Human Nature / The Family of Blood

Oh dear...

Actually, that opening phrase doesn't refer to 'Human nature/ Family of blood', but the fact that a production like this, sits alongside the various levels of dross that have comprised series 3 to date.

Right from the opening scene with its palpable sense of urgency (nicely edited reverse angles of the Doctor working the controls) this effort seemed to be operating on a higher level and for the last two weeks it's been like a different show... the kind it should be more often then not!

Everything seemed better pitched, the characters more defined, the historical setting more believable (all it takes is a good location scout), the direction tighter, the casting better (the supporting cast having the appropriate air and look for the period), the FX work better (no overstretching) and most importantly... it had a story.

Yeah... that's right. A story!

A story with it's own internal logic (a rarity in new Who), a story not dressed up in clich?, wonkoid science, or borrowed from a better source. A story allowed to unfold without the usual hurry, unburdened by the desire to pack in as much as possible in as little time as possible. A story with genuine emotion as opposed to manipulative sentimentality. A story with no silly 'broad' humour, and finally, a story which, despite it's fantasy leanings, never felt less than confident to bear the weight it's time period carried, the first World war hanging like a dark pall over the tale from beginning to end.

There were of course faults (nothings perfect). Plot wise, Martha should have been given possession of the watch, not the Doctor (which made no real sense considering the circumstances). Then again, something had to motor the plot along, so as a story device, this was a more forgivable anomaly then the show usually offers. In the acting stakes, Tennant and Agyeman seemed a little inadequate alongside the unusually good supporting cast ( Hynes, Sangster, Lloyd, and in lesser roles, pretty much everyone else). To be fair, Tennant had a lot to do, and he did pretty much run the acting gamut. His eyes still bulged a little too much, and his facial expressions were a little too overstated when acting alongside the more naturalistic Jessica Hynes, to fully convince, however. That said, I much preferred the vulnerable John Smith persona to his smatarse portrayal of the Doctor, and Charles Palmer rightfully reigned him in for the final scenes when Smith was gone. Actually, if Tennant played the part entirely as he did during the last ten minutes I'd like him a damnsite better then I do.

Agyeman, it has to be said, was noticeably struggling. She's just not that great an actress, likeable... yes, but without the skill to convey the weight of character and delivery (which, sometimes, just seemed off) this story demanded. Joan, would never have become a companion, (cos' the kid's would have had difficulty relating to her, though a character like this wouldn't have been out of place in the original series) but she would have been far more interesting then Martha, and this story only really served to throw up just how lightweight Agyeman / Martha is.

The scarecrows were a bit naff (though not a bad idea, by any means) with their 'Wizard of Oz' gait, however, I'm viewing them with adult eyes and I'm pretty sure you're average ten year old and under would have thought differently. The courtyard 'shoot em up' was well handled with it's well judged slo-mo inserts and I liked it's allegorical leanings (the youths themselves would be mown down, like so many scarecrows, in the coming years... see what I mean about operating on a higher level). Compare this sequence with the similar set piece in Hooverville in 'Evolution' and you'll see what Palmer brought to this particular gig.

All in, then, it was a strong production in virtually ever department. It was, however Paul Cornell who shone the brightest, delivering, to my mind, the best written episodes of New Who to date. His understanding of the Doctor seems way beyond RTD, and indeed Moffats (I still cringe at the thought of that drunk scene in 'Girl in the fireplace'). While the various punishments dished out to the family seemed a little like a cop out storywise, they also gave the Doctor a mythic quality and this hitherto unexplored aspect seems entirely appropriate considering his somewhat God like abilities. This is a facet that should be run with (but probably won't).

Elsewhere, Gold did his customary fine bit, with an appropriately soaring eulogy at the end. He'll bugger off when RTD steps down, I would imagine (he may well go sooner if the movie world beckons) and the show will be the lesser for it. Good editing, and sound design (I'm a sucker for the 'thrunch' of bullets ripping through straw) rounded the package off. There's plenty more nice thing's to mention, but I'm sure they'll be covered by other reviewers (unless this story is considered crappy by everyone except me, in which case'I'll just crawl into a corner, to ponder how out of touch I am with the world, and probably never recover!!!)

In closing, this was a glimpse at the kind of show 'Who' can so clearly be when the right people are at the helm, both episodes embracing the solid tradition of superior British storytelling as opposed to American (we just can't beat them at they're own game, so why bother... we shouldn't even be wanting to). In fact, I can't imagine a single American show (Sci-Fi or not) that would even attempt to put something like this together (they do 'slick', they do 'sentimental' but they don't often do gravitas!).

This two parter was well written (it might even spark some interest in the first world war with some kids who otherwise have shown none), well paced, well acted and well directed!

I just wish (placed in the latter half of a poor season) it didn't feel so much like a glitch!