RavensFilm Productions presents the Forever Cinematic Star Trek Classic Movie Retrospective. Covered are the first six films of the franchise featuring the full original cast and crew of the Starship Enterprise. Starring William Shatner, Leonard Nimoy, DeForest Kelly, James Doohan, George Takei, Walter Koenig, and Nichelle Nichols. Also starring Stephen Collins, Persis Khambatta, Ricardo Montalban, Kirstie Ally, Robin Curtis, Christopher Lloyd, Laurence Luckinbill, David Warner, and Christopher Plummer. Reviews by Nick Michalak.
First off, I do not hate this movie. There are things I like about it, I find some parts funny, but there are obviously bad aspects to it. However, I’ve always found something enjoyable about it even if it is a mess of a movie. As anyone who has regularly read my reviews knows very well about the summer of 1989, where movies were concerned. It was massively huge with numerous blockbuster contenders hitting almost every week, but Star Trek V, despite being projected to do very well, really took a nose dive at the box office. It was one of the bigger disappointments of that summer in relation to its projected success. The main reason for its failure? The ego of William Shatner, who was the film’s star, writer, and director, who took on a project he didn’t have the skill to deliver based on the studio’s restrictions and his own misconceived vision. Even Gene Roddenberry went on record calling the film “apocryphal,” and most simply regard it as if it never happened. There are undeniable reasons for that, but I seem to be one of the very few that gains some entertainment value from this movie.
On Nimbus III, the Planet of Galactic Peace, a renegade Vulcan named Sybok (Laurence Luckinbill) has taken three ambassadors hostage with a radical plan. Captain Kirk (William Shatner) and the crew of the newly christened U.S.S. Enterprise-A, which has ship-wide malfunctions, are recalled from shore leave for a rescue mission to the planet, but the distress call attracts the attention of a Klingon Captain intent on making a name for himself by engaging a Starfleet vessel in combat. The rescue mission goes awry when it is revealed that Sybok has used a unique telepathic ability to draw the hostages under his sway. Matters are further complicated when Spock (Leonard Nimoy) reveals that Sybok is his half-brother, also a son of Sarek. Sybok and his followers thus seize control of the Enterprise to fulfill his lifelong search for the fabled planet of Sha-Ka-Ree where he believes all life began, and that God himself waits for them. Kirk, Spock, and Dr. McCoy struggle to regain command of the Enterprise from this apparent madman before they reach the supposedly impenetrable Great Barrier at the center of the galaxy. However, what awaits them on the other side is not what any of them expected.
This definitely had a peculiar behind the scenes scenario for such a problematic film. Star Trek V had the second largest budget of the franchise up to that point, and so, it wasn’t a matter of a lack of money for director William Shatner to achieve his vision. Instead, it seems to come down to both a mishandling of the budget as well as terrible timing all around. Industrial Light & Magic was responsible for the visual effects work on the films since The Wrath of Khan, but when this film went into production, ILM was hard at work on Indiana Jones and the Last Crusade. Constraints of time and money meant the filmmakers of Star Trek V couldn’t wait for them to be available, nor could they contend with what Spielberg and Lucasfilm were paying ILM to secure their expert services. It’s also slightly ironic since both films were distributed by Paramount Pictures, and released within about two weeks of one another. So, Shatner and Paramount had to go with a lesser effects company, and the lower grade results are obvious. They simply do not measure up to the dynamic and gloriously cinematic quality of ILM, and this further impacts the overall level of quality of the movie. Shatner had wild ideas for this film that were axed either in scripting by the studio, or simply because they could not be achieved with the resources he had. Apparently, none of these ideas were anything better than what did make it into the film, and in most cases, were far, far worse. The biggest of which was instead of encountering an evil entity claiming to be God, they would literally meet God himself, and do battle with the real Devil. As bad as you thought it was, it was intended to be terribly worse.
