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. 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. For whatever reason, the robots have decided that the only possible replacement part exists in the past. They are using their 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 David Tennant's performance. He has truly found the part by this episode. Instead of running around frantically, he 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 really brought out his essential, unending loneliness - the void which Madame de Pompadour picks up on and seems all-too-briefly to fill.
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 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. He and Rose 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, to provide it with its heart. She succeeds splendidly.
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 packed with disparate elements, every one of which pays off. It's remembered for its emotion, and it should be. But it also deserves credit for its structure. This is an episode with no fat, in which nothing is wasted. A single-parter that has more and richer content than most multi-parters.
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 for at least one second regrets it.
Technical credits are outstanding. The set design for the spaceship is dark and ominous, an effective contrast to 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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