the adolescent portion of the story. I hope this omission does not detract from events later on and make them less meaningful. The one fault I found with the book, and one the film will also struggle to overcome, is the sense that there is never a satisfying big conspiracy revealed, as is hinted at. The one that does emerge seemed fairly clear early on and whilst Ishiguro seems to hint that there is more to it (I had visions of some sort of apocalyptic Britain or a more interesting and dramatic disintegration of ethics) there really isn’t. Mostly though Never Let Me go is a terribly moving story because of the way it feels so real. Kathy’s language is simple but beautiful at times, like many of her memories. Her friendships and loves are not obsessively described with clichés and extravagant imagery, and are consequently all the more like our own. The way things turn out is so tragic because you can place yourself in her shoes.
I have also recently read Lee Rourke’s debut novel, The Canal, joint winner of the Guardian’s alternative award Not The Booker Prize. As the review on the Guardian website points out, this is a debut crammed with ideas. This might have been a problem if the ideas weren’t original or didn’t resonate with me, but I found most of them to be insightful and well expressed musings on a realistic truth. The novel begins as an engaging meditation on the nature of boredom and how it is a fundamental part of existence to be embraced, rather than feared and avoided. It eventually evolves into a touching love story, which becomes an obsession and climaxes with an eventful ending. Most of the novel aims accurately for realism; its ideas, its dialogue, its images. Only at the end do feelings and events become sensational.
The title of the book makes it clear that it will have a strong sense of setting and the surroundings of The Canal are ever present throughout the narrative, the backdrop to almost all the action. Its features are described with some wonderful imagery and symbolism. Even the book itself, the physical design of the novel, is pleasing to look at and hold. If I were Rourke I’d be delighted with the tasteful design of my first fictional foray. He ought to be proud too of the dialogue in his work, which really stands out as exceptionally believable and realistic, becoming almost a script at times before reverting back to the narrator’s thoughts. The dialogue is rightly praised on the back of the book.
Like Never Let Me Go, much of The Canal’s success comes down to the convincing narrative voice. However if Kathy H was restrained, the nameless narrator of The Canal is mysterious. The woman he meets on The Canal is also mysterious, until he slowly uncovers her secrets. She is for the most part a rounded character and their relationship believable, but at times it succumbs to cliché. There are other clichés too such as the stereotypical gang of youths and the unstoppable march of building work that eventually swallows his patch of The Canal. These unimaginative elements let down the originality and realism of the rest of the book, but The Canal was an engaging, un-put-down-able read.
If The Canal mused about boredom then The Dice Man is a full on exploration of its depths and connections to the meaning of existence. The main reason I was reluctant to be bold enough to call these thoughts of mine a review was that The Dice Man is simply too mammoth, sprawling and impressive a work for me to digest, let alone analyse adequately. It’s jam packed with ideas and full of such variety that it touches on more areas in one chapter than most novels. It has spawned a cult and resembles a bible in weight and heft. It’s immensely controversial, challenging long established truths in religion and philosophy, outraging those with a strong moral compass. It contains scenes that are graphically violent and sexual. It is regularly and consistently funny. However as with The Canal, it is the quality of composition and writing that truly impresses me with The Dice Man.
From the very first page The Dice Man makes it clear it will not follow the conventions of an ordinary novel, but mimic several at once. It flits from the brilliantly cynical and scathing first person voice of Dr Lucius Rhinehart, to describing events in his life in the third person. It also chucks in various articles about events in the Dr’s life, along with other methods of storytelling such as transcripts of interviews and television shows. With all the talk of ideas, philosophy and sex surrounding The Dice Man, it can be forgotten that it is an exemplary exercise in creative writing, full of tremendous variety. The dialogue is always funny and realistic and the characters well realised, albeit obviously through the lens of Dr Rhinehart’s own entertaining, intelligent opinions. There are narrative twists and turns, violent thrills and sexual ones. The careful craft and exciting breadth of this novel ensures that a novel of over 500 pages remains gripping throughout. It consumed me for a whole week.
Then of course there are the ideas themselves, the philosophy behind The Dice Man. The reason this book has become so notorious and actually converted readers to the “religion” detailed within its pages, is that many of the ideas make sense, that and the alluring mystery to it all. The mystery blurs the boundaries between fiction and reality. Luke Rhinehart is of course a pseudonym, but a quick Wikipedia search on The Dice Man and you discover the real author, George Cockroft, also genuinely experimented with the “dicelife”. So there is some truth to the claims that this a factual account and that may account for its vivid detail. However it is also undoubtedly a sensational work of fiction, at times taking swipes at the profession of psychology and the state of society in general. I have already said that as a novel it should be praised and not revered simply for its bold ideas, but it is true that the seductiveness of the ideas help sweep you along in the story.
The basic principle of The Dice Man is to abandon free will, at least to a great extent. Every decision in your life you are unsure about should be decided by the throw of a dice, and in fact later on, even those you do feel sure of. You may create options for the various numbers of the dice or die, but whichever they choose you must blindly follow. The options must try to embrace all aspects of your multiple existence, so for example if you have idly fantasised about masturbating over your pot plant, even for a second, this ought to be considered and given to the die to decide. The aforementioned variety and randomness of the novel thus mimics the theory at its heart, with one section actually printed twice immediately after you have read it, presumably at the will of the die.
The philosophical implications of handing over control of a human life to chance are vast and fascinating and I shall not even scratch the surface of their interest here. But Rhinehart comes to believe in the novel that by following the dice and developing his theory he can become a kind of superman, the ultimate human that abandons the misery imposed on us by clinging to a sense of “self”. We often feel completely contradictory desires each day, none more true than the other. What is truly haunting and bewildering about The Dice Man is that by listening to Rhinehart’s distinctive, cynical, hilarious voice, we come to see the sense to his arguments and then when he commits an unspeakable sin at the will of the dice, we feel implicated too. Does a truly liberated human existence require immorality? Rhinehart becomes obsessed by the potential of his simple idea to elevate him intellectually, to truly free him from boredom and obligation. He says that he resembles Clark Kent and by pursuing “dice theory” Rhinehart aims for a permanent transformation into Superman, The Dice Man, on another level to the ordinary human drone.
I’m not saying The Dice Man is the perfect novel, do not misunderstand my awe and praise. At times it left me baffled in completely the wrong way, and despite its championing of the random and new experiences, it can become repetitive, particularly the frequent bouts of sex. And whilst it is sometimes credibly intellectual and inspiring, such as the scene when Rhinehart defends his new theory to a panel of his influential peers, at others it does appear to be simply sick and shocking for shocking’s sake. The thing is that The Dice Man knows it is not the perfect novel, in fact its cynicism screams and mocks the idea of a perfect novel being possible. Even the repetitive sex scenes are always evocatively described or hilariously painted and the idea that a man striving for complete liberty is constantly tied down by sexual desire is ironic and mocking in itself. The Dice Man really is often laugh out loud funny. It is also scandalous, entertaining and everything else it has been described as. Most of all it is an original creation, a unique fusion of cultural influences, which perfectly encapsulates the America of its time and remains powerfully relevant today.
These three novels perhaps demonstrate the importance of two ingredients in particular amongst the many needed for a success: interesting ideas and an individual narrative voice.
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