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{{real world}} | {{real world}} | ||
{{ImageLinkTV}} | {{ImageLinkTV}} | ||
{{Infobox Story | {{Infobox Story SMW | ||
|image = MonaLisaPostcard.jpg | |image = MonaLisaPostcard.jpg | ||
|series = [[Doctor Who television stories|''Doctor Who'' television stories]] | |series = [[Doctor Who television stories|''Doctor Who'' television stories]] | ||
|season number = Season 17 | |season number = Season 17 (Doctor Who 1963)| | ||
|season serial number = 2 | |season serial number = 2 | ||
|story number = 105 | |story number = 105 | ||
| Line 14: | Line 14: | ||
|enemy = [[Scaroth]] | |enemy = [[Scaroth]] | ||
|setting = {{il|[[Paris]], [[1979]]|[[Florence]], [[1505]]|[[Earth]], the [[distant past]]}} | |setting = {{il|[[Paris]], [[1979]]|[[Florence]], [[1505]]|[[Earth]], the [[distant past]]}} | ||
|writer = | |writer = David Agnew (writer) | ||
|director = [[Michael Hayes]] | |director = [[Michael Hayes]] | ||
|producer = [[Graham Williams]] | |producer = [[Graham Williams]] | ||
|epcount = 4 | |epcount = 4 | ||
|broadcast date = | |broadcast date = 29 September - 20 October 1979 | ||
|network = | |network = BBC1 | ||
|format = 4x25-minute episodes | |format = 4x25-minute episodes | ||
|serial production code = [[List of production codes|5H]] | |serial production code = [[List of production codes|5H]] | ||
| Line 28: | Line 28: | ||
|bts = DVD Special Feature Dudley Simpson - Doctor Who The Sun Makers - BBC | |bts = DVD Special Feature Dudley Simpson - Doctor Who The Sun Makers - BBC | ||
}} | }} | ||
'''''City of Death''''' was the second serial of [[season 17]] of ''[[Doctor Who]]''. It was first story to be filmed on location outside the [[UK]]. | '''''City of Death''''' was the second serial of [[Season 17 (Doctor Who 1963)|season 17]] of ''[[Doctor Who]]''. It was first story to be filmed on location outside the [[UK]], being filmed in [[Paris]]. | ||
If one follows the suggestion in the short story ''[[The Lying Old Witch in the Wardrobe (short story)|The Lying Old Witch in the Wardrobe]]'' that ''[[Destiny of the Daleks (TV story)|Destiny of the Daleks]]'' featured [[the Doctor's TARDIS]] posing as Romana rather than the real Time Lady, it was also the first story to feature [[Lalla Ward]] as | If one follows the suggestion in the short story ''[[The Lying Old Witch in the Wardrobe (short story)|The Lying Old Witch in the Wardrobe]]'' that ''[[Destiny of the Daleks (TV story)|Destiny of the Daleks]]'' featured [[the Doctor's TARDIS]] posing as [[Romana]] rather than the real Time Lady, it was also the first story to feature [[Lalla Ward]] as Romana. | ||
The story marked [[Julian Glover]]'s second guest appearance on the series, having previously played another character in [[The Crusade (TV story)| | The story marked [[Julian Glover]]'s second guest appearance on the series, having previously played another character in ''[[The Crusade (TV story)|The Crusade]]''. It also featured a guest appearance by former ''[[Space: 1999]]'' star [[Catherine Schell]], as well as cameos by comedic actors [[John Cleese]] and [[Eleanor Bron]]. | ||
''City of Death'' had the highest average viewing figure of the [[Tom Baker]] era, with a rating of 14.5 million. It also has the all-time highest rating for an individual episode with 16.1 million. However, this rating is somewhat misleading, as the story was transmitted at a time when [[ITV]] were on strike, and therefore it transmitted without significant opposition. | ''City of Death'' had the highest average viewing figure of the [[Tom Baker]] era, with a rating of 14.5 million. It also has the all-time highest rating for an individual episode with 16.1 million. However, this rating is somewhat misleading, as the story was transmitted at a time when [[ITV]] were on strike, and therefore it transmitted without significant opposition. | ||
In 2023, despite ''City of Death'' ranking as the most popular [[Fourth Doctor]] TV story ahead of ''[[Genesis of the Daleks (TV story)|Genesis of the Daleks]]'' in a poll by ''[[Doctor Who Magazine]]'',<ref name="dwm 590">[[DWM 590]]</ref>{{note|Polls by DWM are statistically invalid, as they do not feature a random sample of people. Respondents choose to participate on their own initiative, and are made aware of the poll because they subscribe to or at least frequently buy DWM. Thus, the poll is clearly weighted towards ''Doctor Who'' fans who are also residents of the United Kingdom. The views reflected almost certainly do not represent the "casual" viewer of ''Doctor Who'', non-English speaking fans, or other groups of fans who simply don't read or have access to DWM.}}, a later ''DWM'' poll that year with a shortlist of 37 finalists including the two aforementioned stories declared ''City of Death'' the eighth most popular TV story of the first 60 years of ''Doctor Who'', behind ''Genesis of the Daleks'', which placed third.<ref name="dwm 597">[[DWM 597]]</ref> | |||
== Synopsis == | == Synopsis == | ||
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[[Paris]], [[1979]]: the [[Fourth Doctor]] and [[Romana II]] are at the top of the [[Eiffel Tower]], admiring the view. The Doctor decides to take his companion to [[lunch]] at a particularly fine local restaurant and they take the elevator (after briefly contemplating flying). They take the [[Paris Metro]] and cross several streets to get to a place which the Doctor claims do a wonderful [[bouillabaisse]]. | [[Paris]], [[1979]]: the [[Fourth Doctor]] and [[Romana II]] are at the top of the [[Eiffel Tower]], admiring the view. The Doctor decides to take his companion to [[lunch]] at a particularly fine local restaurant and they take the elevator (after briefly contemplating flying). They take the [[Paris Metro]] and cross several streets to get to a place which the Doctor claims do a wonderful [[bouillabaisse]]. | ||
At a château with a gargoyle's face on one of its doors, [[Fyodor Nikolai Kerensky|Professor Kerensky]] complains of lack of funds for the experiments he is conducting for his employer, Count [[Scaroth|Carlos Scarlioni]]. The Count gives him | At a château with a gargoyle's face on one of its doors, [[Fyodor Nikolai Kerensky|Professor Kerensky]] complains of lack of funds for the experiments he is conducting for his employer, Count [[Scaroth|Carlos Scarlioni]]. The Count gives him one million [[French franc|francs]] but the Professor insists he will certainly need more to keep the experiments going. | ||
At the restaurant, the Doctor and Romana experience a time distortion while an artist is sketching Romana, but he crumples the paper and throws it to the floor as she moves to observe him. They examine the discarded sketch and see that instead of Romana's face, there is a clock face.... with a crack in it, almost like a crack in time. The Doctor thinks this gravely important. Romana suggests they sit outside, just in case. | At the restaurant, the Doctor and Romana experience a time distortion while an artist is sketching Romana, but he crumples the paper and throws it to the floor as she moves to observe him. They examine the discarded sketch and see that instead of Romana's face, there is a clock face.... with a crack in it, almost like a crack in time. The Doctor thinks this gravely important. Romana suggests they sit outside, just in case. | ||
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Romana, having moved off for a few moments, returns and asks what she said. Before the Doctor can answer, there is another time slip back to the guide approaching the Doctor. The Doctor stumbles into her, passes by others and then collapses onto a bench where a lady was reading. | Romana, having moved off for a few moments, returns and asks what she said. Before the Doctor can answer, there is another time slip back to the guide approaching the Doctor. The Doctor stumbles into her, passes by others and then collapses onto a bench where a lady was reading. | ||
A man in a trenchcoat gets the crowd out of the way and gets the Doctor on to the bench. When the man, [[Duggan]], asks if he is all right, the Doctor tells him he just dented his head on his gun. Romana gets him up and takes him out. The lady on the bench nods to a man in a hat to follow. Duggan has already left to follow the Doctor and Romana. | A man in a trenchcoat gets the crowd out of the way and gets the Doctor on to the bench. When the man, [[Duggan]], asks if he is all right, the Doctor tells him he just dented his head on his [[gun]]. Romana gets him up and takes him out. The lady on the bench nods to a man in a hat to follow. Duggan has already left to follow the Doctor and Romana. | ||
