The Crusade

If 'The Aztecs' is Shakespearean, then 'The Crusade' certainly is and not just because part of the script is written in iambic pentameter. The acting throughout is exemplary, the characterisation superb, and the principle villain a truly repellent individual. If Whitaker's previous two-parters were light on plot, then this story suggests that that was a limitation of the story time available, rather than a lack of ability on his part. The entire story is virtually perfect, with convincing sets, excellent costumes and the aforementioned acting, most notably Bernard Kay as Saladin, Julian Glover as King Richard, Jean Marsh as Joanna, and Walter Randall as El Akir. In addition, Douglas Camfield's direction is superb, helping to make the story seem less set-bound than the equally impressive but slightly stagy 'The Aztecs'. Every actor in the guest cast acts with great conviction, and there is not one wooden performance. As in 'The Romans', even the minor characters are well served, from the obsequious Ben Daheer, to the snooty Chamberlain, the self-serving Luigi Ferrigo, and the rather angry Earl of Leicester. 

As the Lionheart, Julian Glover almost steals the show. He shows a range of emotions, and cuts a tortured figure, exhausted by the war that he has pursued but determined not to give up until he has seen Jerusalem. Given that he tries to marry off his sister in the name of politics and that he is, basically, invading a foreign land in the cause of religious persecution, I find it difficult to have much sympathy for him, but he is nevertheless a compelling character. The scene in which he and Joanna argue about her would-be wedding to Saphadin is fantastic, both characters brimming with anger and each actor totally convincing. The moment when Richard raises his hand to strike his sister and then stops himself is especially powerful. Despite this loss of control however, he can also be suitably commanding when necessary, as befits the leader of a large army. Richard's opposition fares just as well, and it is to Whitaker's credit that he manages to avoid racism in his portrayal of the Saracens. True, blacked up actors are now a thing of the past, but from a character standpoint, the Saracens are just as diverse as their English enemies. Saladin, like Richard, is a commanding figure, and in many ways seems wiser and more deserving of respect. He is thoughtful, and intelligent, and also merciful – he treats the captive de Preaux with respect and contemptuously dismisses El Akir's sadistic suggestions as to what to do with Barbara. He allows Ian to search for Barbara, noting that "the brave deserve their favours". On the other hand, his suggestion that if Barbara cannot justify her presence in his court he will dispose of her is delivered with just enough edge to be all too believable, implying that, when required to be, he can be just as ruthless as the Lionheart. In episode three, when Saphadin receives Richard's offer of Joanna's hand, he is cautious, realizing that it is a desperate last attempt to avoid all-out war but also prepared to allow the marriage if the offer proves genuine; again, Kay impresses during this scene, convincingly revealing Saladin's keen mind and, like Glover, demonstrating that this man also has the respect of his subjects. The other Saracens are just as convincing – Ben Daheer is clearly a regular man trying to make a living in a troubled world, whilst Haroun is a man whose world has been torn apart and who is desperate to avenge his wife and son, protect one of his daughters, and free the other. And then there is El Akir…

El Akir is one of the most unpleasant villains to appear in Doctor Who to date, and the implication as to what his actual crimes are, is surprisingly adult in nature for Doctor Who at that time. He is a murderer and a rapist, who slaughtered Haroun's wife and son and took his daughter captive, adding her to his harem. Randall (previously Tonila in 'The Aztecs') plays him as vicious and sadistic, without ever letting the character go over the top into pantomime territory and thus making seem him all the more evil. After Barbara humiliates him, he is obsessed with revenge for the entire story, relentlessly pursuing her and determined to break her spirit. I noted when I was discussing 'The Romans', that Nero's advances towards Barbara were performed in such a way as to make them seem comedic in spite of the implied sexual harassment and possible intended sexual assault; here however, there is no such lighter side to El Akir's obvious intent to rape and torture her. His line at the end of episode three ("the only pleasure left for you is death – and death is very far away") is utterly chilling. It is appropriate, in the end, that his death is very much a blink-and-you'll-miss-it affair – whereas Tegana got to go out fighting and ultimately chose to die by his own hand, El Akir gets no such final battle. A knife in the back kills him, as he threatens Barbara in his harem – he is an animal, and as such he is butchered. 

The regulars continue to shine amidst this impressive guest acting. The Doctor is his usual wily self in the court of King Richard, neatly avoiding being (rightfully!) accused of theft, and trying to stay one step ahead of the court intrigue that eventually overtakes him and Vicki. His final scene with Richard is superb, as he graciously accepts the King's reasons for continuing to support Leicester and outwardly blame the Doctor for the failure of his plans to marry Joanna off to Saphadin, and parts on good terms with him, reassuring Richard that he will see Jerusalem, which seems to give the weary King the courage he needs to face the coming battle. 'The Crusade' also has one of those eminently quotable lines about the Doctor, as Joanna tells him "There is something new in you. Yet something older than the sky. I sense that I can trust you". Vicki unfortunately is again relegated to sidekick, and gets very little to do, but remains her usual plucky self. And it is rather endearing when she tells the Doctor that the TARDIS feels like her home by now and that she can't imagine being anywhere else. Barbara of course faces the worst trials here, first kidnapped and forced to agree to entertain Saladin's court, and then of course facing the deeply unpleasant threat of El Akir's less-than-tender mercies. She continues to impress with her bravery, especially when she surrenders to the guards in Haroun's house, in order to save his daughter from discovery. The fact that Haroun obviously thought death to be better fate than slavery to El Akir makes her sacrifice and bravery all the more impressive. Ian too fares well, here getting knighted by Richard the Lionheart. He doesn't get any sword-fighting to do, but he does outwit Ibrahim and later the Earl of Leicester, thus allowing the TARDIS crew to finally escape and leave. 

I said that 'The Crusade' is virtually perfect – it has too problems. Firstly, Vicki's disguise as a boy would be more in keeping with one of the comedy historicals (and is of course magnificently sent up in 'The Plotters') and is rather unconvincing, especially given that it takes close inspection from both Joanna and the Chamberlain for anyone to believe that she is a girl. Say what you want about Maureen O'Brien, but she doesn't look like a boy. The second problem is Ibrahim, who provides comic relief and gets a couple of great lines ("my brother… a miserable thief"), but who is rather clichйd, coming across as an Arabic Fagin. These niggles aside, 'The Crusade' is one of the finest historical stories, and is heartily recommended. And I'd strongly recommend getting the Loose Cannon recon of episodes two and four to complement the BBC boxed set.