This film is indeed bad with foolish concepts that shouldn’t exist in a Star Trek story, and has some terrible comedy. It also portrays much of the regular cast in a very uncharacteristic fashion. With the loyalty they’ve shown, especially in The Search For Spock, it is difficult to accept that they would so easily turn against Kirk in favor of Sybok’s telepathic therapy. So, why do I enjoy this film at all? Camp value. I do find some of the comedy funny in a very ridiculous and cheap way. Yes, it is badly written low brow, broad comedy, and it is surely not the context I would want the crew ever depicted in again. Yet, when I take the film as a lower grade feature, I can just indulge in the camp value of it all. I find myself quoting lines from this probably more than any other Trek film. Where the humor of The Voyage Home was very situational stemming from the “fish out of water” context of the film, here, it is just out of place, awkward, and silly. While I do enjoy it, I can still look at it objectively and critically. Simply put, William Shatner did not demonstrate good screenwriting abilities on this film. I will grant that it is very incompatible to have comedy of this sort in a film about finding God. Shatner tries to balance broad comedy and serious drama, but that is just not a combination that mixes.
However, while the film is wrought with out of place humor and silliness, there are some excellent dramatic and character moments found throughout. I like Kirk, Bones, and Spock sitting around the campfire talking about how Kirk knows that as long as he has his friends around, he knows he won’t die. They have saved each other’s lives so many times that this does resonate for me, and is quite a good moment of depth and insight into James Kirk. He says he’ll die alone, and that was something that always stuck with me. Thus, making his ultimate demise in Star Trek: Generations even more of an insult. The scenes between Spock and Sybok have some fine dramatic substance as their shared history is played out. And undeniably, the scene where Sybok has McCoy relive the death of his father is the most powerful scene of the film, and possibly DeForest Kelley’s most profound acting in all his tenure as Leonard McCoy. In these moments, Shatner, as director, does get the dramatic side of the film down nicely, and is definitely helped by very strong acting talents. Still, they are not enough to raise the film up to respectable standards since there is so much low grade junk weighing it down. They are mere glimpses of a stronger and more tonally consistent film that could have been, if handled by better talented filmmakers. I may enjoy the film, but certainly, I will never deny that it is filled with a lot of crap.
Case in point is that what thin semblance of a plot there is doesn’t make much sense. It’s hard to fathom why Sybok would choose such a worthless rock of a planet like Nimbus III, a failed public relations stunt of peace, to launch his quest from. Obviously, he had a starship transport him to the planet in the first place, and so, he had the means to secure interplanetary travel at some point. There was no express need for him to travel to Nimbus III just to hijack a ship. I mean, there are far easier ways of obtaining a starship than taking ambassadorial hostages on a desolate planet no one gives a crap about. Thus, all Sybok really needs from this planet are followers to bear witness to his quest, and he chooses the dregs of the galaxy. This doesn’t seem like the most efficient or credible plan to me. Beyond that, the most that is going on is Kirk, Spock, and McCoy trying to take back control of the ship, but by the time they have the chance, Sybok’s already arrived at his destination. From there, it’s just a matter of exploration and survival. The entire subplot of the Klingon Bird of Prey hunting the Enterprise is more of a minor action plot device, and doesn’t feed into anything substantive. The themes of religion and finding God also aren’t really explored by any of the characters, except for Sybok, and he does tend to come off like a fanatic or cult leader. That is entirely intentional, but it also diffuses the poignancy of the topic. No one takes the issue seriously because he is viewed as a delusional person who is risking lives for his own fanatical validation. More time is spent on discussing who Sybok is, and the power that he possesses than his belief in finding God at the center of the galaxy.
I also have to criticize the idea that the Great Barrier has been perceived as impenetrable. The key idea is perception. I can’t wrap my head around how everyone is dead-on certain that no ship can survive entering the Barrier when no ship has ever tried, nor have they acquired any data on it to support such a claim. All they know is that no probe has ever returned, which hasn’t stopped starship captains from entering into the unknown before or since. Everyone considers it dangerous, tantamount to madness and suicide to try, yet the Enterprise and the Klingon Bird of Prey traverse it without even the slightest problem. Even taking the film by its own warped logic, if passage through the Barrier is merely a matter of belief that it is an illusion, that still doesn’t explain how the Bird of Prey was able to make it through. If the ships had to survive some danger to pass through that ominous barrier, then I could say that these fears were justified. Unfortunately, that is not the case. The idea simply doesn’t hold any credibility.
