Broadcast in October 1979, City of Death is one of Doctor Who’s most celebrated stories, blending humour, intrigue, and high-concept science fiction with a dash of romance and art history. Written by Douglas Adams and Graham Williams under the pseudonym David Agnew, and directed by Michael Hayes, this 105th adventure is a sparkling jewel in the Fourth Doctor’s era. Set against the backdrop of Paris, it delivers a story as stylish as its setting, infused with wit, charm, and intellectual depth.
The Doctor and Romana find themselves in the City of Light, enjoying a leisurely holiday when they stumble upon a time-related anomaly. The source of this disruption leads them to the enigmatic Count Scarlioni, whose suave demeanor masks a sinister agenda. Scarlioni, an alien splintered across time, is using advanced technology to finance his plan to rewrite history. His scheme involves the theft of the Mona Lisa, an act that spirals into a whirlwind of time travel, duplicity, and existential stakes.
Tom Baker’s Fourth Doctor is in his element here, his playful energy perfectly complementing the story’s sophisticated tone. Baker revels in the script’s sharp dialogue, delivering lines with impeccable timing and infectious enthusiasm. His chemistry with Lalla Ward’s Romana adds a layer of warmth and humour, making their dynamic feel effortlessly natural. Together, they exude the charisma of two brilliant minds thoroughly enjoying each other’s company.
Lalla Ward’s Romana sparkles in this adventure, her intelligence and elegance fitting seamlessly into the Parisian setting. Ward’s portrayal balances Romana’s intellectual confidence with moments of light-heartedness, making her a perfect match for the Doctor. Her interactions with Scarlioni, particularly her ability to see through his schemes while maintaining a veneer of politeness, showcase her as an equal to the Doctor in every way.
Julian Glover’s Count Scarlioni is a masterclass in villainy, blending charm, menace, and a touch of tragedy. Glover’s performance anchors the story’s dramatic core, particularly in the revelation of his true identity as Scaroth, the last of the Jagaroth. The character’s fractured existence across time adds depth to his motivations, making him a complex and compelling antagonist. The juxtaposition of his suave exterior with his desperate quest for survival creates a memorable and multifaceted foe.
The production design deserves special praise. The use of location filming in Paris adds a sense of authenticity and grandeur, capturing the city’s vibrancy and romance. The scenes inside the Louvre and the Count’s opulent lair contrast beautifully with the stark, alien landscapes glimpsed in the Jagaroth’s past. These visual elements, combined with Dudley Simpson’s evocative score, create an atmosphere that is as captivating as the story itself.
From a thematic perspective, City of Death explores the intersections of art, history, and morality. The Mona Lisa’s central role in the plot serves as a symbol of humanity’s creative spirit, juxtaposed against Scaroth’s destructive ambitions. The story’s playful treatment of time travel underscores the importance of embracing life’s fleeting beauty, while its deeper themes highlight the ethical dilemmas of rewriting history for personal gain.
Revisiting City of Death, it’s striking how effortlessly it balances its comedic elements with genuine dramatic weight. Douglas Adams’s influence is unmistakable, with the script’s sparkling wit and inventive concepts elevating the story beyond traditional science fiction fare. The interplay between the Doctor, Romana, and Scarlioni ensures that every scene crackles with energy, while the supporting cast, including Catherine Schell as the Countess, adds further depth and charm.
The resolution, which sees the Doctor thwarting Scaroth’s plans while preserving the Mona Lisa and the integrity of history, is both satisfying and thought-provoking. The final moments in Paris, with the Doctor and Romana strolling through the city’s streets, offer a perfect coda to an adventure that celebrates the joy of discovery and the enduring power of art and imagination.
City of Death is a triumph of storytelling, a perfect blend of humour, drama, and style that captures the essence of what makes Doctor Who so enduringly beloved. Its themes, performances, and visual splendour ensure its place as a high point in the series’ history, a story that invites viewers to marvel at the wonders of the universe while reminding them of the treasures here on Earth.
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