📝9/10

Thworping through time and space, one adventure at a time!

"The Crusade: Knights, Kings, and A Regal Drama"

This review of The Crusade, a partly missing four-part historical from Doctor Who, is based on the surviving episodes (1 and 3), telesnap reconstructions of episodes 2 and 4, Julian Glover’s Loose Cannon intro/outro scenes, and William Russell’s delightful recaps.

Despite the gaps, The Crusade holds a special place in my heart. It blends a compelling historical setting with tense drama, brilliant performances, and Shakespearean dialogue, making it one of the strongest historicals of the William Hartnell era.

A Strong Start and Tense Adventures

The story kicks off with immediate action, throwing the TARDIS crew into trouble and splitting them apart. Barbara and Ian face particularly harrowing challenges, including Barbara's desperate escape from the villainous El Akir, culminating in an unsettling moment in Part 3 where she’s instructed to commit murder and suicide—a surprisingly dark turn for a children’s show.

Ian shines in this story, embodying the archetypal knight as he braves torture by ants (a standout moment in the missing Part 4) and risks everything to rescue Barbara. His knighting scene remains a highlight, but his heroics are delayed until the final episode, which feels rushed as it ties up loose ends.

Meanwhile, the Doctor and Vicki remain in King Richard's court, navigating palace intrigue and light-hearted quarrels with colorful characters like Ben Daheer and the Chamberlain. The warm chemistry between William Hartnell and Maureen O’Brien is a joy to watch, and Hartnell delivers a commanding performance, even if their subplot contributes less to the overall narrative.

Court Politics and Stellar Guest Performances

The political tension between King Richard and Saladin serves as the backdrop but sees little resolution by the end. Some may find the dialogue-heavy scenes unsatisfying in terms of plot progression, but the richness of the exchanges elevates the material.

Julian Glover’s King Richard is a masterclass in acting—charismatic, commanding, yet deeply flawed. His fiery argument with Jean Marsh’s Joanna in Part 3, capped with the line “You defy me with the Pope?!!”, is one of the most electrifying moments in Doctor Who history. Marsh, making her first of three appearances on the show, is a standout as the defiant and principled Joanna.

Bernard Kay delivers a nuanced performance as Saladin, exuding intelligence and calm, breaking Orientalist stereotypes of the time. Walter Randall’s El Akir is suitably menacing, though he bears similarities to Tegana from Marco Polo. These performances, combined with the Shakespearean dialogue, make the guest cast unforgettable.

Production Excellence, But Flawed Execution

Douglas Camfield’s direction brings the setting to life, complemented by the detailed costumes and lush sets. Even the telesnaps of the missing episodes convey the story’s tense atmosphere, particularly the chase at the end of Part 2.

However, the pacing stumbles. David Whitaker spends the first three episodes setting up various threads, leaving Part 4 to hurriedly tie everything together. Unfortunately, the most action-packed moments, like Ian’s rescue, are lost to the archives, making the finale feel incomplete.

Aged Gracefully—or Not?

While The Crusade stands tall in many respects, its use of blackface for Saracen characters, most notably Bernard Kay’s Saladin, is deeply problematic by today’s standards. Such elements remind us of the era’s shortcomings and temper the story’s legacy.

Despite its flaws and missing pieces, The Crusade is a shining example of Doctor Who’s historical drama at its best. With powerful performances, Shakespearean dialogue, and engaging characters, it’s a must-watch (and listen) for fans of the Hartnell era.

RANDOM OBSERVATIONS:

• Sir John isn’t a believable fake King Richard because he doesn’t have red hair. We wouldn’t know, of course, because we see everything in black and white!
• The Doctor once again justifies his stealing by calling it “borrowing"—what a kleptomaniac he is!
• I love the return of the “characters standing still in the shot while waiting for the credits to roll” cliffhanger ending to Part 1.
• This story was originally going to suggest that King Richard and Joananna had an incestuous relationship, but these references were removed at the behest of William Hartnell and producer Verity Lambert because they felt such themes didn't fit a family series. Oh, but apparent murder and suicide do?
• Tutte Lemkow is known for playing supporting villains in '60s episodes of Doctor Who, but every single one of his performances (Marco Polo, The Crusade, and The Myth Makers) remains missing from the BBC archives.