Review by
Daniel Saunders
Blink
was very good indeed, probably the best story this year
(it's hard for me to judge Human Nature, having read
the novel first and so having its edge blunted a little, but
I suspect it might stand up to repeated viewing better than
Blink). That's partly a reflection of my low opinion
of the rest of this series, but I enjoyed Blink not
because it was made according to Daniel's Own Recipe for
Doctor Who (although it was, by and large), but because
it managed to do successfully what the other stories this
year have been trying and largely failing to do.
The first
thing that's obvious about this story is the complicated
nature of the plot. This is especially obvious compared
with the extremely linear nature of most of the other
stories this year (this happens, then this happens, then
something surprising happens and everyone dies or lives
happily ever after). Such linear storytelling isn’t
necessarily a bad thing; after all, the most basic stories
have such basic narrative formats: myths, legends, fairy
tales, folk stories and the like. However, it is partly a
function of oral storytelling, where the storyteller has
only his memory to help him tell a coherent story. As a
result, such stories are simplistic and lacking in surprise;
what power they do have comes from saying something profound
about the human condition. This is less satisfactory when a
writer has the ability to plan, draft and redraft to tell a
more complicated story, doubly so when the audience can also
return to the story to deepen their understanding, as they
can in an era of DVD and almost instant BBC3 repeats. To
have such a complicated story told after so many simple
‘chase’ narratives such as Smith and Jones and The
Lazarus Experiment is a long-overdue acknowledgement
that while an adrenaline rush can be fun, viewers would like
some intellectual stimulation too.
Not
only is the audience expected to follow a more complicated
story than usual, they are also supposed to follow a more
original one. This year’s scripts have seen a level of
recycling that puts the Green Party to shame, with Daleks
in Manhattan in particular being an unwelcome return to
the ‘greatest hits’ remixes of the Saward era. Blink
opts for a more experimental approach. Doctor Who
has never quite done a story like this before. Indeed,
there are two innovations here, the ‘haunted house’ genre (Doctor
Who has done odd ‘haunted house’ moments within other
stories, but only episode four of The Chase is a
consistent attempt at the genre) and the out-of-sequence
time travel story.
As well as
being crediting the audience with the ability to follow
complicated, innovative stories, Moffat assumes they can
pick up on nuances of characterization. Throughout, he
exhibits a laudable tendency to show rather than tell, again
at odds with many of his Doctor Who colleagues.
Sally’s attraction to Billy is made perfectly clear by her
Freudian slip when giving her name and her embarrassed
reaction to it. The entire Sally-Billy almost-relationship
is set up and played out in the space of about ten minutes,
yet with its skilful, subtle, economical writing it is far
more believable and poignant than the Doctor-Rose and
Doctor-Martha relationships. The absence of the clunky ‘I
like him, but I don’t know what he thinks of me’ style of
dialogue that has dominated storylines of thwarted
attraction over the past years adds to the believability and
hence emotional power of the scene. Does it matter if the
ten year olds miss the detail of this particular strand of
the plot? Likewise, Billy’s off-screen death was unaffected
by the schmaltz around the Face of Boe's death, and so was
much more moving.
The strength
of characterization extends to the Doctor himself. As with
Human Nature, but unlike every other tenth Doctor
story, the Doctor seemed a powerful force at the heart of
the story, not despite, but because of his almost
total absence. This is a Doctor so powerful he can
influence events and save the day from almost forty years in
the past, and for once he didn’t even need to shout or wave
his sonic screwdriver to do it. The Oncoming Storm has
finally stopped being The Passing Drizzle. I admit I’m not
at all keen on the Doctor-as-lonely-god for a number of
reasons, but if we absolutely must go down that route, then
this is the way to do it.
There’s one
final difference between Blink and the rest of this
year’s output which no one seems to have noticed yet.
Fandom has been very critical of the scientific inaccuracies
in recent stories, yet the scientific bizarreness here has
seemed to pass without comment. There’s a good reason for
this, and it comes down to great writing again. Viewers
aren’t stupid, and they know they need to suspend their
disbelief. What they do demand, even if unconsciously, is
internal narrative coherence. Blink establishes its
rules fairly early on, even though they aren’t confirmed for
quite a long time. Having done this, it sticks rigidly to
them. There are no extra plot devices to get the heroes out
of trouble. More to the point, the eventual explanation for
this fantastic series of events is kept as near to pure
fantasy as possible and not grafted onto real
science. As a result, the viewers get a coherent series of
signals about how to approach the story; very different from
spouting a load of nonsense technobabble, confusing solar
flares, gamma radiation and lightning and adding a hefty
dollop of magic.
I hesitate to call Blink a
truly great story. As a 'puzzle' story, I don't know how
well it will withstand repeated viewing. Once you know
which tabs go in which slots, there isn’t much left. There
is a hint of the ongoing ‘dark Doctor’ storyline in the fact
that his use of the paradox allows him to escape while
condemning Cathy and Billy to live their lives out of
sequence in order to pass on messages, but this is not dwelt
on. Likewise, the story seems at points to want to say
something about the brief nature of life (blink and you’ll
miss it?) and the need to seize the day whatever happens,
but that theme is never quite developed. Still, it’s
impossible not to like a story which ends with a montage of
static shots of ordinary statues and probably still left
hundreds of kids screaming in terror (was it supposed to be
a 'THE END... OR IS IT?'-type ending, or was it pure kiddie
horror?)
|