This website uses cookies to improve your experience. We'll assume you're ok with this, but you can opt-out if you wish.Accept
Privacy Overview
This website uses cookies to improve your experience while you navigate through the website. Out of these, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may affect your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.
Steven Moffatt's script is briskly paced and suitably atmospheric. Again, as
with "The Unquiet Dead", there's a level of maturity balanced by the more
frivolous aspects to the story - as when Rose meets American time-traveller
Jack Harkness. Hopefully, Harkness's role in the story will be sufficiently
explained in part two, as here it comes across as a little at odds with the
main story's sinister tone. Moffatt provides some genuine chills in the form
of the titular Empty Child, a gas-mask wearing youngster with a dangerous
touch who's stalking London's homeless kids.
Christopher Eccleston looks right at home with the tone of the story –
which deftly introduces moments of light comedy (writer Moffatt is more
famous for his sitcoms than sci-fi horror) and again gives The Doctor a
lightness of touch, yet without compromising his serious side. Eccleston
is, basically, settling into the role perfectly now – it's just a shame he's
four episodes away from his swansong...
Billie Piper is somewhat pushed into the background, thanks to being handed
the silly end of the two plot-strands, but performs competently enough. John
Barrowman is given a somewhat clichéd all-American hero character to sink
his teeth into, and decides to underplay the character to good effect. It
will be interesting to see his Captain Harkness clash with The Doctor,
hopefully, particularly over the affections, and admiration, of Rose...
The supporting cast are also to be commended, particularly all the child
actors – but in particular Florence Hoath as Nancy, the motherly teen who
cares for street kids by feeding them leftover meals belonging to families
cowering in their air-raid shelter. Likewise, an all too brief appearance by
Richard Wilson as Dr Constantine is quite memorable – as is his eventual
fate...
The visual effects are generally very strong throughout the episode; with
moments of London being bombed by German planes a particular highlight. The
blue-screen effects during Rose's trip via barrage balloon, or her encounter
with Harkness near Big Ben, don't quite work however - but those sequences
are thankfully quite brief. The production design and costuming is, as
already mentioned, beyond reproach and truly sells the episode to the
viewer.
Overall, another very strong episode of Doctor Who that ranks alongside "The
Unquiet Dead" for its measured and layered approach to storytelling. Events
build very neatly throughout, and there are some genuinely unnerving moments
(mournful cries of "Mummy... mummy...Are you my mummy?" will be haunting
the nation's kids tonight!)
Hopefully part two will live up to the high benchmark set here...
Next Week: The adventure continues in The Doctor Dances with Captain
Harkness helping The Doctor and Rose to solve the mystery of The Empty
Child...
This website uses cookies to improve your experience. We'll assume you're ok with this, but you can opt-out if you wish.Accept
Privacy Overview
This website uses cookies to improve your experience while you navigate through the website. Out of these, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may affect your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.
Christopher Eccleston looks right at home with the tone of the story –
which deftly introduces moments of light comedy (writer Moffatt is more
famous for his sitcoms than sci-fi horror) and again gives The Doctor a
lightness of touch, yet without compromising his serious side. Eccleston
is, basically, settling into the role perfectly now – it's just a shame he's
four episodes away from his swansong...
