Tony Fyler
makes it out alive.
The
Doctor Who Christmas Special is always a bit tricky. It has to fundamentally
tap in to something associated with Christmas, and make it threatening. Hence
killer Christmas trees, a Narnia parallel, A Christmas Carol (with flying
sharks, obviously), a Christmas star, The Snowmen and the like.
How
far you can push this association into things that technically aren’t
Christmas-related depends largely on how much chutzpah you have.
Russell
T Davies does good chutzpah. Really good
chutzpah.
One
of the UK’s Christmas traditions, at least one from the 70s and 80s when
Russell was growing up alongside a healthy percentage of ‘serious’ Who-fans, is that after the enormo-meal, and the present
opening, and a good dose of family tension, with Granny mentioning things that
everyone else was hoping had been finally forgotten, the family settles down
either for the Queen’s Speech, or for the slice of grand cinematic tragedy
habitually scheduled just after it – if Infernos aren’t Towering, or the good
ship Poseidon’s not having a very bad day, or Bruce Willis isn’t
yippee-kay-aying Alan Rickman to death, it doesn’t, somehow feel like a memorable Christmas.
That’s
the principal spirit of the doom-titled Voyage of the Damned – that Christmas
slice of death and disaster. But Voyage of the Damned is rich with so much
else, it’s sometimes hard to work out why, as a Christmas Special, it doesn’t quite work. Ultimately, it’s probably
because it would be a better Doctor Who episode if you lifted all the
spiderweb-strands of Christmas-themery out of it, and just boiled it down for a
half-hour more. Voyage of the Damned as just
Doctor Who is excellent stuff – a parable of corporate greed, and a gold-plated
head nod to one of the series’ own relatively flawless disaster movies, Robots
of Death, with an ending that plays both tragedy and triumph out for all
they’re worth. As a Christmas episode, the Christmas elements feel a little too
heavy-handed and throwaway – the cruisers have come to see Earth at Christmas,
despite having a lamentably bad idea of what that means, and accepting without
a word Mr Copper’s ‘expert’ advice on the planet and its ceremonies. Yyyyyeah,
OK, Russell.
That
said, as pure Doctor Who, Voyage of the Damned is very rich. The core idea of the Titanic in space, and the Host –
robots that are just aching to be
reprogrammed and go on a killing spree - are classical elements, while the
cynical corporate motivation is something you’d expect from Robert Holmes in
Sun Makers or Androzani mode. Kylie Minogue – yes, really, Kylie freakin’ Minogue
- breaks out her naturalistic acting face to give us Astrid Peth, a
wannabe-star traveler who could have made an excellent companion. Certainly,
she’s got the excitement the Tenth Doctor needs to bring him back up to full
bounce after the Year of Hell with the Master and the complication of Martha,
and she’s also got the instincts to realize that while the Doctor’s all about
heroic self-sacrifice, occasionally, he needs someone to look after him and
have his back. Plus – she drives forklifts. Who doesn’t want a companion who
drives forklifts? Imagine Astrid Peth against the Daleks! ‘Oi! Conquerer of the
universe? Alley-oop!’
But
it doesn’t stop there – the guest cast of this Christmas Special is studded
with impressive names, like plums in a pudding – there’s Bernard Cribbins as
Wilfred Mott, before the Donna connection was even a glint in Russell T Davies’
eye. There’s Geoffrey Palmer, layering his Captain with that nuance of misery
and self-sacrifice that make you remember how good an actor he actually is. There’s
Clive Swift, giant of stage and sit-com, in his second Doctor Who role, perhaps
slightly less well served as Mr Copper than he was as Jobel in Revelation of
the Daleks. There’s apparent gay pin-up and solidly skilled actor Russell Tovey
as the heroic Midshipman Alonso Frame (probably helps improve your chances of
surviving till the end if Russell T Davies fancies you rotten – just saying). And
there’s George Costigan, of 80s classic Rita, Sue and Bob too and…well, these
days, practically everything, including Happy Valley. And there they all are,
Poseidoning their socks off on the Starship Titanic, an idea, not for nothing,
nicked entirely from probably still the most successful Doctor Who Script
Editor of all time, Douglas Adams. Heady stuff indeed.
As
soon as the Captain has ensured the ship will be hit by meteors and crippled,
the Heavenly Host start doing their Voc Robot thing – ‘Information – you are
all going to die’ - and the episode becomes The Poseidon Adventure In Space…but
pursued by the Robots of Death. The weird thing about this is that it really
rather works. It shouldn’t – it should be genre-slam overload, but Davies is
careful to sacrifice enough people along the way to deliver the Robots scares
as well as the Poseidon chills, with nods to the Towering Inferno along the
way. One thing Voyage of the Damned is not is a story of plucky survivors
winning through – Davies sacrifices his cast with a wantonness that looks
casual, but mostly isn’t – Morvin Van Hoff admittedly steps on the wrong bit of
metal and plunges to a fiery grave, but his death does pave the way for his
wife Foon to sacrifice herself to save the others from the Host. Banakafalatta
– one of Jimmy Vee’s rarer good guy appearances – is another purposeful death,
and one that’s given additional poignancy by his connection to Astrid. And
Astrid herself, plunged into the firepit of the starship’s engines by her
determination to save the Doctor, is an example of Who as modern Shakespeare:
it’s often been said that what determines which of Shakespeare’s plays are
comedies and which are tragedies is one moment – if the villain, or the poison,
is discovered in time, it’s a comedy; if not, it’s a tragedy. In Astrid’s case,
any time when the Doctor was looking for a companion not played by a massive international pop megastar, he would have
fixed the teleport in time, and reconstituted her from its buffers. But this is
Christmas, and Astrid’s played by Kylie Minogue. We all know she has to die,
and so his usual techno-wizzery fails, leaving Astrid to roam the universe as
stardust.
Voyage
of the Damned has been accused of occasionally veering into ‘style over
substance’ or ‘needlessly messianic’ territory – the Doctor giving his
credentials straight to camera, the slo-mo shot of David Tennant looking
ridiculously good after Astrid’s death, and being picked up and flown into the
sky by angels to – ahem – conquer death and become the savior of the world.
There’s valid criticism there, but on the one hand, it’s a Christmas Special,
and if you can’t equate the Doctor to Jesus and grin on Christmas Day, when can
you? And on the other, it’s not that there’s not substance in Voyage
of the Damned – there’s absolutely bucketloads of substance in the corporate
satire, the social bullying of Rickston Slade and his mob of the chavtastic but
rather delightful Van Hoffs, in Astrid’s companion potential and in the realism
of the Captain and Midshipman Frame. There just…happens to be a lot of relatively unconnected style too, in the
Host, the Titanic almost crashing onto Buckingham Palace, the not-queen cameo
and yes, that angel-flight of the Doctor’s.
In
essence, Voyage of the Damned is cracking Doctor Who. Is it up there with
classic Christmas Specials? No, there’s not enough air-punching for that – the
kind of redemptive power we get from the end of A Christmas Carol, or from the
Doctor defeating the Sycorax with a satsuma. To make it a properly cracking
Christmas Special, you’d have needed Astrid to be saved at the last minute by
the teleport buffer trick. The survival of Mr Copper, and his post-spirit
Scrooge impression as he dances off, clicking his heels in the air at the
thought of a house with a garden, isn’t quite
enough to compensate us for Astrid’s death. So the trick to loving Voyage
of the Damned is to not watch it as a Christmas Special. Watch it in January,
or March, or mid-July. Then you’ll have a fantastic time, and a really
rewarding Who experience with the Tenth Doctor.
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