Episode 38 (H2): Guests of Madame Guillotine

Following a recap to remind us that the Doctor is unconscious in a burning farmhouse we are presented with an old picture of Paris with the city's name overlaid and brassy martial music; then stock footage of the eponymous weapon of mass execution (invented in Yorkshire, as a matter of fact); followed by another woodcut-style city scene with more music and a fade to the outside of the Conciergerie Prison, "Death's Antechamber", where we see two of les tricoteuses sitting knitting outside the gates. This is a great way of changing the scene and filling us in a little on the background at the same time. It also conjures up a lot of associations for me, including the Loose Cannon reconstruction of The Massacre and the scene-changing techniques of many late 1960s ITV programs, such as The Champions.

Although the setting is a time and place where thousands were being executed, this is the episode that was filmed on the day I came into the world; they would have been in rehearsal during the actual birth. It was also a double holiday, as William Russell and Verity Lambert were both away for a fortnight. Russell's absence is handled very well (for the most part); thanks to prefilmed sequences he plays a significant part in the plot, and the episode even ends with a closeup of his face as he watches Susan and Barbara being led to the guillotine (again held for a while as the credits start to roll). The exception is the very first shot, where he is supposed to be standing next to the others but rather obviously isn't.

Meanwhile the Doctor is recovering from his role in the last cliffhanger, having been rescued by the boy from the previous episode. He's the first genuine child actor with a speaking role in the series, and he does a pretty good job of it. He doesn't look quite so much as if he stepped out of a production of Oliver! this time, either, which helps with taking things seriously.

Then we get something new for the show - the very first location shots. These are worked into the surrounding studio work very artfully, so they enhance the realism in a natural way. It's like special effects these days: done properly they help with immersion rather than screaming "look at me! aren't I something special?"

The direction and camerawork takes a big step up in this episode. I was wondering if it would, given past experience; but I was also trying not to get too hopeful. Which is a character flaw I've been battling with - I try so hard not to be disappointed that I avoid hopefulness. Ah, well, I'll get past that someday. Hopefully.

Anyway, to get back to the direction: we have good lighting once again, but this time the framing and the use of space is much improved. Partly it's the availability of location work, which means we do have some longer shots; but Henric Hirsch also does a better job of hiding the cramped conditions. For some scenes, of course - I'm particularly thinking of Susan and Barbara in prison - "cramped" is entirely appropriate.

The sets and costumes are great this time, and the plot really gets going. There's a good blend of moods, with quiet horror and heroic determination in the prison, and black comedy with the Doctor and the roadworks overseer outside. There are touching moments throughout; Susan's reaction to her enforced lack of information about her grandfather (who she last saw in deadly peril) is a mirror of the Doctor's reaction in The Transit of Venus - or perhaps that should be the other way round?

Fingers crossed for episode three!

Broadcast:
Date: Saturday, 15th August 1964
Viewers: 6.9 million
Chart Position: 35
Appreciation Index: 54

Rating:
7/10.

Next Time:
A Change of Identity.

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