Movie id:

Writer

Steven Moffat

Director

Adam Smith

Script editor

Lindsey Alford

Producer

Tracie Simpson
Nikki Wilson

Executive produce

Steven Moffat
Piers Wenger
Beth Willis

Incidental music composer

Murray Gold

Cast:
Doctor

Matt Smith (Eleventh Doctor)

Companion :

Karen Gillan (Amy Pond)

Sinopsis
Having Just regenerated the Doctor arrives in a small English village where he
meets a seven year old Scottish girl called Amelia Pond. Fascinated and puzzled
by the mysterious and bizarre stranger who claims to be a time traveler. Amelia
finds her self caught up in a adventure involving an escaped alien convict and the
Atraxi who are in pursuit of it. And if the Doctor doesn't act soon the world will
end in twenty minutes...but that won't happen for another twelves years!
Review
The secret of Doctor Who's longevity is his ability to regenerate. It's also the
secret of the programme's longevity. Every few years there's the chance to reset
everything, tweak the format, fix what needs fixing. The challenge for the
production team is not to lose what was working.
So. With "The Eleventh Hour", Steven Moffat takes over as show-runner, and with
it comes a new Doctor, new companion, new TARDIS, even a new arrangement of
the theme tune. At the same time, he's inherited a show that's in pretty good
shape, despite a few obvious flaws.
Russell T. Davies resurrected a cult programme, made it essential family viewing,
and attracted top quality production and performing talent. But his version was a
bit prone to grandstanding when understatement would have been better (let's
face it, all his dials went up to 11, and most of them only went down to 8); it was
good at setup but more interested in the character relationships than resolving its
plots in a coherent manner; and the attempts at setting up a series-long story arc

were pretty ham-fisted. Oh, and the arrangement of the theme music lacked
otherworldliness. It may sound like a small point, but Dr Who has one of the great
TV themes and it deserves to be handled properly.
So as an episode, this one has a lot to do, and for the most part it delivers.
The plot, without giving too much away, isn't up there with Moffat's (and by
extension, Who's) best like "Blink", but provides a strong enough framework for
everything else that needs to happen. The basic premise is creepy, and opens up
to provide both small scale and large scale jeopardy for the Doctor and Earth.
More importantly, it packs a lot of character development into a single episode in
an unforced manner and tees up a lot of layers to explore in the rest of the series.
The way the Doctor overcomes the threat is tidy and functional. One element
requires a little suspension of disbelief but there was a sense of logic and
conviction that a lot of RTD-era episodes lacked. We also got some hints as to the
plot arc for the series, properly built into the script and not tacked on as, say,
random Ood prophecies.
It's very early days for Matt Smith, but the Doctor's Gallifreyan mantle sits easily
on his shoulders and he delivered his lines with a confidence that belies both his
age and his experience in the role. Actually, delivered is a bit harsh. Nailed would
be more like it. You knew by the end of "The Christmas Invasion" that David
Tennant would make a good Doctor. It took Smith perhaps two scenes.
Encouragingly, his instinct seems to be to underplay when the easy option would
be to go loud. The role would appear to be in good hands.
Karen Gillan had less scope in her first episode as new companion Amy Pond, but
there was enough there to suggest that both the actress and the character will be
able to keep pace with Smith. The plot neatly sets up a lot of questions about
how the Doctor affects the lives of the people he meets, which will no doubt be a
big source of character drama later in the season. And she looks great.
The script was another cause for encouragement. In previous seasons, the
dialogue has delivered the character beats, but often relied on the acting talent
to carry them off. Moffat is an accomplished sitcom writer (the original, UK
version of Coupling was a real gem), and it shows here. The dialogue is sharp and
witty, and the quality and quantity of good lines seems to help the cast to handle
them deftly.
Overall, the changes were subtle, but almost all in the right direction. An opening
episode has a lot to do, and this one made good use of its hour without quite
being top drawer. But it feels like there's a lot of powder being kept dry for the
rest of the season, and the fuse has been lit.

Recommendation
Steven Moffat stated in a interview, if David Tennant had not left the series at the
end of "The End of Time", the fifth season would had been Tennant's final year in

the role and would had started with the TARDIS crashing in Amelia Pond's
backyard, a terribly bruised and battered Tenth Doctor staggering out of the
TARDIS and is found by Amelia who feeds him fish custard, but is in a bad way.
The Tenth Doctor returns to the TARDIS and flies away and returns many years
later and is perfectly fine, with no recollection of those events and the fifth
season would end with The Tenth Doctor regenerating.
Name
T.
Class/Absentc

: Rachel Isprasetya

: 28/XI IPA 1