Furthermore, the physics of space travel are completely screwed over as it would take decades for the Enterprise to reach the center of the galaxy even at top warp speeds. Of course, the most lauded criticism of the film is why would Starfleet send Captain Kirk out on an important hostage rescue mission in a ship that is falling apart. Starfleet does say there are other ships in range of Nimbus III, but no experienced commanders. So, it wouldn’t be difficult to put Kirk and his crew on one of those vessels for a temporary assignment. It also doesn’t make sense that the fleet would build a brand new Constitution class starship when two films ago, which in the chronology of Star Trek was maybe a couple months ago, the original Enterprise was essentially called old and obsolete with no plans to refit it for continued service. The original intention was that the Enterprise-A was rechristened as such from the U.S.S. Yorktown, but this film screws that idea over completely. The idea of the Enterprise-A being a shambles is simply to remove the convenience of using the transporter to rescue the hostages, or allow for an easy escape for our heroes when the evil entity turns on them. Still, you can have the transporters be inoperable without the entire ship being a disaster. Of course, it’s also there for more moments of humor when turbolift doors won’t open, or the Captain’s electronic log book, which is independent of the ship’s systems, goes kaput. The U.S.S. Enterprise presented here is as much of a mess as the film itself.
Now, there is foolishness and stupidity abound in this film that really cannot be taken seriously because it hardly takes itself seriously. I’ve barely gotten started on the criticisms this film deserves. I could go on and on about the inanities and stuff that doesn’t make sense, and normally, I would keep going for quite a while to really scrutinize it all. However, this has already been detailed by SFDebris in his Opinionated Trek Movie Guide videos. I almost didn’t go forward with this review for fear that most of what I would say would just be a retread of his review. He essentially covered it all in excellent fashion. However, what pushed me forward with this was sharing what I do enjoy about the film, despite its flaws. I can enjoy the badly conceived and poorly executed aspects of the film while still finding genuine merit in a few areas. What originally motivated me towards doing a review at all was giving credit to one aspect of the movie that I have never heard anyone offer before. That is the performance of Laurence Luckinbill as Sybok.
The filmmakers originally wanted Sean Connery for this role, but again, due to Indiana Jones and the Last Crusade, they had to look elsewhere. However, unlike the visual effects, they did not end up with a low grade result. Luckinbill instills great passion and theatrical zeal into the role. He is very charismatic, making Sybok a personality to contend with. He’s not out to destroy or seek vengeance upon anyone. Instead, his threat is based in his radical ideology, and that required someone not intimidating but vibrant and intelligent. He didn’t need to be cunning and lethal like Khan, but a man who views himself as enlightened but is perceived as a con man, similar to the televangelists that inspired the character. Yet, Luckinbill makes the character interesting and compelling as well as sympathetic by the end. When Sybok realizes the error of his ways, he takes responsibility for his arrogance and ego, which creates a great character arc. I think Sybok has a good ending which redeems his character, but unfortunately, its poignancy is overshadowed by the remainder of the climax with Kirk seeking to escape the evil entity. Luckinbill created a fascinating character through his performance that I actually would’ve loved to have seen more of. I think exploring Sybok in more depth would be a great thing in this actor’s talented hands. If placed in a better film, I think both Laurence Luckinbill’s performance and Sybok himself would have gained more praise, but far too often, a marvelous performance is overlooked due to the quality of the film it appears in. Luckinbill carried a lot of weight on his shoulders with this movie, and I think he carried it with more ease, grace, and integrity than anyone else in the film. While the script written around Sybok is certainly not the smartest or most logical, the character himself is given a credible life by this actor, and I think he deserves a lot of overdue praise for what he did.
The other performances are especially mixed. Even with much of the humorous content, I do feel that Leonard Nimoy and DeForest Kelly do a very solid job, maintaining far more integrity than the script would suggest they could. Much of why the humor amongst them and Shatner works any bit as good as it does is because of their long standing chemistry. They’ve always worked beautifully together, and that goes a long way in this turbulent film. James Doohan is certainly entertaining handling the cheap humor pretty decently, and just being his charming Montgomery Scott self. I do genuinely laugh at his comedy moments. However, the rest of the main cast doesn’t have as much to work with, either good or bad, and thus, doesn’t offer much for me to comment on. Cynthia Gouw, however, puts in an entirely disingenuine performance as the Romulan Ambassador. Her line deliveries lack any substance, and she comes off like a hollow shell of a person with her light airy voice and naïve smile. There is no acting ability in what she does. She just smiles and looks pretty for the camera, which makes it no wonder that she was a model before attempting to be an actress. The usually great David Warner is criminally wasted in the role of St. John Talbot, the Federation Ambassador on Nimbus III. There is nothing in the role for him that is worthwhile. The only fortunate result from this is that this introduction into Star Trek allowed for him to take on two far more impressive roles in Star Trek VI and an excellent and powerful two-part episode of Star Trek: The Next Generation. Beyond this point in this cast, it just becomes far too one dimensional to even bother mentioning. Captain Klaa fits solidly into a Klingon stereotype, but he is nothing more than that. He’s just on a shallow quest for glory.