Duggan follows Romana and the Doctor through Paris. When they arrive at another cafe, Romana tells the Doctor they have been followed. The Doctor knows: "By that idiot with the gun". He tells Romana to look in her pocket. She takes out a bracelet the Doctor removed from the woman in the Louvre. It is a [[micromeson scanner]] which someone is using to monitor the alarms in the Louvre around the ''Mona Lisa''. Romana thinks the bracelet is too advanced a piece of technology for a [[Level 5 planet|level 5 civilisation]]. He tells her the bracelet is not the product of an Earth civilisation. She asks if an alien is trying to steal the painting. Duggan turns up, pointing a gun into the Doctor's back. | Duggan follows Romana and the Doctor through Paris. When they arrive at another cafe, Romana tells the Doctor they have been followed. The Doctor knows: "By that idiot with the gun". He tells Romana to look in her pocket. She takes out a bracelet the Doctor removed from the woman in the Louvre. It is a [[micromeson scanner]] which someone is using to monitor the alarms in the Louvre around the ''Mona Lisa''. Romana thinks the bracelet is too advanced a piece of technology for a [[Level 5 planet|level 5 civilisation]]. He tells her the bracelet is not the product of an Earth civilisation. She asks if an alien is trying to steal the painting. Duggan turns up, pointing a gun into the Doctor's back. | ||
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=== Part two === | === Part two === | ||
[[File:Doctor_plays_the_fool.jpg|thumb|left|"My dear, ''nobody'' could be as stupid as ''he'' seems."]] | [[File:Doctor_plays_the_fool.jpg|thumb|left|"My dear, ''nobody'' could be as stupid as ''he'' seems."]] | ||
Two thugs shove the Doctor, Romana and Duggan into the château. Hermann takes them to the lounge and shoves the Doctor in at gunpoint. The Doctor falls but gets up, delighted by “such a wonderful butler: he's so violent.” On his knees, he introduces Romana, Duggan and himself to the Countess. The Doctor crawls to a [[Louis Quinze]] chair. Dismissing Hermann, he invites himself to a drink and seats Romana and Duggan, preparing drinks for them too. He tells her he is a thief, Romana his | Two thugs shove the Doctor, Romana and Duggan into the château. Hermann takes them to the lounge and shoves the Doctor in at gunpoint. The Doctor falls but gets up, delighted by “such a wonderful butler: he's so violent.” On his knees, he introduces Romana, Duggan and himself to the Countess. The Doctor crawls to a [[Louis Quinze]] chair. Dismissing Hermann, he invites himself to a drink and seats Romana and Duggan, preparing drinks for them too. He tells her he is a thief, Romana his accomplice and Duggan the detective who caught him. When the Countess tells him she was under the impression that Duggan was following ''her'', the Doctor says she is “a beautiful woman, probably” and that Duggan was likely after a dinner date. She asks who sent him. The Countess lets him know that the more he tries to convince her he is a fool, the more she will think otherwise. Romana picks up a [[Chinese puzzle box]]. The Countess insists she put it down, as she will never solve it; Romana opens it in seconds and takes out the bracelet. The Count enters and takes the bracelet. He seems curiously happy to meet these strangers, although he insists upon knowing why the Doctor took his wife's bracelet. The Count ends the interview, making the Doctor jump up and talk of lunch with Duggan and Romana. When Duggan picks up a chair in defence, the Doctor asks what is it he thinks he is doing with a priceless Louis Quinze. Because Hermann can shoot Duggan, the Doctor pretends to care more about the chair not being damaged. The Count orders Hermann to show them the [[cellar]] they will be locked in. | ||
As he enthusiastically leads the way into the cellar, the Doctor questions Hermann. He learns that the château was built four or five hundred years before. The Doctor catches a glimpse of the equipment before Hermann locks them in a cellar closet and gives them a | As he enthusiastically leads the way into the cellar, the Doctor questions Hermann. He learns that the château was built four or five hundred years before. The Doctor catches a glimpse of the equipment before Hermann locks them in a cellar closet and gives them a lamp which will last two or three hours. Duggan asks the Doctor what he is playing at - they could have escaped at least twice. The Doctor tells him his plan: let them think they have them safe and escape after finding out what they came for. He takes out [[the Doctor's sonic screwdriver|his sonic screwdriver]] to open the door to the cell. | ||
Romana calculates the horizontal length of the stairs and figures there must be an unseen area of the room. The Doctor, impressed by Romana's mathematical skill, wants to look at the lab first. | Romana calculates the horizontal length of the stairs and figures there must be an unseen area of the room. The Doctor, impressed by Romana's mathematical skill, wants to look at the lab first. | ||
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The Count has created a mock-up of part of the Louvre in the lounge for a holographic dress rehearsal to demonstrate his plan to steal the ''Mona Lisa''. He uses a sonic knife to cut through the glass with ease, then uses his device to disrupt the air around the laser beams so he can get to the painting. After the rehearsal ends, the Count switches off a holographic projector, which has created the Louvre scene, and the surroundings change back to the lounge. The Count removes the Countess' bracelet from the projector and returns it to her, saying she must wear it always. When she asks how he did it, he smiles enigmatically and says he comes from a family of geniuses. | The Count has created a mock-up of part of the Louvre in the lounge for a holographic dress rehearsal to demonstrate his plan to steal the ''Mona Lisa''. He uses a sonic knife to cut through the glass with ease, then uses his device to disrupt the air around the laser beams so he can get to the painting. After the rehearsal ends, the Count switches off a holographic projector, which has created the Louvre scene, and the surroundings change back to the lounge. The Count removes the Countess' bracelet from the projector and returns it to her, saying she must wear it always. When she asks how he did it, he smiles enigmatically and says he comes from a family of geniuses. | ||
[[File:Mona_lisas.jpg|thumb|left|A hidden cache of ''Mona Lisa''s.]] | [[File:Mona_lisas.jpg|thumb|left|A hidden cache of ''Mona Lisa''s.]] | ||
The Doctor chisels on the brick. He tells Romana that the professor thinks he's breeding chickens but Scarlioni is using the equipment to distort time. Duggan tells them there are seven people in his address book that would be willing to pay for the ''Mona Lisa'' for their private collection. To get through the last bricks, the Doctor needs some machinery. Duggan obliges by knocking into the wall. Inside, the trio finds a cupboard with a ''Mona Lisa'' inside - one that the Doctor claims is the real one. He finds five other "real" ''Mona Lisas''. The Doctor recognises the pigment and the brushwork of [[Leonardo da Vinci]]. Duggan explains that if there was a ''Mona Lisa'' hanging in the Louvre, no one would buy the others: they would each have to think they were buying the stolen one. The Doctor, impressed, says he would not make a very good criminal. The Count appears behind them and tells him, "No, good criminals don't get caught." Duggan knocks out Scarlioni, allowing them to go upstairs and sneak back into the house after knocking out the Countess, who was attempting to ambush them by herself. He asks Romana to look after Duggan as he leaves to meet a middle-aged Italian in the [[Renaissance]]. | The Doctor chisels on the brick. He tells Romana that the professor thinks he's breeding chickens but Scarlioni is using the equipment to distort time. Duggan tells them there are seven people in his [[address book]] that would be willing to pay for the ''Mona Lisa'' for their private collection. To get through the last bricks, the Doctor needs some machinery. Duggan obliges by knocking into the wall. Inside, the trio finds a cupboard with a ''Mona Lisa'' inside - one that the Doctor claims is the real one. He finds five other "real" ''Mona Lisas''. The Doctor recognises the pigment and the brushwork of [[Leonardo da Vinci]]. Duggan explains that if there was a ''Mona Lisa'' hanging in the Louvre, no one would buy the others: they would each have to think they were buying the stolen one. The Doctor, impressed, says he would not make a very good criminal. The Count appears behind them and tells him, "No, good criminals don't get caught." Duggan knocks out Scarlioni, allowing them to go upstairs and sneak back into the house after knocking out the Countess, who was attempting to ambush them by herself. He asks Romana to look after Duggan as he leaves to meet a middle-aged Italian in the [[Renaissance]]. | ||
