The Aztecs [4.7]

‘The Aztecs’ sees the Doctor and co back in history, arriving in an Aztec tomb in the middle of the fifteenth century. Foiled by a one-way door, the crew find themselves locked out of the tomb and with no access to the TARDIS. Meanwhile Barbara has been mistaken for a re-embodiment of the divine Yataxa. (In very progressive style, Yataxa can appear both as male or female.)

Barbara must ensure the team’s survival in this hostile civilisation, while the Doctor works out a way to get back inside the tomb. But as the brutality of the Aztecs becomes plain to her, can she resist trying to use her influence for good, and change the history of this civilization?

The Majesty

There are a lot of good things that can be said about ‘The Aztecs’. I could, for example, wax eloquent about the design: the costumes and the set designs are equally bold and dramatic, with a thousand features that stand out – from Tlotoxl’s crossed headpiece to the beautiful carved stone in the pensioners garden. I could talk about the sparkling poetic dialogue. (See below for some highlights). Or I could talk about the high quality of acting for Tlotoxl, Autloc, Ixta and Cameca especially.

But what makes this story stand out particularly is the way that all of these elements come together in a perfect blend of story-telling. Each scene carefully and logically leads on from one to another. With only four episodes, there is none of the sense of padding that has been seen in any of the previous serials. Neither are there any logical gaps or ridiculous plot holes. There is a sense of meticulous development, thoughtful writing and rounded characterisation. It’s a tour-de-force.

Two elements that need to be highlighted are the Doctor’s relationship with Cameca, which is both comic and endearing, and the moral dilemma of whether to try to change history.

The Misery

In these early days of Dr. Who, the budget cramps the story. We talk of a city, but we only see two spaces – the garden and the temple – and a couple of random backrooms and tunnels. We are in the middle of Central America, but we see nothing that’s not filmed in a small studio. It’s a shame as there is so much more potential in this story if it had had a larger canvas.

There is perhaps a lack of satisfaction in the ending. The crew rush back inside the TARDIS and take off, and almost nothing has changed. Having the villain triumphant is good, and it would be a good thing for future writers to note: the Doctor does not always need to beat the monster of the week! But it is a shame not to get a final scene with Autloc or Cameca to show them as people changed for the better by their encounter with our heroes.

Apart from that, I could mention small details like a slow-motion fight in episode one. But it would be nit-picking.

Magical Moments

It’s harder to pull out the magical moments in this story, as so many scenes are sparkling. There are some moments which are particularly fun, however.

• The Doctor: “This dear lady has arranged a meeting between me and myself, em.... and the man who built the temple.” (Glad he’s going to join you both, Doctor!)
• When the Doctor is taken away by the guard, he is doing a great impression of an outraged frog, leaping about with remarkable energy, yelling “Get your hands off me, sir!”
• Some classical dialogue between Tlotoxl and Barbara. It’s not remotely realistic or true to life, but it is glorious. - “How shall a man know his gods?” - “By the signs of their divinity?” - “But what if thieves walk among the gods?” - “Then indeed, how shall a man know?”
• Ian takes out Ixta with his thumb. (Maybe I should learn this little trick!)
• While lying down, Ian pushes Ixta so hard that the champion Aztec warrior flies two metres across the room and lands on his back. (Last I checked, Ian was a high school science teacher – not an Olympic martial artist.)
• The shock on the Doctor’s face when he realises he has proposed to Cameca is very funny, though he seems quite OK with it after that, happily referring to her as his fiance. “I drank a cup of cocoa and got engaged”. It’s a shame this relationship didn’t last. Having the Doctor’s fiance join the TARDIS team would have changed the trajectory of the show quite markedly, but having him simply go off and leave her seems very cold-hearted.
• The Doctor, to Susan: “Susan! I’m glad.... em... I’ll tell you how glad I am to see you later!”

In Summary

Of all the stories in season one, this is undoubtedly my favourite. It is one that bears a lot of rewatching: the plot is both so simple (get back to the TARDIS) and so complex (every character has their own, fully believable motivation). Where Marco Polo was epic because of the wide scope of it’s canvas, this is even more epic because of the depth of texture within its frame. There’s an animated musical “The Road to El Dorado” that has two Europeans acclaimed as gods by a central american people. It’s all-singing, all-dancing, with a thousand action set pieces, and it’s not a fraction of the entertainment value of this serial.

There is no one way of doing Doctor Who. But this is probably the best story of its kind.

Overall: 4.7