From Newsgroup: rec.arts.drwho.moderated
From Address: jphalt{at}aol.com
Subject: The Girl in the Fireplace: my review

THE GIRL IN THE FIREPLACE

1 episode. Approx. 44 minutes. Written by: Steven Moffat. Directed by:
Euros Lyn. Produced by: Phil Collinson.


THE PLOT

The Doctor, Rose, and Mickey step out into a spaceship in the far
future. Mickey is thrilled to find himself in an entirely different
galaxy, but the Doctor realizes that something is wrong here. There's
enough power running through the ship to blast "a hole in the
universe," he muses.

The ship is populated by clockwork robots, who have killed the crew
and used their parts to repair storm damage. They are only missing one
part now. And for whatever reason, the robots have decided that the
only possible replacement part exists in the past. They are using that
immense power to create time windows, all of them opening to different
points in the life of Reinette Poisson (Sophia Myles), also known as
Madame de Pompadour. When they find the window that will lead them to
Reinette at age 37, they will kill her.

The Doctor starts searching the time windows himself, in an effort to
stop the robots - and in so doing becomes a part of Reinette's life,
entangling himself in ways he cannot anticipate.


CHARACTERS

The Doctor: This episode was produced in the production block after
School Reunion and New Earth, and it shows in Tennant's performance.
In School Reunion, there were bits of his performance that did not
work, particularly in the more frenetic scenes. He has truly found the
part by this episode. He's not trying to do too much, but instead is
able to maintain a certain stillness that makes his presence much more
powerful. With regard to the Doctor, the episode actually makes a good
follow-up to School Reunion. His interactions with Sarah Jane and Rose
in that episode really brought out his essential, unending loneliness
- the void which Madame de Pompadour picks up on and seems to all-too-
briefly fill in this one.

Rose: She seems to have gotten her bitchily jealous side sufficiently
exorcised in School Reunion, and is far more sympathetic to Reinette.
She still visibly reacts to the Doctor's bond with her, though. At the
end, when she asks, "Why her," it takes a moment for her to clarify
that she is asking why the ship targeted her. She clearly also wonders
why the Doctor can cross that emotional line with Reinette, but isn't
willing to do the same with her.

Mickey: His first trip in the TARDIS takes him into space, and he
reacts with enthusiasm. He grins at the sight of the stars outside the
ship, and is easily led into exploring the ship's corridors with Rose.
Rose's displeased reaction to his joining them at the end of the last
episode is thankfully gone here, and the two make an engaging pair as
she essentially mentors him in what it means to travel with the
Doctor. Rule one is apparently to break rule one and go ahead and
wander off.

Madame de Pompadour: Sophia Myles is the object of affection for both
the clockwork men and, ultimately, the Doctor himself. It's a risk,
creating a character to act as an explicit romantic interest for the
Doctor. But a combination of very smart writing and excellent acting
brings it off. Myles is enchanting, with lively, intelligent eyes and
a wonderfully expressive face. She's called upon to anchor the
episode, really, to provide it with its heart. She succeeds
splendidly, which is why the episode works so well.


THOUGHTS

The first genuinely great episode of David Tennant's tenure, The Girl
in the Fireplace is a masterful construction. It's a single episode,
absolutely packed with elements, every one of which pays off. It's
remembered for the emotion, and it should be. But it also deserves
credit for its masterful structure. It's an episode with no fat, in
which nothing is wasted. A single-parter that has more and richer
content than most multi-parters.

It is one of the most emotional episodes of the series. From the
Doctor's perspective, the entire relationship with Reinette occurs
over a single day. From her perspective, it is a series of meetings
across a lifetime. Somehow, the script and the two actors convincingly
convey a relationship, or at least the potential of one. The look on
the Doctor's face, when Reinette replies to his flippant "Wish me
luck" with a tearful "No," is perfect. In that instant, the Doctor
realizes what he's walking away from, and at least for a second
regrets it.

Technical credits are outstanding. The set design for the spaceship is
suitably dark and ominous, and an effective contrast against the
bright color of the Palace of Versailles. The music score is one of
the series' best, and I enjoyed the way the score evolved with the
episode. Very tinkly, almost like a music box, when it is accompanying
the child Reinette. Richer, full orchestral for the adult Reinette.

It's just one of those episodes where it all comes together. An
expertly structured script, outstanding performances, strong technical
credits. Plus that little something else that separates a good episode
from a great one.


Rating: 10/10.

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