He arrives at the Denise Rene Art Gallery, where [[the Doctor's TARDIS|the TARDIS]] is parked. He goes inside and says hello to [[K9]], and asks how he is. The TARDIS dematerialises. | He arrives at the Denise Rene Art Gallery, where [[the Doctor's TARDIS|the TARDIS]] is parked. He goes inside and says hello to [[K9]], and asks how he is. The TARDIS dematerialises. | ||
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Meanwhile, the professor has found the secret room, the other copies of the painting and the unconscious Count. As the Count stirs, he talks in his slumber - the same conversation he is having with the Doctor more than four centuries earlier. | Meanwhile, the professor has found the secret room, the other copies of the painting and the unconscious Count. As the Count stirs, he talks in his slumber - the same conversation he is having with the Doctor more than four centuries earlier. | ||
Back in Renaissance Italy, Tancredi wants to know how the Doctor came to be in this time and country. The Doctor rambles off an excuse, claiming he randomly "pops" out of time and space willy-nilly, but Tancredi's not fooled by this. Tancredi explains he is the last of the Jagaroth, and their saviour. The Doctor has heard of the Jagaroth: they destroyed themselves in a war some [[Distant past|four hundred million years ago]]. A few escaped in a dilapidated spacecraft and found Earth in a primeval, lifeless stage of its development. The ship disintegrated on take-off. Scaroth tells of how he was fractured in time, splinters of his being scattered across time and space, all identical, none complete. Scaroth asks what the mysterious blue box is. The Doctor acts as though he has never seen it before. He finds the (original) ''Mona Lisa'' and realises the Count's plan to produce more. While Scaroth collects the instruments of torture, the guard is instructed to confiscate the Doctor's tongue if the Doctor talks. | Back in Renaissance Italy, Tancredi wants to know how the Doctor came to be in this time and country. The Doctor rambles off an excuse, claiming he randomly "pops" out of time and space willy-nilly, but Tancredi's not fooled by this. Tancredi explains he is the last of the Jagaroth, and their saviour. The Doctor has heard of the Jagaroth: they destroyed themselves in a war some [[Distant past|four hundred million years ago]]. A few escaped in a dilapidated spacecraft and found Earth in a primeval, lifeless stage of its development. The ship disintegrated on take-off. Scaroth tells of how he was fractured in time, splinters of his being scattered across time and space, all identical, none complete. Scaroth asks what the mysterious blue box is. The Doctor acts as though he has never seen it before. He finds the (original) ''Mona Lisa'' and realises the Count's plan to produce more. While Scaroth collects the instruments of [[torture]], the guard is instructed to confiscate the Doctor's tongue if the Doctor talks. | ||
[[File: Cityofdeathmolalisacanvass.jpg|left|thumb|The [[Fourth Doctor]] writes "THIS IS A FAKE" on the Mona Lisa canvasses.]] | [[File: Cityofdeathmolalisacanvass.jpg|left|thumb|The [[Fourth Doctor]] writes "THIS IS A FAKE" on the Mona Lisa canvasses.]] | ||
The Doctor tries to humour the guard, telling him Tancredi is mad, to no avail; the guard says that when you work for the [[Borgia]]s, you believe anything. The Doctor distracts and then knocks out his guard. He goes to the canvasses for the extra ''Mona Lisa''s, writes "THIS IS A FAKE" in felt tip pen and puts them face down. He also writes a quick note to Leonardo, "Dear Leo, sorry to have missed you. Hope you're well. Sorry about the mess on the panels, just paint over them, there's a good chap. See you earlier, love the Doctor." As he is about to leave, Tancredi returns with the thumbscrews. | The Doctor tries to humour the guard, telling him Tancredi is mad, to no avail; the guard says that when you work for the [[Borgia]]s, you believe anything. The Doctor distracts and then knocks out his guard. He goes to the canvasses for the extra ''Mona Lisa''s, writes "THIS IS A FAKE" in felt tip pen and puts them face down. He also writes a quick note to Leonardo, "Dear Leo, sorry to have missed you. Hope you're well. Sorry about the mess on the panels, just paint over them, there's a good chap. See you earlier, love the Doctor." As he is about to leave, Tancredi returns with the thumbscrews. | ||
Romana painstakingly uses her sonic screwdriver to get into the closed cafe that night. Duggan smashes a window and climbs in. As they discuss the Count's plan, Duggan has an epiphany. How did the Count know where the bricked-up ''Mona Lisa''s were and how did he know where to get them? Even Romana is stumped. | Back in Paris, Romana painstakingly uses her sonic screwdriver to get into the closed cafe that night. Duggan smashes a window and climbs in. As they discuss the Count's plan, Duggan has an epiphany. How did the Count know where the bricked-up ''Mona Lisa''s were and how did he know where to get them? Even Romana is stumped. | ||
The Count shows Kerensky the end product of his labours: what he will make. The professor cannot believe his eyes: the plan will increase the very part of the project that Kerensky was trying to eliminate. It can work both ways. Kerensky thinks it is monstrous, what he is trying to do. He will never, ever do such a thing. Anyway, even the Count cannot afford such equipment. Hermann comes with the ''Mona Lisa'' from the Louvre. The Count tells the professor to continue with the work or he will die. | The Count shows Kerensky the end product of his labours: what he will make. The professor cannot believe his eyes: the plan will increase the very part of the project that Kerensky was trying to eliminate. It can work both ways. Kerensky thinks it is monstrous, what he is trying to do. He will never, ever do such a thing. Anyway, even the Count cannot afford such equipment. Hermann comes with the ''Mona Lisa'' from the Louvre. The Count tells the professor to continue with the work or he will die. | ||
The thumbscrews are on the Doctor's hand and the Doctor winces | The thumbscrews are on the Doctor's hand and the Doctor winces – the guard's hands are cold. He cannot stand being tortured by someone with cold hands, so he reveals that he is a [[Time Lord]]. Tancredi asks about the girl and the Doctor stalls for time. As the guard moves to the thumbscrews, the Doctor asks a question – how he communicates with his other selves across time. | ||
Back in [[1979]], the Countess gleefully talks to her husband about their recent heist. When she proudly thinks of the money they will get after their monumental theft of the ''Mona Lisa'', the Count brags about the building of the Pyramids, mapping the heavens, inventing the wheel and fire and bringing up a whole race from nothing to save his own: he just wants a single life and to spare the lives of his people. He hears a voice and asks his bemused spouse to leave him. Once she has gone, he communicates briefly with his 1505 self but it proves immensely draining for both. Taking advantage of the distraction, the Doctor dashes into the TARDIS. The guard attempts to tell the Captain but he is dismissed by Tancredi. All the splinters of Scaroth appear and converse; there seem to be twelve of him, including versions living in ancient [[Egypt]], [[Neanderthal]] days and classical [[Rome]]. The Doctor watches him on the TARDIS scanner as he proclaims that the centuries dividing him will be undone. The TARDIS dematerialises. It is now that Scarlioni realises the truth about the Doctor and | Back in [[1979]], the Countess gleefully talks to her husband about their recent heist. When she proudly thinks of the money they will get after their monumental theft of the ''Mona Lisa'', the Count brags about the building of the Pyramids, mapping the heavens, inventing the wheel and fire and bringing up a whole race from nothing to save his own: he just wants a single life and to spare the lives of his people. He hears a voice and asks his bemused spouse to leave him. Once she has gone, he communicates briefly with his 1505 self but it proves immensely draining for both. Taking advantage of the distraction, the Doctor dashes into the TARDIS. The guard attempts to tell the Captain but he is dismissed by Tancredi. All the splinters of Scaroth appear and converse; there seem to be twelve of him, including versions living in ancient [[Egypt]], [[Neanderthal]] days and classical [[Rome]]. The Doctor watches him on the TARDIS scanner as he proclaims that the centuries dividing him will be undone. The TARDIS dematerialises. It is now that Scarlioni realises the truth about the Doctor and the girl... | ||
