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DOCTOR WHO SERIES TWO
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APRIL-JULY 2006
(aka DOCTOR WHO SEASON 28)
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DOCTOR WHO - Episode 2 - TOOTH AND CLAW - David Tennant and Billie Piper
02 - TOOTH AND CLAW
 
"...a polymath, steeped in astronomy and
the sciences yet equally well versed in
folklore and fairytales..."

PLOTLINE

Scotland, Earth.

The Doctor and Rose travel back to the year 1879 when an encounter in the Scottish Highlands with Queen Victoria and a band of Warrior Monks reveals a deadly trap, dating back centuries.

Perhaps the local legends about a werewolf could really be true.

Assuming the 'disguise' of Dr James McCrimmon, the Doctor must, as loyal Scot, protect Her Majesty Queen Victoria.

And why is The Torchwood Institute established?

EPISODE TWO REVIEW

Like the Doctor and Rose, it seemed, through excessive media exposure and endless BBC promotional trailers, no one in the UK could escape the werewolf. Even the most jaded or curious passing viewer were hooked into watching, asking if this previously lamented "kiddies" show could actually create a decent CGI werewolf.

And, yes, they did. Stunningly so, rewarding over nine million viewers with a slick, intelligent, beautifully filmed, passionately acted 45 minutes drama that if was not created upon the DOCTOR WHO brand could have been BBC1 Sunday evening drama premiere. It was that impressive.

In my view, the combination of science fantasy and a historical environment has always proved to be more successful than the out-and-out obtuse and weird DOCTOR WHO adventures. Surprisingly, with the exception of the 1960s William Hartnell series, pseudo-historical stories have been few-and-far-between, more so as the BBC has a talent to create a viable vision 'the past'.

The success of the 2005 (and, now, 2006) series is founded on the rotating foundation of stories that mirror the original 1963 formatting: a season/series story combination of 'present day', 'future', 'historical' and 'sideways'.

TOOTH AND CLAW will have the prefix of 'classic DOCTOR WHO' attached to it in years to come. Why wait?

Russell T Davies' epic (and why was it not a two-parter, fleshing out the Brethren and relationship between Monarch & Torchwood House?) is stunning throughout and even for this thirtysomething reviewer made it obligatory to jump off the sofa.

Dialogue and acting was effortless, stunning cinematography, very special Special Effects, stirring incidental music, crafted set design and imaginative direction.

Naturally, any comment could not dismiss the so unlike DOCTOR WHO pre-credit sequence. Euros Lyn's quirkily choreographed 'flying monks' guarantees that the viewer served a Hors D'oeuvre for a satisfying, meaty main course to some. The only criticism is that why when the hostages in the cellar scream at seeing a human in the cage? It didn't make sense. It would have done if a cutaway to the caged human had been inserted:

Close-up of caged human. Suddenly, his eyes flick open. The eyes are completely black. The hostages scream.

However, throughout the episode, Lyn's contribution (and genius of cinematography, Ernie Vincze) is as polished as the Koh-i-Noor diamond, adopting a mix of perspective viewpoints (shooting through window frames into the cobbled courtyard, or camera moving through a fixed wall for a 'split-screen' effect, or subjectively panning through a stairwell) that add a dimension of storytelling reality (credit, of course, to Davies' producing a creatively visual script) that was lacking from the primarily studio based CLASSIC SERIES.

Murray Gold's contribution is equally genius, attaching a series of musical 'legends' that, unlike NEW EARTH's score, rationalises the visuals where 'reserved & timid' or 'malevolent & oppressive' is warranted. A concern is voiced that if Gold were to score the DOCTOR WHO spin-off, TORCHWOOD , would his skills be spread too thin, risking a reduction in quality across the main series?

Often overlooked by reviewers and critics alike, the designing and dressing of the series is key to suspending disbelief, and for an industrial warehouse in Newport to house outer space, WWII housing, a Victorian parlor or a time machine is remarkable. For TOOTH AND CLAW , production designer, Edward Thomas (along with set decorator, David Morison and Specialist Prop Maker, Mark Cordory) excels in crafting 1879. A library, a bedroom, a kitchen, a cellar, an observatory, a corridor, another corridor and, well, another corridor, each environment dressed with authenticated furniture and paraphernalia that will be examined in minute detail by DOCTOR WHO fans seeking that 'continuity error'. Was the cutlery style correct? A book published a decade after the time period? A horse-drawn carriage painted the wrong colour for the country's region?

The work of The Mill reaffirms that their singular contribution has ascended to a higher level than 2005, and matches those seen on the 'silver-screen'. To quantity the quality and depth of the CGI elements defy words. Watch the episode on a high definition television set in a darkened room, and then pick up your jaw.

It seems that for this story, everything was perfect.

The story itself was simple with more twists than an Axminster but at its heart simple.

