The Romans is a highly unusual historical adventure in that it is something of a comedic romp or farce, the like of which has never been attempted again. At the start of the story, the Tardis crew has spent weeks in Ancient Rome, giving them their long-overdue holiday before things start going awry - kind of a unique idea as well. A lighthearted historical such as The Romans feels like a nice change of pace after the bleak The Reign of Terror (1964), the epic The Dalek Invasion of Earth (1965), and the flawed stories Planet of Giants (1964) and The Rescue (1965).
The story never tries to be too serious, nor should it - it ostensibly leans on classic elements from the worlds of farce and satire, while remaining as historically accurate as possible. Writer Dennis Spooner also openly adapts classic comedy schticks - such as physical comedy, a case of mistaken identity, characters narrowly missing each other, and ridiculous dialogue - to carry the narrative forward.
Part Three is where the narrative kicks into high gear as Barbara tries to escape a lovesick Nero; the Doctor tries to warn Nero of a plot against him while also being a key player in his assassination, and Ian has to risk his life in a gladiator fight in front of Barbara. These fates blend to form what is the farcical core of the story.
The scene where the Doctor pretends he's playing the lyre in front of Nero's court is one of the funniest scenes in the series' history and makes me happy this story isn't missing from the archives!
Part Four is another historically important episode, as it makes the Doctor an active part in history by essentially making him the indirect cause of the Great Fire of Rome - this event is pivotal in how writers tackle other significant historical events in the future. The Doctor, of course, never admits to this and is still ashamed of it in his tenth incarnation.
The main cast members feel very comfortable with each other and fit the slightly more comical roles written for them surprisingly well. William Hartnell, with a long background in comedy roles, feels like an invigorated man playing a funnier Doctor who, thanks to his curiosity and fascination with Earth history, impersonates a murdered musician without hesitation just to get a chance to meet Cesar Nero. He is also more fearless than before, engaging in active combat with an ill-fated assassin.
Ian and Barbara have a very warm relationship here - we spend a huge chunk of the opening episode with them together in the villa - and this is the first time they feel like potential lovers. William Russell and Jacqueline Hill sell these scenes perfectly; these are their best scenes together in their entire time on the show. Maureen O'Brien's Vicki immediately feels like a better fit for this Tardis team than Carole Ann Ford's Susan, despite not feeling fully complete as a character yet.
Perhaps for the first time on the show, the guest cast occasionally overshadows the regulars. Michael Peake as Tavius is a likable, somewhat just Roman aristocrat; the wonderfully gleeful Ann Tirars is Nero's court poisoner Locusta, and then we have the big one himself, Carry On legend Derek Francis as Nero. He is far from the most dangerous or sinister Who villain, but he is one of the funniest and most memorable, not to mention that he is over-the-top bonkers and nothing short of brilliant.
The costume and set design are impeccable, as is the tradition with the BBC and their historical productions. With Christopher Barry directing, the four-parter is in capable hands - he puts particular love into intense sequences such as the stormy scenes with the sadistic slaver on the boat as well as the scenes set in Nero's court.
THE BAD:
Spooner throws poor Barbara behind bars again until the second half of the story, and it's a shame to see her get the least regarding part of the adventure most of the time. In the second half, conversely, it is Ian who pulls the shortest straw and his story never truly goes anywhere.
The awkwardly inserted stock footage from a zoo at the end of Part Two is a good example of how questionable artistic choices can ruin an intended exciting cliffhanger.
Review by Theo KallströmVIP 6BlockedParentSpoilers2022-04-05T19:19:19Z
:white_check_mark:89% :thumbsup:34 :thumbsdown:4
THE GOOD:
The Romans is a highly unusual historical adventure in that it is something of a comedic romp or farce, the like of which has never been attempted again. At the start of the story, the Tardis crew has spent weeks in Ancient Rome, giving them their long-overdue holiday before things start going awry - kind of a unique idea as well. A lighthearted historical such as The Romans feels like a nice change of pace after the bleak The Reign of Terror (1964), the epic The Dalek Invasion of Earth (1965), and the flawed stories Planet of Giants (1964) and The Rescue (1965).
The story never tries to be too serious, nor should it - it ostensibly leans on classic elements from the worlds of farce and satire, while remaining as historically accurate as possible. Writer Dennis Spooner also openly adapts classic comedy schticks - such as physical comedy, a case of mistaken identity, characters narrowly missing each other, and ridiculous dialogue - to carry the narrative forward.
Part Three is where the narrative kicks into high gear as Barbara tries to escape a lovesick Nero; the Doctor tries to warn Nero of a plot against him while also being a key player in his assassination, and Ian has to risk his life in a gladiator fight in front of Barbara. These fates blend to form what is the farcical core of the story.
The scene where the Doctor pretends he's playing the lyre in front of Nero's court is one of the funniest scenes in the series' history and makes me happy this story isn't missing from the archives!
Part Four is another historically important episode, as it makes the Doctor an active part in history by essentially making him the indirect cause of the Great Fire of Rome - this event is pivotal in how writers tackle other significant historical events in the future. The Doctor, of course, never admits to this and is still ashamed of it in his tenth incarnation.
The main cast members feel very comfortable with each other and fit the slightly more comical roles written for them surprisingly well. William Hartnell, with a long background in comedy roles, feels like an invigorated man playing a funnier Doctor who, thanks to his curiosity and fascination with Earth history, impersonates a murdered musician without hesitation just to get a chance to meet Cesar Nero. He is also more fearless than before, engaging in active combat with an ill-fated assassin.
Ian and Barbara have a very warm relationship here - we spend a huge chunk of the opening episode with them together in the villa - and this is the first time they feel like potential lovers. William Russell and Jacqueline Hill sell these scenes perfectly; these are their best scenes together in their entire time on the show. Maureen O'Brien's Vicki immediately feels like a better fit for this Tardis team than Carole Ann Ford's Susan, despite not feeling fully complete as a character yet.
Perhaps for the first time on the show, the guest cast occasionally overshadows the regulars. Michael Peake as Tavius is a likable, somewhat just Roman aristocrat; the wonderfully gleeful Ann Tirars is Nero's court poisoner Locusta, and then we have the big one himself, Carry On legend Derek Francis as Nero. He is far from the most dangerous or sinister Who villain, but he is one of the funniest and most memorable, not to mention that he is over-the-top bonkers and nothing short of brilliant.
The costume and set design are impeccable, as is the tradition with the BBC and their historical productions. With Christopher Barry directing, the four-parter is in capable hands - he puts particular love into intense sequences such as the stormy scenes with the sadistic slaver on the boat as well as the scenes set in Nero's court.
THE BAD:
Spooner throws poor Barbara behind bars again until the second half of the story, and it's a shame to see her get the least regarding part of the adventure most of the time. In the second half, conversely, it is Ian who pulls the shortest straw and his story never truly goes anywhere.
The awkwardly inserted stock footage from a zoo at the end of Part Two is a good example of how questionable artistic choices can ruin an intended exciting cliffhanger.