The Doctor returns to the same museum in Paris, 1979. | The Doctor returns to the same museum in Paris, 1979. | ||
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An armed man catches the Doctor in the château. The Doctor asks a maid to get the Count for him. The Doctor finds the Countess waiting for him. | An armed man catches the Doctor in the château. The Doctor asks a maid to get the Count for him. The Doctor finds the Countess waiting for him. | ||
Hermann tells the Count the Doctor has arrived, but he has already guessed this. As the Doctor enters a debate with the Countess about charm, [[discretion]] and [[blind]]ness (specifically, the Countess's | Hermann tells the Count the Doctor has arrived, but he has already guessed this. As the Doctor enters a debate with the Countess about charm, [[discretion]] and [[blind]]ness (specifically, the Countess's wilful blindness), he casually mentions that a green, one-eyed chap is ransacking the treasures of the art world to save his species, the Jagoroth. At this moment Hermann arrives and takes the Time Lord to meet his master, leaving the Countess to ponder on the thought. She removes a hidden book cabinet and takes out an ancient [[Egypt]]ian scroll... only to find a one-eyed, green "god" exactly as the Doctor described! | ||
In the lab, the Doctor asks Romana what she is building. It must be a Gallifreyan egg timer or some such - after all, he would be angry to find | In the lab, the Doctor asks Romana what she is building. It must be a Gallifreyan egg timer or some such - after all, he would be angry to find her making a time machine. Duggan asks politely if they could get him out of his cell. The Count demands the Doctor help him. Of course, the Time Lord refuses - after all, he is a trained professional. Romana insists all is fine - Scarlioni only wants to go back in time to reunite himself. He goes to say his final goodbyes to his wife, asking his butler to kill the trio any way he likes. | ||
[[File:Scarlioni_v_scarlioni.jpg|thumb|left|The Countess demands to know her husband's identity.]] | [[File:Scarlioni_v_scarlioni.jpg|thumb|left|The Countess demands to know her husband's identity.]] | ||
Entering the lounge, the Count finds his wife aiming a gun at him and demanding what on Earth she married. He smiles, informing her how easy it was to keep surprises from her — a fur coat here, a trinket there... It is now that Scaroth reveals his true visage and thanks to his wife for always wearing that bracelet he gave her. He presses the centre of his signet ring, and a charge of electricity goes through the bracelet and quickly kills the Countess. Scaroth takes the opportunity to tell his dead wife he is sorry she had to die, but it doesn't matter — soon, she would never have existed. | Entering the lounge, the Count finds his wife aiming a gun at him and demanding what on Earth she married. He smiles, informing her how easy it was to keep surprises from her — a fur coat here, a trinket there... It is now that Scaroth reveals his true visage and thanks to his wife for always wearing that bracelet he gave her. He presses the centre of his signet ring, and a charge of electricity goes through the bracelet and quickly kills the Countess. Scaroth takes the opportunity to tell his dead wife he is sorry she had to die, but it doesn't matter — soon, she would never have existed. | ||
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In the museum where the TARDIS is, a [[Art gallery visitor (City of Death)|man]] and woman discuss the function of the sublime colours of the "redundant" TARDIS. Romana and Duggan follow the Doctor past them, the Doctor tossing his scarf over his shoulder to almost hit the man and Romana. The trio goes inside the TARDIS and it dematerialises. The woman considers this "exquisite". | In the museum where the TARDIS is, a [[Art gallery visitor (City of Death)|man]] and woman discuss the function of the sublime colours of the "redundant" TARDIS. Romana and Duggan follow the Doctor past them, the Doctor tossing his scarf over his shoulder to almost hit the man and Romana. The trio goes inside the TARDIS and it dematerialises. The woman considers this "exquisite". | ||
The Doctor is following the time trace made by the Jagaroth to four hundred million years ago. The Doctor, getting out of the TARDIS on barren ground, tells Duggan that they are standing on what will be the middle of the Atlantic Ocean. Romana tells the Doctor that Duggan is "out of his depth". The Doctor finds the Jagaroth ship and the [[primordial soup|amniotic fluid]] from which all life on Earth will spring in the inert soup of low slurry. Amino acids form and fuse to make cells which develop into animal and vegetable life. Romana points out the Jagaroth's ship's thrust motors are damaged and they will try to take off on warp drive. The explosion which caused Scarlioni to splinter into time also caused the birth of the entire human race. Scaroth is there and calls to his brothers to stop trying to take off. The Doctor tells him he has "thrown the dice once" and "you don't get a second turn". Scaroth threatens to make history change, but Duggan steps forward and punches him — knocking the alien out cold. The Doctor tells Duggan that was "the most important punch in history". The trio watch as the unconscious Scaroth's time expires and he vanishes back to 1979. Duggan points out that the ship is about to take off. The trio rush back into the TARDIS and it dematerialises. The Jagaroth ship takes off and explodes, as it should. A mass of flame and radiation ignites the slurry soup. | The Doctor is following the time trace made by the Jagaroth to [[distant past|four hundred million years ago]]. The Doctor, getting out of the TARDIS on barren ground, tells Duggan that they are standing on what will be the middle of the [[Atlantic Ocean]]. Romana tells the Doctor that Duggan is "out of his depth". The Doctor finds the Jagaroth ship and the [[primordial soup|amniotic fluid]] from which all life on Earth will spring in the inert soup of low slurry. Amino acids form and fuse to make cells which develop into animal and vegetable life. Romana points out the Jagaroth's ship's thrust motors are damaged and they will try to take off on warp drive. The explosion which caused Scarlioni to splinter into time also caused the birth of the entire human race. Scaroth is there and calls to his brothers to stop trying to take off. The Doctor tells him he has "thrown the dice once" and "you don't get a second turn". Scaroth threatens to make history change, but Duggan steps forward and punches him — knocking the alien out cold. The Doctor tells Duggan that was "the most important punch in history". The trio watch as the unconscious Scaroth's time expires and he vanishes back to 1979. Duggan points out that the ship is about to take off. The trio rush back into the TARDIS and it dematerialises. The Jagaroth ship takes off and explodes, as it should. A mass of flame and radiation ignites the slurry soup. | ||
Scaroth reappears at the château within the time field. Hermann sees this and before the monster can convince him that he is the Count, shouting "No, Hermann. It's me...!", the butler picks up a pot and throws it at the equipment, triggering an explosion that kills Scaroth and sets the château ablaze. | Scaroth reappears at the château within the time field. Hermann sees this and before the monster can convince him that he is the Count, shouting "No, Hermann. It's me...!", the butler picks up a pot and throws it at the equipment, triggering an explosion that kills Scaroth and sets the château ablaze. | ||
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* [[Writer]] - [[David Agnew (writer)|David Agnew]] | * [[Writer]] - [[David Agnew (writer)|David Agnew]] | ||
* [[Script Editor]] - [[Douglas Adams]] | * [[Script Editor]] - [[Douglas Adams]] | ||
* [[Director]] - [[Michael Hayes]] | * [[Director (crew)|Director]] - [[Michael Hayes]] | ||
* [[Producer]] - [[Graham Williams]] | * [[Producer]] - [[Graham Williams]] | ||
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* [[Costume dresser|Dresser]] - [[Michael Powell]] ([[INFO]]: ''City of Death'') | * [[Costume dresser|Dresser]] - [[Michael Powell]] ([[INFO]]: ''City of Death'') | ||
== | == Worldbuilding == | ||
=== Artists === | === Artists === | ||
* In [[1505]], in [[Florence]], [[Leonardo da Vinci]] painted at least seven identical paintings of the ''[[Mona Lisa]]''. | * In [[1505]], in [[Florence]], [[Leonardo da Vinci]] painted at least seven identical paintings of the ''[[Mona Lisa]]''. | ||
