The Lazarus Experiment

After bestowing praise upon each and every one of the first five episodes this year, last week I promised that I would try to find fault with "The Lazarus Experiment". Whilst the above was said entirely in jest, I did watch this week's episode with a particularly critical eye and, if I'm honest, there were one or two things in this episode that I wasn't especially happy with. On the whole though, "The Lazarus Experiment" is another good, solid episode of new Doctor Who. It may not be up there with some of the 'modern' classics, but it was the best thing on British Television all week by light-years.

I think it was in the pre-season Radio Times where I read that Russell T. Davies wanted this episode to have a 'comic book' feel, and if that is the case then it is a sentiment that has definitely transferred onto screen. Confidential made a big deal of "The Lazarus Experiment" paying homage to the James Bond movies, but tuxedos and gadgets aside, that wasn't really something that I bought into - Bond isn't Bond without scantily-clad women and guns! However, the comic book vibe I did get. The beautiful settings ? first in the Welsh Senate Building ('a laboratory in London') and then in a Cathedral ? both had D.C. or Marvel stamped all over them, and even the characters' names reeked of the genre. Doctor Lazarus. Lady Thaw.

"Ladies and gentlemen, I am Richard Lazarus. I am seventy-six years old and I am reborn!"

Thelma Barlow's role as Lady Thaw was much smaller than I expected after all the hype. Unlike 'Mavis' though, Mark Gatiss was given ample opportunity to shine. The chance to be in his favourite show has been something that Gatiss has waited a lifetime for and, although he might not have been cast in the dream role itself, here he gets to sink his teeth into a quite sinister role that could have been written just for him. Who knows, perhaps it was?

The sparring between Gatiss and Tennant is an absolute delight to watch, especially for someone like me who loves The League of Gentlemen as well as Doctor Who. At times their banter reminded me of how I felt watching Simon Pegg and Christopher Eccleston verbally batter each other in "The Long Game", an episode with which "The Lazarus Experiment" has much in common.

When in prosthetics, Gatiss is indistinguishable from any seventy-six year old man you may see in the street. His voice and his gait also help to get across this elderly, almost grandfather-like character. However, following his transformation I did have a bit of difficulty taking Lazarus seriously ? why in the blue hell did they make him look like Dr. Chinnery? I kept expecting him to stick his hand up a cow's backside!

Richard Clark's direction has to be praised, as does the sterling efforts of the production designers and of course, the Mill. From start to finish "The Lazarus Experiment" is visually spectacular. The C.G.I. in this episode is superb; not just in relation to the obvious but also in relation to some of the scenes inside the Cathedral and even the eponymous experiment itself.

I hope I'm not being too harsh in saying that it is really the effects that carry this episode ? the way the monster's mouth opens outwards; the horrific, calcified remains of it's victims; that breathtaking corridor chase that sees the monster spin around 360? as it runs after the Doctor. Some of the shots in the episode are on a par with some that we saw in "Tooth and Claw". In fact, my only criticism of the effects has to be that the monster's mouth didn't seem to move very well at all with the dialogue ? I noticed that they cut away from the monster speaking very quickly. Nevertheless, such a small detail could not detract from such a first-rate effort. I have a feeling that the Lazarus monster is one destined to be long-remembered. Do you remember the one with??

"He seems so human again. It's kind of pitiful."

This brings me to my main problem with the episode. "The Lazarus Experiment" is a good old-fashioned monster mash, and there is nothing at all wrong with that. However, in terms of plot there seems to be very little going on. Stephen Greenhorn has really made a lot out of the drama stemming from the prescence of Martha's family, but the science-fiction element that is driving the story is very simplistic indeed. Greenhorn may touch upon Lazarus' reasons for wanting to live forever, but his back-story is rather predictable and, if I'm brutally honest, dull as dishwater. Gatiss deserved better, really.

That much said, Greenhorn really hammers home the mysterious Saxon's hand in all this. If the rumours about his identity are true, then his interest in Lazarus' work is hardly surprising considering how he has always desperately clung on to life in the past. Looking back on this episode at the end of the season, I'd be very surprised if - as was the case with "The Long Game" - it did not come to light that there was much more going on here behind the scenes. As a stand-alone episode though, I have to say that the story feels distinctly lacking.

"A longer life isn't a better one. In the end you just get tired. Tired of the struggle. Tired of losing everyone that matters to you. Tired of watching everything turn to dust. If you live long enough, the only certainty left is that you'll end up alone."

But as I've said, what this episode lacks in storyline it more than makes up for in spectacle. The final showdown inside Suffolk Cathedral is a thing of beauty in so many ways. The Doctor's eloquent speech. The near-religious imagery of Lazarus naked in the shroud. The Doctor's nod to Spinal Tap: "We need to turn this up to eleven..." Martha hanging from the bell tower. Fantastic!

Looking at the larger story arc for a moment, "The Lazarus Experiment" marks something of a watershed for Martha Jones. It sees her return home for the first time since she begun her travels with the Doctor, and it also marks the first appearance of her family since "Smith and Jones".

"He's dangerous. There are things you should know."

In direct contrast to his navigational cock-up back in "Alien of London", here the Doctor actually gets Martha home within twelve hours. He still manages to earn himself a slap from Mrs. Jones though - "All their mothers. Every time!" ? as throughout the episode she has some sort of 'secret service' bloke whispering in her ear about the Doctor and how dangerous he is. Even so, I think that in this episode Francine comes across as very unlikeable - I can certainly sympathise with Martha's Dad! Even in her fiercest moments, Jackie Tyler was always loveable. Adjoa Andoh portrays Francine as much more austere; a much tougher nut to crack in many ways.

"I know the age thing's a bit weird but it worked for Catherine Zeta Jones."

Martha's sister Tish is also given quite a bit of exposure in this episode, and whilst she is not as severe as her Mother, she comes across as a bit 'up herself' and even a bit shallow. Prior to Lazarus' transformation, Tish won't even give him the time of day, yet as soon as he becomes a handsome young(ish) man, she's all over him! However, it is important to note that at the end of the episode she's there for Martha to catch her when she falls. Literally.

Of the Joneses, only Leo acquits himself as a pleasant, well-adjusted young man, though I suppose it's early days! Jackie, Mickey and Pete really endeared themselves to the audience over the course of the first two years and so I think that the Joneses have a difficult task in trying to replace them. So far, so good though.

I enjoyed the final scene very much. It sees Martha become a 'proper' companion as opposed to a mere 'passenger', much in the same way that Rose 'signed-up' properly at the end of "World War Three." "Okay," says the Doctor, nodding towards the open TARDIS door. "Well, you were never really just a passenger were you?"

And so off they go; off into the forty-second century.

"I'm begging you. I know who this Doctor really is. I know he's dangerous; you're gonna get yourself killed! Please trust me. This information comes from Harold Saxon himself. You're not safe."

On a final note, I'd just like to say 'bloody Eurovision!'

I suppose if you do have to stall the season for a fortnight, then this semi-cliffhanger is a tantalising way in which to leave things, especially when combined with the new Christmas Special-style trailer for the rest of the season. It seems that there is certainly much to look forward to ? Captain Jack back in action; Saxon in an oxygen mask tapping the desk, evilly; a dark and gritty 'real time' adventure out in space; not to mention the "Human Nature" dramitisation. I haven't read the novel for a while, but I don't remember Scarecrows or a Wedding! They certainly seemed to have jazzed it all up a bit for TV, even the Aubertides look far more threatening on screen than I imagined when reading the book.

"He's fire and ice and rage? Loves greatly, but not small-ly. He's Merlin."

Roll on Saturday week!