I’m always a little confused about the name of this story. I know not to call it The Crusaders, because that’s the name of the novelisation. I often want to call it The Crusades, because when I think of that period of history, I think of Crusades multiple. The events of this story, for instance, take place during the Third Crusade.
I’m not so foolish as to read too much into the titles of 1960s Doctor Who stories, because who knows what the real titles actually are. But I wonder sometimes why it’s called The Crusade, singular. It could be just one of those early Who vagaries that leads us to call Serial C Inside the Spaceship, The Edge of Destruction or sometimes after we’ve had a few wines, Beyond the Sun. Or it could be that writer David Whitaker was referring to one personal crusade, presumably that of Richard the Lionheart (Julian Glover).
His personal crusade may once have been to claim Jerusalem for the Christians, wresting it from the Saracens. But after years of bloody warfare, he’s ready to sue for peace. Richard’s an interesting character – he is by no means a paragon of virtue. He’s petulant and temperamental. He lingers too long in the woods, despite the best advice of his knights, and as a result, his key men are killed (he admits no responsibility for this). It is this event, perhaps, which leads him to want to bargain with Saladin (Bernard Kay, unfortunately in brownface). He concocts a plan to marry off his sister Joanna (Jean Marsh) to Saladin’s brother, Saphadin (Roger Avon, also unfortunately in brownface), and thus secure a peaceful settlement.
Joanna’s crusade is to utterly oppose the proposed union. Her outrage leaps off the screen, such is Marsh’s ability to portray Joanna’s horror at the idea. Joanna’s no fool either. She rebuffs Richard’s idea with a stratagem he can’t counteract; she threatens to appeal to the Pope. Her whole presence in the story leads up to this point (indeed, she doesn’t appear afterward) and unlike the men around her, she’s won the day.
Perhaps the title refers to Saladin’s crusade, to prevail over his invaders. The presentation of a religious war between Christians and Muslims would be almost unthinkable in today’s Doctor Who. Despite the unfortunate casting, Whitaker presents a refreshingly measured view of the other side of this holy war. Saladin is no raving, unreasonable madman; he’s cold and calculating (in contrast to Richard’s reckless passion). He’s a subtle, shady character; he conceals himself behind a curtain, listening to events before he intervenes. He treats his prisoners and enemies alike with courtesy. It would have been easy to paint him as the evil mastermind, implacably opposed to Richard. Instead, he’s eminently reasonable – in many ways preferable to Richard.
His key moment is when he agrees to Richard’s proposal but insists on preparing his armies for war, in case the whole thing goes pear-shaped. “Hold one hand out in friendship,” he says, in one example of an outstandingly lyrical script, “but keep the other on your sword.” (Like Joanna, once he’s made his key point, he exits the story, not to be seen again).
It would be easy to say that this is a crusade for Ian (William Russell), whose whole role in this story is to rescue Barbara (Jacqueline Hill, playing her role in a typical Whitaker trope. Think of The Evil of the Daleks where Jamie goes on a similar quest in pursuit of Victoria). But actually, that’s not as interesting as that of another of Barbara’s protectors, Haroun Ed Diin (George Little). Ed Diin is on a crusade to murder the wicked emir El Akir (Walter Randall). His fervour is stoked by El Akir’s killing of Ed Diin’s family and his alliance with Barbara is another way of getting within stabbing distance of his target. His single-mindedness is horrifying, particularly when he entrusts Barbara (who he’s only just met) with killing his daughter, lest she fall into the hands of his enemy. And, by the way, his crusade’s successful, robbing Ian of the opportunity to confront El Akir face to face. He’s a secondary character, but he gets to do away with the bad guy, so his crusade must count for something.
It’s certainly not Barbara’s crusade; she had her’s a season ago in The Aztecs, an historical in which she became intrinsically linked with the culture around her, attempting to play an interventionist role. Here, she’s far more a victim of circumstance: captured by El Akir, incarcerated by Saladin, recaptured by El Akir, rescued by Ed Diin, recaptured by El Akir and finally rescued by Ian. Despite constantly being manhandled (literally) throughout the story, she remains a strong presence throughout the story, albeit one without agency. Wouldn’t it have been interesting to have a story where Ian was captured and abducted, with Barbara staging the rescue campaign?
It’s also not the Doctor’s (William Hartnell) crusade. He plays an early role in concocting the plan to win Richard’s favour to gain his help in rescuing Barbara. After that he enjoys some hijinks bamboozling tailors and chamberlains and entering into some ethical debate in the royal court, but he’s an observer rather than a catalyst for action. He’s our eyes and ears with which to observe Richard and his dramas with Joanna, but in truth, he’s tangential, not essential to the action. Even when he falls out with Richard (the Lion thinks briefly that the Doctor has snitched on him to Joanna), it’s quickly reversed without consequence. Still, it gives Hartnell a chance to thesp around in some nice costumes and switch rapidly from mirth to outrage.
The final candidate to offer a crusade is the subject of that outrage. It’s the bellicose Earl of Leicester (John Bay), with whom the Doctor has picked a fight about siding with Richard’s scheme for marrying Joanna to Saphadin. He’s appalled by Richard’s plan, and says so, only for the Doctor to accuse him of being a fool and a butcher. He rebukes him with more of this story’s elegant dialogue. “When you men of eloquence have stunned each other with your words,” he snarls, “we the soldiers, have to face it out.” He takes such offence that when the Doctor and Vicki (Maureen O’Brien) sneak quietly back to the Ship, he gives chase to execute them. He really must believe they’re bad eggs if he’d rather spend time hunting down an old man and a young girl than fighting the Saracens.
It doesn’t come to that, of course. Our four heroes reconvene at the TARDIS just in time and inveigle themselves inside. Once safely back on board, their ordeals – particularly the ghastly one Barbara’s endured – have been forgotten, and they dissolve into puns and giggles. It’s a spectacularly ill-fitting end to a story which has been a sober and at time brutal examination of men of war exercising their personal crusades. Crusaders. Crusade. Whatever.
LINK TO Under the Lake/Before the Flood: both feature kings.
NEXT TIME… It’s the daily disaster we call Frontios. Luckily it’s about as offensive as a chicken vol-au-vent.