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* The story is set in [[Paris]]. It was the first ''Doctor Who'' serial to feature footage filmed on location in a foreign country. | * The story is set in [[Paris]]. It was the first ''Doctor Who'' serial to feature footage filmed on location in a foreign country. | ||
* After ''[[The Reign of Terror (TV story)|The Reign of Terror]]'' and ''[[The Massacre (TV story)|The Massacre]]'', this was the series' third story to take place primarily in and around Paris. | * After ''[[The Reign of Terror (TV story)|The Reign of Terror]]'' and ''[[The Massacre (TV story)|The Massacre]]'', this was the series' third story to take place primarily in and around Paris. | ||
* This was the final story of the series to be significantly set in a country on Earth outside of the United Kingdom until | * This was the final story of the series to be significantly set in a country on Earth outside of the United Kingdom until ''[[Arc of Infinity (TV story)|Arc of Infinity]]'' was set in [[Amsterdam]], The Netherlands. ''[[Planet of Fire (TV story)|Planet of Fire]]'' would later briefly pay visit to [[Lanzarote]], but it was not significantly set there (only for a few minutes of Part One). | ||
* The title may be a play-on-words, albeit in French, of how Paris is often referred to as – Cité de l'amour (City of Love), while "City of Death" is Cité de la mort, both of which sound similar. | * The title may be a play-on-words, albeit in French, of how Paris is often referred to as – Cité de l'amour (City of Love), while "City of Death" is Cité de la mort, both of which sound similar. | ||
* Working titles for this story included ''Curse of the Sephiroth'' | * Working titles for this story included ''Curse of the Sephiroth'', ''A Gamble with Time'' and ''The Time Of The Sephiroth''.<ref>http://www.shannonsullivan.com/doctorwho/serials/5h.html</ref> | ||
* The script is credited to "David Agnew", a department pseudonym used when members of the production team had to write the script rather than a contracted scriptwriter. The original story was entitled ''A Gamble with Time'' and was written by [[David Fisher (writer)|David Fisher]]. His original concept was mainly set in the year 1928 with the Doctor and Romana, aided | * The script is credited to "David Agnew", a department pseudonym used when members of the production team had to write the script rather than a contracted scriptwriter. The original story was entitled ''A Gamble with Time'' and was written by [[David Fisher (writer)|David Fisher]]. His original concept was mainly set in the year [[1928]] with the Doctor and Romana, aided by [[Bulldog Drummond]]-esque detective "Pug" Farquharson, on the trail of the stolen Mona Lisa, pursuing Scarlioni from Paris to [[Monte Carlo]] where his partner, the Baroness Heidi, is using time travel technology to cheat at roulette at the casino to fund Scarlioni's time travel experiments. The Doctor and Romana ultimately discover that Scarlioni is trying to journey back to prehistoric Earth and prevent the time bubble explosion in order to save his fellow Sephiroth, who are dying from an illness he believes is caused by radiation from the accident. However, the Doctor discovers that the culprit is actually the common cold virus, to which the Sephiroth have no immunity. Scarlioni agrees to let the time bubble accident happen, in order to spark the genesis of life on Earth. | ||
* An additional sub-plot of [[David Fisher (writer)|David Fisher]]'s original script involved the Countess using her bracelet to rig roulette wheels at casinos in [[Paris]] and [[Monte Carlo]] in order to fund her husband's time experiments. However, [[Graham Williams]] felt that this element was putting too much of an emphasis on [[gambling]] and was therefore inappropriate for a children's show and ordered that it be removed. However, Fisher was unable to do the rewrites himself, as he was going through a divorce, but gave his blessing for the production team to edit the script however they wanted. Williams and [[Douglas Adams]] subsequently rewrote it under the Agnew byline. | * An additional sub-plot of [[David Fisher (writer)|David Fisher]]'s original script involved the Countess using her bracelet to rig roulette wheels at casinos in [[Paris]] and [[Monte Carlo]] in order to fund her husband's time experiments. However, [[Graham Williams]] felt that this element was putting too much of an emphasis on [[gambling]] and was therefore inappropriate for a children's show and ordered that it be removed. However, Fisher was unable to do the rewrites himself, as he was going through a divorce, but gave his blessing for the production team to edit the script however they wanted. Williams and [[Douglas Adams]] subsequently rewrote it under the Agnew byline. | ||
* "David Agnew" had written once before for the series, in ''[[The Invasion of Time (TV story)|The Invasion of Time]]'', where the pseudonym was used to hide the identities of Graham Williams and then script editor [[Anthony Read]]. | * "David Agnew" had written once before for the series, in ''[[The Invasion of Time (TV story)|The Invasion of Time]]'', where the pseudonym was used to hide the identities of Graham Williams and then script editor [[Anthony Read]]. | ||
* Due to Adams's influence, the script has his distinctive brand of humour and dialogue. Adams reused concepts of this story's plot for ''{{iw|hitchhikers|Dirk Gently's Holistic Detective Agency}}'', most notably that of a crashed spaceship providing the original impulse leading to the formation of life on Earth, and the fact that the ship's pilot survives to see the rise of humanity and then works to procure a time machine for himself and undo the whole series of events, eradicating life on Earth. In the book, however, the pilot was not spliced through time like Scaroth, but rather survives in the form of a disembodied ghost stuck on Earth for the ensuing billions of years; rather than attempt to build a time machine himself, the ''Dirk Gently'' counterpart of Scaroth attempts to steal a pre-existing one, namely [[Salyavin|Professor Chronotis]]' | * Due to Adams's influence, the script has his distinctive brand of humour and dialogue. Adams reused concepts of this story's plot for ''{{iw|hitchhikers|Dirk Gently's Holistic Detective Agency}}'', most notably that of a crashed spaceship providing the original impulse leading to the formation of life on Earth, and the fact that the ship's pilot survives to see the rise of humanity and then works to procure a time machine for himself and undo the whole series of events, eradicating life on Earth. In the book, however, the pilot was not spliced through time like Scaroth, but rather survives in the form of a disembodied ghost stuck on Earth for the ensuing billions of years; rather than attempt to build a time machine himself, the ''Dirk Gently'' counterpart of Scaroth attempts to steal a pre-existing one, namely [[Salyavin|Professor Chronotis]]' [[Chronotis' TARDIS|time machine]] (borrowed from Adams's other ''Doctor Who'' script, ''[[Shada (TV story)|Shada]]'', but, of course, not explicitly identified as a TARDIS). | ||
* [[Douglas Adams]] and [[Michael Hayes]] make cameo appearances in the story; Adams is seen as a man having a drink in a bar, while Hayes is the shifty-looking man wearing a cloth cap and carrying a metal case who exits the train at Boissière Metro Station after the Doctor and Romana. Hayes additionally provides the voice of the guard who tells the Doctor that the ''Mona Lisa'' has been stolen. | * [[Douglas Adams]] and [[Michael Hayes]] make cameo appearances in the story; Adams is seen as a man having a drink in a bar, while Hayes is the shifty-looking man wearing a cloth cap and carrying a metal case who exits the train at Boissière Metro Station after the Doctor and Romana. Hayes additionally provides the voice of the guard who tells the Doctor that the ''Mona Lisa'' has been stolen. | ||
* [[K9]] does not make an actual appearance in this story, but the Doctor does greet him as he enters the TARDIS to go and visit Leonardo da Vinci. | * [[K9]] does not make an actual appearance in this story, but the Doctor does greet him as he enters the TARDIS to go and visit Leonardo da Vinci. | ||
* In David Lawrence's fan novelisation, it is explained that the Doctor uses an old [[UNIT]] pass to get past the police cordon outside the Louvre and to the entrance where he speaks to the gendarmes. This was not derived from any information given in the televised version. | * In David Lawrence's fan novelisation, it is explained that the Doctor uses an old [[UNIT]] pass to get past the police cordon outside the Louvre and to the entrance where he speaks to the gendarmes. This was not derived from any information given in the televised version. | ||