A werewolf transformed from an infected man (twist: the human infected by an alien 'parasite organism') and goes on the hunt (twist: the alien/human hybrid werewolf hunting the UK Monarch to seize power and propel humanity forward through a mix of alien intelligence, technology-led warfare). Add to that a time traveller, a secret sect of monks, and a gemstone.

Around which Davies' script (and camera instruction) instills a pace and authority that beguiles and bewilders simultaneously.

Again, this script is liberally littered with views the protagonist's loss and despair and pain (.have you noticed that Davies' used a vocabulary-triumvirate device where his character does not know when to stop describing a situation.), though I am concerned that, with just a facial vacancy, Tennant fails to demonstrate this unlike his predecessor, Eccleston.

THE DOCTOR (to Queen): You must miss him.

QUEEN (sharp): Very much.

(Resigned): Oh, completely. And that the charm of a ghost story isn't it? Not the scares and the chills, that's for the children but the hope of some contact with the great beyond.

THE DOCTOR looks forlorn.

QUEEN: (hopeful): We all want some message from that place. It's a Creator's greatest mystery that we're allowed no such consolation. The dead stay silent. And we must wait.

THE DOCTOR looks more withdrawn.

This second series continues to view the Doctor as a lonely man, wandering through time & space, unable to settle and unmercifully sweeping the innocent into his own lifestyle like Tolkien's 'precious'. Perhaps, this is this year's 'bad wolf' theme, leading to a revelation that his people (or person) have survived The Time War? Is there a hidden and cryptic theme? Personally, avoiding Internet forums is the only way to be rewarded with a revelation. Ebullient fans can spoil the party too often.

There are times when the brooding Time Lord is eclipsed with pure joy and eagerness that emulates a child tasting chocolate for the first time. Whilst all around him are fleeing the transforming werewolf, the Doctor stands irrationally firm, garrulous no more but awestruck by the creatures beauty. He may be old - very old - but he has not witnessed everything that the universe has thrown at him. There's even a bit of the Fourth Doctor about him.

THE DOCTOR (whilst running on the spot): A vigorous jog. Good for the heart

Added to those key emotional moments, the script padded with the verbose - read: gobby - utterances of this tenth Doctor. Cleverly, Davies adds references to past & future (unseen) adventures both on television and in novels that whets the appetite for die-hard viewers wanting more.

For the first time, TOOTH AND CLAW relegated Rose Tyler to a CLASSIC SERIES companion/assistant; ask questions, get into trouble and then help the Doctor resolve the problem. It worked, and Billie Piper's effortless contribution matures with every episode.

This episode marks the much-criticised (though I seemed to be the only website editor that liked BOOM TOWN and publicly said so) Russell T Davies true understanding DOCTOR WHO alchemy - a combination elements that defy questioning in crafting the perfect episode.

If only all RTD scripts offered the opportunity for BBC crafts-people to push the barrier of excellence.

TOOTH AND CLAW is now (after the "classic" THE EMPTY CHILD / THE DOCTOR DANCES last year) the standard to which the preceding episodes will be measured.

 

EXTRA

DOCTOR WHO FOLKLORE The Doctor mentions he could Rose Tyler anywhere including: Caesar crossing the Rubicon; The Anti-Gravity Olympics; The Battle of Trafalgar. He adds that he loves The Muppet Movie but finds Margaret Thatcher "Urgh!", and that he helped Skylab to fall to Earth in 1979

DOCTOR WHO FOLKLORE The Doctor adopts the identity of Dr James McCrimmon of Balamory, and have studied under Dr Bell. Jamie McCrimmon was one of the Second Doctor's companions in the 1960s. Balamory is a fictional town in a BBC Children's TV series. Sir Arthur Conan Doyle based the fictional character, Sherlock Holmes on the real-life Dr Joseph Bell.

DOCTOR WHO FOLKLORE The Doctor confirms that the werewolf is a "Lupine Wavelength haemovariform".

DOCTOR WHO FOLKLORE The Doctor and Rose Tyler are "knighted" by Queen Victoria. The Doctor is honoured with "Sir Doctor of TARDIS" and Rose as "Dame Rose of Powell Estate".






















