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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Ideally I like to write my reviews shortly after I’ve watched a film, as I’m doing now. First impressions are important right? I think recording that instant reaction can be valuable, especially for readers dithering over whether to see something. Of course taking more time to chew over the substance of a movie can also have its advantages. It might help me to get my head round it and make some more insightful points. But somehow I don’t think I’ll ever get my head round Memento.
The protagonist of Memento, Leonard (Guy Pearce), certainly couldn’t make it as a film reviewer. And I’m not saying that because it’s a particularly difficult task with insurmountable challenges. In fact normally I’d take the view that anyone could do it and that’s what makes cinema so engaging in the first place. But Leonard is not just anyone. For him remembering the plot of the most transparent Hugh Grant picture would indeed be an insurmountable challenge. There’s an advertising slogan that reads “Impossible is nothing”: this is literally true in Memento. It would be impossible for Leonard to write a review because he would remember nothing about the film. Not even Hugh alternating between “gosh” and “golly”.
Leonard suffers from a rare condition which basically means he can’t form new memories. I say “basically” but if you watch Memento it’s rapidly clear that his day to day existence is not a simple matter. Repeatedly Leonard tells us, via voiceover or mysterious conversation, that through his mastery of routine, instinct and a system of writing down “facts” as they happen, he has conquered his inability to save memories to the mainframe of his brain. But as the story progresses things that seemed certain prove to be far from it. Leonard’s quest to find his wife’s killer, and the man who whacked the talent of remembering from his skull, gives even the most ordinary encounter life and death importance. If Leonard draws the wrong conclusion from something and writes it down for future reference, he could end up on a path that causes him to kill the wrong man.
With last year’s hit Inception, Christopher Nolan reminded us that before his skilled reinvention of Batman for the mainstream he had a reputation as an experimental narrative trickster. Inception was his first film since The Prestige, which had twists and turns aplenty in the plot, to tell a daring story free of the Gotham city universe. The hype for the “dream heist” thriller was hysterically huge. I and countless others positively salivated at the sound of the concept. The possibilities of such an idea were endless. Sadly the film is one of the most overrated of recent times. Whilst good it did not compete with the whirring of imaginations kick-started into life by the premise.
Memento is much better than Inception when it comes to realising a tantalising idea. This is despite the fact that Nolan’s relative inexperience as a director is evident in a handful of lacklustre shots; one drab and overlong focus of Pearce strutting away into a building stands out. The acting isn’t always brilliant either, with what seems like half the cast of The Matrix on show and in hit and miss form. The script however is superb, bouncing themes and tension around the scattered narrative structure. I was never bored. And I never knew what was going on.
As well as being extremely gripping and exciting, Memento has its other strong points. Leonard as a character is an engrossing figure, complete with those striking memories in tattoo form (which Steven Moffat recently adapted in Doctor Who for the monsters you forget when you look away). He is trying to make sense of his life, in one sense with nothing to go on but also with endless notes and information he’s amassed for himself. We’re all trying to settle on a purpose and the excess of notes could be an interesting symbol for information overload in the modern age. Clearly Memento has its insights on memory given the driving force of the story but it also comments on the nature of fact and perhaps the notion of history. Leonard insists he only collects facts and this ensures no one takes advantage of him. But his “facts” are manipulated. And what’s the point in revenge if he can’t remember it? Is it enough that “the world still exists when I close my eyes”, as he says?
Memento gave me a headache. I may have had one before sitting down to watch but after having the pieces inside my head jumbled about until my brain moaned in pain, it didn’t help matters. Nonetheless I enjoyed it. The overwhelming strength of the film is its originality. The execution was certainly there, which is why this was Nolan’s breakthrough picture. But the real genius lies with the idea behind the story. And the script was based on a short story by Christopher’s brother Jonathan Nolan. Perhaps he is the real mastermind behind the family’s success and the endless plaudits should be more evenly shared.
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