* Due in part to the ongoing ITV strike, all episodes of this story, along with the previous adventure, ''[[Destiny of the Daleks (TV story)|Destiny of the Daleks]]'', received very high ratings. This reached a peak with part four, which got 16.1 million viewers, making it the highest rated ''Doctor Who'' episode ever. It is also very highly rated on fan polls, often cited as the best ''Doctor Who'' serial with which to introduce non-fans to the series. Outside of the strike, ''[[The Robots of Death (TV story)|The Robots of Death]]'' is the highest rated story. | * Due in part to the ongoing [[ITV]] strike, all episodes of this story, along with the previous adventure, ''[[Destiny of the Daleks (TV story)|Destiny of the Daleks]]'', received very high ratings. This reached a peak with part four, which got 16.1 million viewers, making it the highest rated ''Doctor Who'' episode ever. It is also very highly rated on fan polls, often cited as the best ''Doctor Who'' serial with which to introduce non-fans to the series. Outside of the strike, ''[[The Robots of Death (TV story)|The Robots of Death]]'' is the highest rated story. | ||
* This story features guest appearances by [[Julian Glover]], [[Catherine Schell]] and [[David Graham]], as well as cameo appearances by [[Eleanor Bron]] and [[John Cleese]], who only agreed to appear on the condition that they received no advance publicity or credit in [[Radio Times | * This story features guest appearances by [[Julian Glover]], [[Catherine Schell]] and [[David Graham]], as well as cameo appearances by [[Eleanor Bron]] and [[John Cleese]], who only agreed to appear on the condition that they received no advance publicity or credit in ''[[Radio Times]]''. The pair attempted to have their performances credited to pseudonyms, "Helen Swanetsky" and "Kim Bread" respectively, but ''Radio Times'' declined. | ||
* This episode includes a line of dialogue in which the Doctor remarks that the Countess is a beautiful woman "probably", which has been used in fandom to suggest the Doctor's character doesn't, or shouldn't, acknowledge the attractiveness of his female companions, a point often brought up when debating the Doctor's romantic entanglements in [[Doctor Who (TV story)|the 1996 telefilm]] and the revived series. As it happens, Douglas Adams' previous ''Doctor Who'' script, ''[[The Pirate Planet (TV story)|The Pirate Planet]]'', includes dialogue in which the Doctor directly refers to [[Romana I]] as being attractive and having good looks (albeit not in a romantic context), suggesting he was capable of such considerations. Also within this story, he does refer to Romana II as being pretty though she is not present at this time. | * This episode includes a line of dialogue in which the Doctor remarks that the Countess is a beautiful woman "probably", which has been used in fandom to suggest the Doctor's character doesn't, or shouldn't, acknowledge the attractiveness of his female companions, a point often brought up when debating the Doctor's romantic entanglements in [[Doctor Who (TV story)|the 1996 telefilm]] and the revived series. As it happens, Douglas Adams' previous ''Doctor Who'' script, ''[[The Pirate Planet (TV story)|The Pirate Planet]]'', includes dialogue in which the Doctor directly refers to [[Romana I]] as being attractive and having good looks (albeit not in a romantic context), suggesting he was capable of such considerations. Also within this story, he does refer to Romana II as being pretty though she is not present at this time. | ||
* During the broadcast of this story, [[Marvel Comics]]' UK branch launched ''[[Doctor Who Magazine|Doctor Who Weekly]]'', which continues to chronicle the ''Doctor Who'' franchise, now as ''Doctor Who Magazine'', more than forty years after it started. | * During the broadcast of this story, [[Marvel Comics]]' UK branch launched ''[[Doctor Who Magazine|Doctor Who Weekly]]'', which continues to chronicle the ''Doctor Who'' franchise, now as ''Doctor Who Magazine'', more than forty years after it started. | ||
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* Dialogue in the story repeatedly dates the "primeval state" of [[Earth]], during which the organic particles in the primitive ocean coalesce into the first living cells, to 400 million years in the past. This is inaccurate from a real world perspective: as {{w|Earliest known life forms|documented}} on Wikipedia, the latest plausible date for the earliest lifeform on Earth, to the best of scientific knowledge as of 2019, is 3.77 billion years ago. | * Dialogue in the story repeatedly dates the "primeval state" of [[Earth]], during which the organic particles in the primitive ocean coalesce into the first living cells, to 400 million years in the past. This is inaccurate from a real world perspective: as {{w|Earliest known life forms|documented}} on Wikipedia, the latest plausible date for the earliest lifeform on Earth, to the best of scientific knowledge as of 2019, is 3.77 billion years ago. | ||
* This story appears to take inspiration from a real-life plot to steal the ''Mona Lisa'' by Louvre employee Vincenzo Peruggia; while not definitively confirmed, noted forger Yves Chaudron was thought to have played a role in the plot by creating several forgeries of the painting, with the intention of selling each of them off as the genuine article to disparate collectors, similar to Scaroth/Scarlioni's scheme. However, unlike the events of this serial, which take place in contemporary times, the real-life theft and return of the ''Mona Lisa'' occurred in 1911, roughly 68 years prior. | * This story appears to take inspiration from a real-life plot to steal the ''Mona Lisa'' by Louvre employee Vincenzo Peruggia; while not definitively confirmed, noted forger Yves Chaudron was thought to have played a role in the plot by creating several forgeries of the painting, with the intention of selling each of them off as the genuine article to disparate collectors, similar to Scaroth/Scarlioni's scheme. However, unlike the events of this serial, which take place in contemporary times, the real-life theft and return of the ''Mona Lisa'' occurred in 1911, roughly 68 years prior. | ||
* This was the first time the series filmed overseas. The original plan was to recreate Paris in a studio, but then-unit | * This was the first time the series filmed overseas. The original plan was to recreate Paris in a studio, but then-unit manager [[John Nathan-Turner]] pointed out that it would be much easier and cheaper to actually film in Paris. [[Douglas Adams]] wrote the script in the space of a weekend, knowing that to do so meant he could go to Paris and get drunk. | ||
* [[Lalla Ward]] rejected her original costume of a silver catsuit in favour of the schoolgirl outfit, | * [[Lalla Ward]] rejected her original costume of a silver catsuit in favour of the schoolgirl outfit, unaware of the sexual connotations. "I thought it would be fun to wear something that little girls probably hated wearing because it might cheer them up... I didn't bank on the fact that I'd also get loads of letters from their fathers saying 'Cor! School uniform!'" | ||
* The story was originally going to start with a close-up of the Doctor and Romana which would pull back to reveal them standing high atop the Tower. This was abandoned when the special lens rented for the sequence from a Spanish firm could not be made to fit the BBC camera. | * The story was originally going to start with a close-up of the Doctor and Romana which would pull back to reveal them standing high atop the Tower. This was abandoned when the special lens rented for the sequence from a Spanish firm could not be made to fit the BBC camera. | ||
* The artist who sketches Romana in the café was originally a much more prominent figure called Bourget, who is in league with Scarlioni. | * The artist who sketches Romana in the café was originally a much more prominent figure called Bourget, who is in league with Scarlioni. | ||
* Prints of the Mona Lisa were once made available at a [[Tom Baker]] signing, signed "This is a fake — TOM BAKER". | * Prints of the Mona Lisa were once made available at a [[Tom Baker]] signing, signed "This is a fake — TOM BAKER". | ||
* [[Julian Glover]] was reluctant to don the Jagaroth mask created for scenes where Scarlioni had shed his human disguise as he felt the mask would impede his performance. As a result, he is doubled by [[Richard Sheekey]] in many of these scenes. | * [[Julian Glover]] was reluctant to don the Jagaroth mask created for scenes where Scarlioni had shed his human disguise as he felt the mask would impede his performance. As a result, he is doubled by [[Richard Sheekey]] in many of these scenes. | ||
