Here, Moffat delivers one of the best scripts he'll ever submit during his tenure as showrunner - gifting fans with a new, charming take on Charles Dickens' classic novel - written by the very author who featured in his friend Mark Gatiss' "The Unquiet Dead" during the 1st season in 2005 (played by the respected thespian Simon Callow) - & whose work the protagonist was not only supposedly a fan of, but influenced by so greatly, his spooky tale ingeniously acted as much needed inspiration to solve the problem he's confronted with during this episode. I know. Meta.
It's a fiercely intelligent, self aware installment, somehow providing the perfect explanation as to how the narrative is able to adapt the timeless story - without actually being an adaptation or breaking the fourth wall - joyously toying with the complex, contradictory, timey-wimey absurdity whilst simultaneously adding a unique twist that blends the worlds of sci-fi & fantasy in order to for it to fit comfortably inside the realm of "Who". This perfect balance is supported by the incredibly creative mind at the helm, Toby Haynes - a strong & indomitable director (whose work speaks for itself) paired with his trusted DoP Stephan Pehrsson - who together (alongside new production designer, Michael Pickwoad) create one of the most visually captivating outings in the show's history, using their combined talents to further elevate the quality of the screenplay they're tasked with bringing to life - & in that endeavour they most assuredly do succeed, imbuing each & every sequence with a gorgeous sense of awe & wonder. Additionally, in those aforementioned magical scenes, lead Matt Smith clearly thrills in filling them with his increasingly magnetic presence, enjoying his time in the spotlight (away from his beloved companions - who play a minor supporting role), capitalising on his rare chance to showcase his abilities by himself as an actor, delivering a powerhouse performance - holding his own against a living legend like Michael Gambon.
It's no understatement either to acknowledge how stunning the use lighting is throughout & how considerate crew members involved were when planning their evidently conscientious compositions; even with the enjoyably experimental framing & inventive aesthetics - which are captured through some notably impressive & confident camera movements that really do accentuate how easily immersed one can be in the otherworldly environments (under the watchful eye of a visionary such as Haynes) - what enamours most are the nuances that Stephan Pehrsson manages to also include - proving himself to be one of the the most valuable contributors to the show since its revival. For instance, as the plot chronicles the Doctor's battle for the heart & soul of Kazran, his cinematography physically manifests the duality of his nature by providing a meticulous visualisation of the antagonist's inner turmoil; reflecting that fight between good & evil by expertly utilising purposeful light so as to ensure that one half of his face remains in perpetual, cold shadow, symbolising the struggle between light / darkness, bathing the other side of his face in a constant yellow warmth - the same colour that's deliberately emitted from the tomb which houses the love of his life, Abigail. This intentional creative decision only helps to subliminally reinforce the themes of Steven's script, reasserting the beneficial outlook Mr Sardick has on life due to his relationship with Catherine Jenkins' character - as she is responsible for melting his icy heart.
One could even argue further; she's maybe the embodiment of his heart; as his introduction establishes him as the Ebenezer Scrooge equivalent, she's wheeled out at the exact same moment & presented to him from the chilly lake beneath, frozen & forgotten - but as the persistent time traveller meddles with his personal history, Kazran's vital organ thaws unnaturally as she does - & reaffirming that hypothetical interpretation. It is coincidental how whatever condition she is found in at any point in the plot's progression, that state consistently matches his emotional one. Again, it's subtle but poetry, nonetheless.
Truly, the level of craftsmanship & sheer consideration behind the camera pays off & the care that is put in to making everything work on screen is mind-blowing. That's not uncommon within the media industry & my acknowledgement of their artistry isn't a trivialisation of the everyone else's but specifically with this hour of television, the efforts are genuinely deserving of immense appreciation from audiences & fans alike.
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