'The trees are not your enemy. They're a shield.' Not brilliant but not bad, Frank Cottrell-Boyce's debut script is full of charm and wonder.
The trouble with lichen. (Image: BBC) |
Getting in a celebrity wrier has been a bit hit-and-miss
on Doctor Who. Mr Olympics Frank Cottrell-Boyce has always been one of my
favourite film writers: 24 Hour Party People (2002), about the kamikaze
career of Manchester’s Factory Records, is one of the funniest and most moving
films I’ve ever seen, so I had high hopes. Elsewhere, we’ve had fantasy writer
Neil Gaiman’s ‘The Doctor’s Wife’ and Four Weddings and a Funeral (1994)
scribe Richard Curtis’s ‘Vincent and the Doctor’, both of which I liked. Stephen
Fry’s contribution to the series, meanwhile, never made it out of his laptop.
A high profile author new to the world of the Time Lord
always delivers something out of left field, and Cottrell-Boyce is no
exception. Under the wonderfully surreal imagery and well-acted dysfunctional
children, his story is a Gaia parable. The idea of the Earth being a gestalt
organism which will protect itself, as the trees shield humanity here, is
something very new, and welcome, to Doctor Who, and thankfully free of the arboreal schmaltz of ‘The Doctor, the
Widow and the Wardrobe.’ A benign intelligence, existing side by
side with the human race since the dawn of time and silently watching over it,
has bags of potential above and beyond this initial forty-five minutes. It’s a
scenario I’d love to see developed.
Great idea, well-acted, stunning visuals, competently directed
by newcomer Sheree Folkson, so it’s a bit of a shame there’s hardly any
jeopardy or sense of crisis in ‘In the Forest of the Night’. Apart from a run-in with CGI wolves and a
tiger (I assume – they’re very well realised if they are), it’s a stroll to a
climax that Mr Pink and Miss Oswald’s class treat like a trip to the local
multiplex. The return of Annabel Arden (Eloise Barnes) to her family was
slightly ‘Fear Her’-sentimental, but it made sense as the trees were granting
the wish of Maebh (the quietly impressive Abigail Eames) for her sister to come
home, following Maebh’s help with contacting the Doctor. This is a bit odd,
because the Doctor doesn’t really do anything, the other major weakness in the
plot.
These caveats aside, ‘In the Forest of the Night’ has a
fairy tale sense of wonder in keeping with the children’s stories like ‘Hansel
and Gretle’ and ‘Little Red Riding Hood’ that are deep in its chlorophyll DNA,
and Angela Carter’s adult fable ‘The Company
of Wolves’ (1984) is another oblique influence. In fact, of all the
stories this year, this story is the one to watch with your children and, I
suspect, will reward after repeated viewings. The kids are authentic – loved
the line ‘What’s a navigator?’ – and it was great fun seeing the Doctor coping
with a school trip invading his TARDIS.
Of course, there’s a conservative, venal and, frankly,
ignorant minority online who will hate ‘In the Forest of the Night’ and probably
not even know who Franck Cottrell-Boyce is. I have some advice: if this isn’t
what you like, scurry back to the nostalgia of your Jon Pertwee and Tom Baker
DVDs. I’m sure you'll be very happy there.
As usual, the regulars are a joy to watch. Danny Pink is
fast becoming The Most Reasonable Man on the Planet (no wonder Clara’s in love
with him), while Clara herself is the teacher we all wish we’d had at school –
smart, funny, patient and encouraging. After nearly a year of stories, Peter
Capaldi has found his rhythm as the Doctor: spiky, but humane and witty with it.
And so, to the series finale. Can’t wait!
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