* [[Tom Chadbon]] | * [[Tom Chadbon]] was cast as Duggan on account of his resemblance to [[Tintin]]. | ||
* [[Tom Baker]] found filming in Paris to be a very different experience to what he was used to in the UK where crowds would gather to watch the filming and meet the stars. ''Doctor Who'' was not shown in France at the time and so the cast and crew were largely ignored. | * [[Tom Baker]] found filming in Paris to be a very different experience to what he was used to in the UK where crowds would gather to watch the filming and meet the stars. ''Doctor Who'' was not shown in France at the time and so the cast and crew were largely ignored. | ||
* [[Lalla Ward]] | * [[Lalla Ward]] found this to be the most challenging serial she worked on but was pleased with the final outcome, saying, "We had to film loads of scenes in the rain and cold... there was no glamour in it at all... it was different from the ordinary stories too and I like the finished result". | ||
* [[Lalla Ward]] clashed with costume designer [[Doreen James]] over Romana's outfit. Tensions were escalated when Ward blamed James for the disappearance of a pair of red shoes. This would ultimately be the last story that James worked on. | * [[Lalla Ward]] clashed with costume designer [[Doreen James]] over Romana's outfit. Tensions were escalated when Ward blamed James for the disappearance of a pair of red shoes she was supposed to wear. This would ultimately be the last story that James worked on, as she quit during production. [[Jan Wright]] took over her duties for the reamainder of production. | ||
* At one point, the story was set in [[Las Vegas]]. | * At one point, the story was set in [[Las Vegas]]. | ||
* Filming in Paris proved difficult, as the dates coincided with the May Day holiday period, which meant that many of the locations chosen for filming were closed, necessitating considerable improvisation on the part of the cast and crew. The production team arrived to find the Denise René Gallery shut tight. [[Michael Hayes]] elected to proceed regardless: rather than have [[Tom Baker]] enter the gallery as originally planned, Hayes would simply show the Doctor walking up to the front doors and then cut to the interior, which would be taped in the studio. Unfortunately, during one take Baker actually pushed on the doors forcefully enough to set off the burglar alarm. Cast and crew scarpered, leaving [[John Nathan-Turner]] to explain what had happened to the police. | * Filming in Paris proved difficult, as the dates coincided with the [[May Day]] holiday period, which meant that many of the locations chosen for filming were closed, necessitating considerable improvisation on the part of the cast and crew. The production team arrived to find the Denise René Gallery shut tight. [[Michael Hayes]] elected to proceed regardless: rather than have [[Tom Baker]] enter the gallery as originally planned, Hayes would simply show the Doctor walking up to the front doors and then cut to the interior, which would be taped in the studio. Unfortunately, during one take Baker actually pushed on the doors forcefully enough to set off the burglar alarm. Cast and crew scarpered, leaving [[John Nathan-Turner]] to explain what had happened to the police. | ||
* [[Julian Glover]] was initially unimpressed with the script, but he was impressed by how [[Tom Baker]] made it come alive. He was disappointed that he didn't go to Paris. | * [[Julian Glover]] was initially unimpressed with the script, but he was impressed by how [[Tom Baker]] made it come alive. He was disappointed that he didn't go to Paris. | ||
* [[Douglas Adams]] recounted how he was left behind when the rest of the crew had left for Paris and [[Ken Grieve]], who was to direct ''[[Destiny of the Daleks (TV story)|Destiny of the Daleks]]', ''came to the production office to see [[Graham Williams]]. Adams, who described Grieve as a "proto hippie and one of the biggest piss-heads [he'd] met", somehow was persuaded by Grieve to fly to Paris immediately. They met with the production team at the hotel and weren't made very welcome, as they wanted to party and the team didn't. The two proceeded to go on a pub crawl, moving on only when the bar they were in closed. When no more bars appeared to be open, Grieve said he knew a bar that was open, but it was in West [[Berlin]]. Only the fact that there were no immediate flights to Berlin stopped them. They flew back to [[London]] the next morning somewhat worse for wear, Grieve with stitches over his eye. Grieve went off to a research screening of ''[[Genesis of the Daleks (TV story)|Genesis of the Daleks]] ''and Adams went back to the office, simply so he'd be around when someone asked him if he'd had a good evening. | |||
* [[Douglas Adams]] recounted how he was left behind when the rest of the crew had left for Paris and [[Ken Grieve]], who was to direct [[Destiny of the Daleks (TV story)| | |||
* [[Douglas Adams]] wanted the scene with the TARDIS in the art gallery scene shot differently and was disappointed that it missed the point of the joke that the Doctor parks a blue box somewhere and nobody cares, so an art gallery would be a perfect place. | * [[Douglas Adams]] wanted the scene with the TARDIS in the art gallery scene shot differently and was disappointed that it missed the point of the joke that the Doctor parks a blue box somewhere and nobody cares, so an art gallery would be a perfect place. | ||
*[[Siân Phillips]] was | * There were plans for [[Julian Glover]]'s wife [[Isla Blair]] to play the Countess. [[Siân Phillips]] was also considered for the role. | ||
* [[Julian Glover]] refused to wear a mask to play the Jagoroth, so walk-on [[Richard Sheekey]] was hired for these sequences. Glover later relented for a handful of shots, and was surprised to find that wearing sculptor [[John Friedlander]]'s mask was much less unpleasant than he had anticipated. | |||
* [[Graeme MacDonald]] wrote to [[Graham Williams]] to question why the adventure was set in Paris at all, suggesting that the production would be much more straightforward if the action simply took place in [[Great Britain]]. Williams responded by pointing out that Scaroth's plan hinged on the proximity of the Mona Lisa and that no appropriate domestic substitute could be identified. | |||
* [[John Cleese]] agreed to a cameo appearance partly because the recording dates would coincide with his presence at BBC Television Centre to work on the ''[https://en.wikipedia.org/wiki/Fawlty_Towers Fawlty Towers]'' finale, and partly because [[Douglas Adams]] bribed him with the offer of bringing along his young daughter, Cynthia, who was a ''Doctor Who'' fan. | |||
* The café scenes were supposed to be filmed at the Café Coquille St Jacques, but it was closed for [[May Day]] and the proprietor refused to open it. Ultimately, the scenes were instead mounted at the Notre Dame Brasserie. Since this building would not match the sets already being constructed for the serial, [[Michael Hayes]] tried to show as little of it as possible. | |||
* Some scenes were shot near Notre Dame Cathedral, but the picture quality wound up being too poor for the footage to be used. | |||
* [[Douglas Adams]] considered [https://en.wikipedia.org/wiki/Alan_Coren Alan Coren] for one of the art critics, while [[John Cleese]] suggested either [[Alan Bennett]] or [https://en.wikipedia.org/wiki/Jonathan_Miller Jonathan Miller] before [[Eleanor Bron]] was cast. | |||
* Julian Glover would later play a character who himself was rapidly aged to death in ''[[Indiana Jones and the Last Crusade]]''. | |||
=== Ratings === | === Ratings === | ||
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=== Production errors === | === Production errors === | ||
{{discontinuity}} | {{discontinuity}} | ||
* In the opening scene of part one, the Jagaroth gloves are visibly too big for the actor wearing them, as the wrists are far wider than the rest of the arm. | |||
* The sketch of Romana is different when it's seen outside the café (on location) from the one seen inside (in the studio). | * The sketch of Romana is different when it's seen outside the café (on location) from the one seen inside (in the studio). | ||
* At the end of part one, when the count unmasks himself and the camera directly focuses on his face, [[Julian Glover]]'s cheek is clearly visible through the Jagaroth mask. Said mask also nearly comes off with the latex one. | * At the end of part one, when the count unmasks himself and the camera directly focuses on his face, [[Julian Glover]]'s cheek is clearly visible through the Jagaroth mask. Said mask also nearly comes off with the latex one. This latter error is also present in part four due to footage of the mask removal from part one being reused. | ||
