City of Death Review
Steve Day
Season 17 in 1979 was a time of the series that is usually looked at
with in some distain by many, reflecting the epitomy of sillyness in
Tom Baker's characterisation of the title role. Granted, there are a
lot of awful stories this season - Destiny, Horns and Creature which
add nothing to the programme's credibility.
However, amongst this lot of dodgy ideas, sets and acting was a story
that has become a watershed of ingenuity - City of Death.
As a rushed script from Douglas Adams and Graham Williams the plot
involving an alien split in times of Earth history, based in Paris and
including different elements such as a detective, the theft of the
Mona Lisa and it's artist, became a masterpiece of design and wit.
The Directors opening subtle camera movement to Paris, as it pans
through a flower bush whilst we listen to a voiceover from the main
characters, to eventually reveal a very original shot of the Eiffel
Tower was perhaps one of the greatest introductions to a foreign
climb, beating the *Tulips of Amsterdam* cliche to introduce Holland
when used in Arc of Infinity. Because it keeps us guessing - City of
Death, most probably be London, but no, its Paris.... and what a city!
And the very use of Paris is where a lot of this adventure springs
into life. It uses Paris not only as a backdrop, but also through
elements like The Louvre, The Eiffel Tower and the art gallery, where
the Doctor manages to get away with exhibitioning the TARDIS as a work
of modern art ("the very art is in the fact that it is here"), it
manages to take the capital of France and entwine it as part of the
sub story, and therefore carries the passion of the whole City in the
story - in effect, Paris is not just a nice little backdrop, but at
the heart of the adventure.
The very obvious padding of The Doctor and Romana walking through the
City is sheer extravagent showing off, but it's done with class,
energy and spirit. It's done by a production team of the programme
that was very confident, perhaps over-confident, with what it was
doing, even more so when the further scene of them being followed by
Duggan after leaving the Louvre is so well directed that this area of
"padding" does become an influential part to the plot by introducing
the characters properly.
In some ways though, despite all the originality and freshness, a lot
of the production is very stylised - although again away from the
usual Who mode, by using the stereotypes of the cod scientist, madman
and anorak clad detective to the most extreme and yet different
elements available.
Tom Chadbon's Duggan, for instance, has defined character traits - he
has a passion for hitting people, smashing bottles, carrying a gun but
both the actor and the script created a very memorable, professionally
flawed character, despite being very much out of the classic *Lady
Don't Fall Backwards* detective mould from the 40s and 50s *Pulp*
fiction.
Duggan was desperately wanting to be like those *fictional* detectives
but he failed miserably - although he did have a good punch. Perhaps
though the creation of the character was later to form part of the
inspiration for Douglas Adam's character Dirk Gently in The Holistic
Detective Agency. Julian Glover's well rounded Count Scarlioni,
despite being Scaroth, was acted with great dignity and panache, and
there was literally a lot more under the surface than just another Who
villain who wants to take over the world (or make sure life never
happened in this case.)
There is so much that shines about City of Death, that its hard to
mention some rather odd (although explainable) continuity slips as
regards the guard numbers in Paris being different to those in the
studio sets and the rather obvious glass painting of the foreground in
the scenes on prehistoric Earth. Thats Who, but what I'm trying to
grab here is that City of Death, because of it's ingenious crafting of
the familiar in story and character, with the unfamiliar at the time
of managing to swing a trip to Paris in the bargain, transends a lot
of previous and past Who. It has a sparkling and witty script and
performers who know exactly what they are doing.
The City of Death then - 20 years old and still the greatest story
ever sold on BBC Video.
Bob
<st...@lincolnmedia.org.uk> wrote:
>
>
> The City of Death then - 20 years old and still the greatest story
> ever sold on BBC Video.
>
>
>
You forgot to mention that this was yet another story ripped off by STNG,
in All Good Things..
Bob
Cameron Mason
Bob <ro...@ratnest.demon.co.uk> wrote in message
news:robin-09060...@ratnest.demon.co.uk...
<snip>
> > The City of Death then - 20 years old and still the greatest story
> > ever sold on BBC Video.
>
> You forgot to mention that this was yet another story ripped off by STNG,
> in All Good Things..
All Good Things... featured multiple Mona Lisas????
Cameron
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