Review - Matthew Walter
EOH RATING




CAST
THE DOCTOR
David Tennant
ROSE TYLER
Billie Piper
QUEEN VICTORIA
Pauline Collins
FATHER ANGELO
Ian Hanmore
CAPTAIN REYNOLDS
Jamie Sives
STEWARD
Ron Donachie
THE HOST
 
Tom Smith
LADY ISOBEL
 
Michelle Duncan
FLORA
 
Ruth Milne
SIR ROBERT
 
Derek Riddell
 
PRODUCTION CREW
 
1st ASSISTANT DIRECTOR
Jan Older
2nd ASSISTANT DIRECTOR
Steffan Morris
3rd ASSISTANT DIRECTOR
Lynsey Muir
LOCATION MANAGERS
Lowri Thomas
Gareth Skelding
UNIT MANAGER
Justin Gyphion
PROD.
CO-ORDINATOR
Jess van Niekerk
PRODUCTION / SCRIPT SECRETARY
Claire Roberts
PRODUCTION RUNNERS
Debbie Meldrum
A/PROD. ACCOUNTANTS
Debi Griffiths
Kath Blackman
Bonnie Clissold
CONTINUITY
Llinos Wyn Jones
SCRIPT EDITOR
Simon Winstone
CAMERA OPERATOR
Julian Barber
FOCUS PULLERS
Marc Isaac
GRIP
 
BOOM OPERATOR
  Jeff Welch
Rhydian Yeoman
GAFFER
  Mark Hutchings
BEST BOY
  Peter Chester
STUNT
CO-ORDINATOR
  Peter Brayham
STUNT PERFORMERS
  Dean Foster
Kim McCarrity
Maurice Lee
SUPERVISING ART DIRECTOR
  Stephen Nicholas
ART DEPT PRODUCTION MANAGER
  Jonathan Marquand Allison
STAND-BY ART DIRECTOR
  Nick Burnell
ASST SUPERVISING ART DIRECTOR
  James North
DESIGN ASSISTANTS
  Matthew Savage
Ben Austin
STANDBY PROPS
  Phil Shellard
STANDBY CARPENTER
  Silas Williams
STANDY RIGGER
   
SET DECORATOR
  Julian Luxton
PROPERTY MASTER
  Adrian Anscombe
PRODUCTION BUYER
  Catherine Samuel
PROPS STOREMAN
  Stuart Wooddisse
SPECIALIST PROP MAKER
  Mark Cordory
PROP MAKER
  Penny Howarth
CONSTRUCTION MANAGER
  Matthew Hywel-Davies
GRAPHICS
  BBC Wales Graphics
COSTUME ASSISTANT
  Lindsay Bonaccorai
Barbara Harrington
MAKE-UP ARTISTS
  Anwen Davies
Steve Smith
Moira Thomson
CASTING ASSOCIATE
  Andy Brierley
ASSISTANT EDITOR
  Ceres Doyle
POST PRODUCTION SUPERVISOR
  Chris Blatchford
Samantha Hall
POST PRODUCTION CO-ORDINATOR
  Marie Brown
ON LINE EDITOR
  Matthew Clarke
COLOURIST
  Mick Vincent
3D VFX ARTISTS
  Chris Petts
Paul Burton
Jean-Claude Deguara
Nicolas Herhandez
Andy Howell
Matthew McKinney
Neil Roche
Chris Tucker
Mark Wallman
Nicj Webber
2D VFX ARTISTS
  Sara Bennett
David Bowman
Melissa Butler-Adams
Joseph Courtis
Bronwyn Edwards
Michael Harrison
Simon C Holden
Russell Horth
DIGITAL MATT PAINTER
  Alex Fort
VISUAL EFFECTS CO-ORDINATOR
  Kim Phelan
DUBBING MIXER
  Tim Ricketts
SOUND EDITORS
  Paul McFadden
Doug Sinclair
SOUND FX EDITOR
  Paul Jefferies
     
With thanks to the BBC National Orchestra of Wales
   
ORIGINAL THEME MUSIC
  Ron Grainer
CASTING DIRECTOR
  Andy Pryor CDG
PRODUCTION ACCOUNTANT
  Endaf Emry Williams
SOUND RECORDIST
  Simon Fraser
COSTUME DESIGNER
  Louise Page
MAKE-UP DESIGNER
  Sheelagh Wells
MUSIC
  Murray Gold
VISUAL EFFECTS
  THE MILL
VISUAL FX PRODUCER
  Will Cohen
VISUAL FX SUPERVISOR
  Dave Houghton
SPECIAL EFFECTS
  ANY EFFECTS
PROSTHETICS
  Neill Gorton and Millennium Effects
EDITOR
  Llana del Giudice
PRODUCTION DESIGNER
  Edward Thomas
DIRECTOR OF PHOTOGRAPHY
  Ernie Vincze BSC
PRODUCTION MANAGER
  Tracie Simpson
ASSOCIATE PRODUCER
  Helen Vallis
   
PRODUCER
  Phil Collinson
EXECUTIVE PRODUCERS
  Mal Young
Julie Gardner
Russell T Davies
DIRECTOR
  Euros Lyn
  Produced by
BBC WALES
WRITER
  Russell T Davies
     
INFORMATION
BROADCAST DATE
22 April 2006
 
REPEATED DATE
  23 April 2006 and 28 April 2006
     
FIRST RUN UK RATINGS (millions)
OFFICIAL: 9.24 million (peak at 9.6 million)
 
DVD RELEASE
June 2006

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