Father's Day
Sunday, 15 May 2005 - Reviewed by Andy Griffiths
Suddenly, unexpectedly, following on from last week's disappointment, a complete TV classic - not just for Doctor Who.
In reviewing this triumph of an episode I run out of superlatives.
Firstly, the script is as close to perfect as makes no difference. The plot is taught, both emotionally and theoretically resonant and breathes whilst maintaining a relentless pace, and still having room for some neat ironic humour which only adds to the growing drama. The direction complements this wonderfully, producing a tense, gut-wrenching spectacle, which the quality of the acting reinforces further.
Ecclestone's performance has arguably been variable during the series, and coming after his ruthlessness in "The Long Game", his compassion here might seem incompatible; but in this story we get unprecedented depths in the actor's portrayal and in the manner the character is presented. This doctor can be cold come certain situations, but his concern, affection even, for the characters in this story, is as beautiful here as in any story from the original series. He is furious with Rose for interfering with time, but this anger does not stop him loving her deeply and wanting to find another resolution of the crisis, rather than Pete Tyler having to die twice. Ecclestone's doctor has always been absorbing to watch, but here one warms to his charismatic portrayal more than in any other episode hitherto. Two particular moments stand out - the depth in Ecclestone's eyes and his desire to help Rose when she asks to go back to the accident a second time, and his worry as he knows the dangers of interfering with history. Secondly, his care for the marrying couple, particularly the line "who says you're not important?"
Pete Tyler is a marvellously well written character, played to perfection by Shaun Dingwall. He is totally believable, and we get to know him in considerable detail for just 45 minutes. Endearingly fallible, it's a splendid touch that he of all the 1987 characters understands quickest what is going on - suggesting that, for all his being a failure, Rose's dad has passed his ability to accept new, perhaps wild ideas to his daughter.
The relationships are magnificently realised in this story, for example Rose's realisation that her parents weren't happy and that Pete was far from exemplary, both in marital and in business terms. Billie Piper has repeatedly surprised throughout this season with the quality of her acting, and in "Father's Day" she is quite superb, being totally believable to the point where I almost forgot this tale was fictional.
The special effects are stunningly impressive, particularly in the realisation of the Reapers, and in the hit-and-run car continually appearing and disappearing. They are almost incidental to the story, however, which is, quite simply, as moving a small-scale character-driven piece of drama as I have seen in years.
The script wrung every opportunity for emotional tension out of the idea, whilst actually managing to make sense with surprisingly few holes. I liked it that the Doctor explains that he can't go back and save his own people, presumably because of time paradoxes, which is a question a few of us have raised from the earlier episodes.
Gut-wrenching human drama; the unremitting tension of the characters being trapped in a church under siege from ruthless alien creatures that cannot be reasoned with; magnificent acting all round; a heroic Doctor to believe in; tremendous characterisation; superb incidental music throughout; and intelligent, thought provoking insights into the way we view our history, why certain things cannot be changed, whilst showing what is worth fighting for.
For a single 45 minute episode to encompass so much is a towering achievement - can it get any better than this?
In reviewing this triumph of an episode I run out of superlatives.
Firstly, the script is as close to perfect as makes no difference. The plot is taught, both emotionally and theoretically resonant and breathes whilst maintaining a relentless pace, and still having room for some neat ironic humour which only adds to the growing drama. The direction complements this wonderfully, producing a tense, gut-wrenching spectacle, which the quality of the acting reinforces further.
Ecclestone's performance has arguably been variable during the series, and coming after his ruthlessness in "The Long Game", his compassion here might seem incompatible; but in this story we get unprecedented depths in the actor's portrayal and in the manner the character is presented. This doctor can be cold come certain situations, but his concern, affection even, for the characters in this story, is as beautiful here as in any story from the original series. He is furious with Rose for interfering with time, but this anger does not stop him loving her deeply and wanting to find another resolution of the crisis, rather than Pete Tyler having to die twice. Ecclestone's doctor has always been absorbing to watch, but here one warms to his charismatic portrayal more than in any other episode hitherto. Two particular moments stand out - the depth in Ecclestone's eyes and his desire to help Rose when she asks to go back to the accident a second time, and his worry as he knows the dangers of interfering with history. Secondly, his care for the marrying couple, particularly the line "who says you're not important?"
Pete Tyler is a marvellously well written character, played to perfection by Shaun Dingwall. He is totally believable, and we get to know him in considerable detail for just 45 minutes. Endearingly fallible, it's a splendid touch that he of all the 1987 characters understands quickest what is going on - suggesting that, for all his being a failure, Rose's dad has passed his ability to accept new, perhaps wild ideas to his daughter.
The relationships are magnificently realised in this story, for example Rose's realisation that her parents weren't happy and that Pete was far from exemplary, both in marital and in business terms. Billie Piper has repeatedly surprised throughout this season with the quality of her acting, and in "Father's Day" she is quite superb, being totally believable to the point where I almost forgot this tale was fictional.
The special effects are stunningly impressive, particularly in the realisation of the Reapers, and in the hit-and-run car continually appearing and disappearing. They are almost incidental to the story, however, which is, quite simply, as moving a small-scale character-driven piece of drama as I have seen in years.
The script wrung every opportunity for emotional tension out of the idea, whilst actually managing to make sense with surprisingly few holes. I liked it that the Doctor explains that he can't go back and save his own people, presumably because of time paradoxes, which is a question a few of us have raised from the earlier episodes.
Gut-wrenching human drama; the unremitting tension of the characters being trapped in a church under siege from ruthless alien creatures that cannot be reasoned with; magnificent acting all round; a heroic Doctor to believe in; tremendous characterisation; superb incidental music throughout; and intelligent, thought provoking insights into the way we view our history, why certain things cannot be changed, whilst showing what is worth fighting for.
For a single 45 minute episode to encompass so much is a towering achievement - can it get any better than this?
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