* In part four, Romana wires up a British three-pin plug to connect Scaroth's time equipment to the (French) mains. | * In part four, Romana wires up a British three-pin plug to connect Scaroth's time equipment to the (French) mains. | ||
* In part two, when the Doctor, Romana and Duggan are in the cell and they light the lamp, the light comes from ''behind'' the Doctor, as opposed from in front of him, as the illumination is coming from a studio light fixture. | * In part two, when the Doctor, Romana and Duggan are in the cell and they light the lamp, the light comes from ''behind'' the Doctor, as opposed from in front of him, as the illumination is coming from a studio light fixture. | ||
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* When Duggan apparently "fixes" the sonic screwdriver by whacking it against the door, the Doctor jokingly asks him if he'd like to stay on as his scientific advisor. ([[TV]]: ''[[Spearhead from Space (TV story)|Spearhead from Space]]'') | * When Duggan apparently "fixes" the sonic screwdriver by whacking it against the door, the Doctor jokingly asks him if he'd like to stay on as his scientific advisor. ([[TV]]: ''[[Spearhead from Space (TV story)|Spearhead from Space]]'') | ||
* Romana apparently uses her own sonic screwdriver, when she breaks into the cafe where she's meeting with Duggan, while the Doctor is in 1505 Italy. She would later tell the Doctor that she made the screwdriver herself. ([[TV]]: ''[[The Horns of Nimon (TV story)|The Horns of Nimon]]'') | * Romana apparently uses her own sonic screwdriver, when she breaks into the cafe where she's meeting with Duggan, while the Doctor is in 1505 Italy. She would later tell the Doctor that she made the screwdriver herself. ([[TV]]: ''[[The Horns of Nimon (TV story)|The Horns of Nimon]]'') | ||
* The Doctor's insistence to Scaroth that he's "thrown the dice once" and doesn't "get a second throw" suggests that the Jaggaroth is bound by the [[Blinovitch Limitation Effect]]. ([[TV]]: ''[[Day of the Daleks (TV story)|Day of the Daleks]]'') | |||
* The Doctor emphasises to Scaroth that he cannot change history because the future is already written. ([[TV]]: ''[[The Aztecs (TV story)|The Aztecs]]'', et al.) | |||
== DVD and Video releases == | == DVD and Video releases == | ||
=== DVD releases === | === DVD releases === | ||
This story was first released on DVD in the [[UK]] on [[7 November (releases)|7 November]] [[2005 (releases)|2005]]. The two-disc set includes a [http://www.purpleville.pwp.blueyonder.co.uk/rtwebsite/cityofdeath.htm restored version] of the story, as well as the following special features: | This story was first released on DVD in the [[UK]] on [[7 November (releases)|7 November]] [[2005 (releases)|2005]]. The two-disc set includes a [http://www.purpleville.pwp.blueyonder.co.uk/rtwebsite/cityofdeath.htm restored version] of the story, as well as the following special features: | ||
* Commentary by Michael Hayes (Director), Julian Glover (Scaroth) and Tom Chadbon (Duggan) | * Commentary by [[Michael Hayes]] (Director), [[Julian Glover]] ([[Scaroth]]) and [[Tom Chadbon]] ([[Duggan]]) | ||
* ''[[Paris in the Springtime (documentary)|Paris in the Springtime]]'' - | * ''[[Paris in the Springtime (documentary)|Paris in the Springtime]]'' - A 45-minute look at the making of this story, and in particular, the contribution of writer and script editor [[Douglas Adams]] | ||
* ''[[ | * ''[[Paris, W12]]'' - A rare look inside the TV studio during the recording of ''City of Death'' via extracts from recently rediscovered black and white studio tapes, with optional information subtitles | ||
* ''[[Prehistoric Landscapes]]'' | * ''[[Doctor Who Annual 1980|The Doctor Who Annual 1980]]'' - This children's Annual published in 1979 is presented in its entirety (DVD-ROM only - PC/Mac) | ||
* ''[[Chicken Wrangler]]'' | * ''[[Prehistoric Landscapes]]'' - A montage of unused model effects shots | ||
* ''[[Eye on... Blatchford (home video)|Eye on... Blatchford]]'' | * ''[[Chicken Wrangler]]'' - A montage of unused shots involving live chickens | ||
* ''[[Eye on... Blatchford (home video)|Eye on... Blatchford]]'' - An all-new comedy sketch telling the life of [[Sardoth]], the Second-to-Last of the [[Jagaroth]]! | |||
* Photo Gallery | |||
* Production Subtitles | * Production Subtitles | ||
* | * [[Easter Egg]]s: | ||
** Continuity announcement for part one of ''[[The Creature from the Pit (TV story)|The Creature from the Pit]]''. To access this hidden feature, select Play All from Disc One's Main Menu, at which point the feature will play following the end credits of part four. | |||
** MK III Jagaroth Battlecruiser advertisement. To access this hidden feature, press left at ''Paris in the Springtime'' on Disc Two to reveal a hidden ''[[Doctor Who]]'' logo. | |||
** Excerpt from a 1985 interview with Douglas Adams. To access this hidden feature, press left at ''Prehistoric Landscapes'' on Disc Two to reveal a hidden ''Doctor Who'' logo. | |||
** ''Good Woolf, Bad Woolf'': Outtake from ''Eye On... Blatchford.'' To access this hidden feature, press left at Photo Gallery on Disc Two to reveal a hidden ''Doctor Who'' logo. | |||
: | ** BBC Christmas tape sketch: Short comic scene between [[Tom Baker]] and [[John Cleese]]. To access this hidden feature, press left at ''Doctor Who Annual'' on Disc Two to reveal a hidden ''Doctor Who'' logo. | ||
: | |||
Editing for the DVD release was completed by the [[Doctor Who Restoration Team]].<gallery position="center" captionalign="center" hideaddbutton="true"> | Editing for the DVD release was completed by the [[Doctor Who Restoration Team]].<gallery position="center" captionalign="center" hideaddbutton="true"> | ||
File:Cityofdeath bbcdvd45-uk.jpg|UK DVD 2005 cover | File:Cityofdeath bbcdvd45-uk.jpg|UK DVD 2005 cover | ||
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=== Audio releases === | === Audio releases === | ||
* This story's soundtrack was released on CD by BBC Audio, with linking narration by [[Lalla Ward]], | * This story's soundtrack was released on CD by BBC Audio, with linking narration by [[Lalla Ward]], on [[6 December (releases)|6 December]] [[2012 (releases)|2012]]. | ||
* The story was released again on Vinyl by Demon Records, also with the Lalla Ward narration, on [[18 April (releases)|18 April]] [[2018 (releases)|2018]] to coincide with Record Store Day. | * The story was released again on Vinyl by Demon Records, also with the Lalla Ward narration, on [[18 April (releases)|18 April]] [[2018 (releases)|2018]] to coincide with Record Store Day. | ||
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City_of_Death_Vinyl.jpg|Vinyl Record release | City_of_Death_Vinyl.jpg|Vinyl Record release | ||
</gallery> | </gallery> | ||
=== Proposed 2013 rerelease === | |||
In 2013 there was discussion of doing re-edits of older episodes for a season of repeat episodes. As part of this, [[Jonathan Morris]] edited a cut of the story to under an hour to test viability.<ref>[https://web.archive.org/web/20230323024817/https://twitter.com/jonnymorris1973/status/1294926416434298880 Jonathan Morris on Twitter]</ref> | |||
== Novelisation and its audiobook == | == Novelisation and its audiobook == | ||
* In October 2013, [[Gareth Roberts]] confirmed on Twitter that he was currently writing a novelisation of ''City of Death'', with a release date of 14 May 2015. One year later, in October 2014, Roberts announced (again via Twitter) that the book was now | * In October 2013, [[Gareth Roberts]] confirmed on Twitter that he was currently writing a novelisation of ''City of Death'', with a release date of 14 May 2015. One year later, in October 2014, Roberts announced (again via Twitter) that the book was now being written by [[James Goss]]. It was released on [[21 May (releases)|21 May]] 2015 and in Brazil by Suma de Letras as Cidade da Morte. | ||
== External links == | == External links == | ||
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* {{locguide|cityofdeath|City of Death}} | * {{locguide|cityofdeath|City of Death}} | ||
== Footnotes == | == Footnotes == | ||
=== Notes === | |||
{{Notelist}} | |||
=== Citations === | |||
{{reflist}} | {{reflist}} | ||
{{DWTV}} | {{DWTV}} | ||
{{TitleSort}} | {{TitleSort}} | ||
[[de:City of Death]] | [[de:City of Death]] | ||
[[es:City of Death]] | [[es:City of Death]] | ||
[[ru:Город смерти]] | [[ru:Город смерти]] | ||
[[Category:Doctor Who (1963) television stories]] | [[Category:Doctor Who (1963) television stories]] | ||
[[Category:Stories set in Paris]] | [[Category:Stories set in Paris]] | ||