Now, yes, I must address William Shatner as an actor here. There is an obvious ego trip going on in front of and behind the camera. This doesn’t necessarily lead to a bad performance from him, but you can definitely see how the film is designed to raise James T. Kirk up while pushing everyone else down. Shatner is entirely capable of delivering great performances, but it does take the right director to know how to wear Shatner down to get it out of him. Nicholas Meyer, director the second and sixth Star Trek movies, says on one of his commentary tracks that he had to run many takes with Shatner to get the right one. This was, as he said, because Shatner would start out trying to act like a big star in the spotlight, but as the takes went on, he’d get more worn down by the process and then give the more natural and real performance. That’s where Meyer would find the gold, and I imagine Leonard Nimoy had a similar process on the previous two Trek movies. When Shatner is directing himself, it’s inevitable that more of that big star ego will show through, but there are several moments of solid dramatic acting from him. It’s not a terrible performance at all, but it could’ve used more wrangling in, more molding to shape it properly. Regardless of the acting, there is just no denying how overly focused this film is on Kirk. Shatner takes every opportunity that he was allowed to separate Kirk in any way from the rest of his crew. Either by them betraying him, or simply being at odds with Spock or McCoy, Shatner wanted Kirk to fight this all on his own, but that simply is uncharacteristic of especially those two to abandon Kirk at all. Whatever logic he had to break, or characterizations he had to betray, Shatner was going to focus that spotlight on himself as much as possible. Thus, that is the film’s crucial failing.
Now, I never realized this myself, but a friend of mine pointed out that Star Trek V is actually the film that’s actually the most like the television series. The lower grade effects, the slight corniness, and the use of the rocky California desert as some generic alien planet are purely straight from the original television series. The storyline has the feel of something from the original series as well, in concept, anyway. Encountering strange larger than life entities like in The Squire of Gothos or The Doomsday Machine, passing through cosmic barriers like Where No Man Has Gone Before, and the Kirk action sequence along a rocky landscape like in Arena all tie the movie strongly to the roots of the television series. Granted, the writing of this film is a long way off from the best standards of the series.
The last thing to really give note of is composer Jerry Goldsmith’s return to the franchise here, and he brings all his original themes back with him. The great opening fanfare, which had become the theme for The Next Generation by now, and the excellent Klingon theme return in great fashion. It’s a very good score that is quite to my general liking, but Goldsmith just had terrible luck by being saddled with the two most critically bashed films of the series so far (the other being Star Trek: The Motion Picture). He wouldn’t return to Trek again until First Contact due to the critical and commercial failure of this movie.
Despite my own personal enjoyment of Star Trek V: The Final Frontier, I cannot defend it as a whole. There are admirable parts to it, but they are grossly overwhelmed by all the negative qualities present. I happen to enjoy this on a campy, bad movie level, but there is hardly anyway I forge a set of conditions under which I could generally recommend it. You’re either going to like the movie for the low grade work that it is, or you’re going to hate it, passionately. There were plenty of problems surrounding the development and execution of this film, but they do not excuse much at all of the end result. William Shatner believed he could make this movie work with his objectionable story, and the studio mandates of making another “fun” movie like The Voyage Home. He failed miserably, and this nearly killed the film franchise entirely. A better director never would’ve touched this film with Shatner’s script, and a better screenwriter would’ve scoffed at the film’s concept. I can certainly see why people revile this movie so much, but for me, there are far worse Star Trek films in existence than this one. However, others have thoroughly scrutinized those movies in far more depth than I can get to, and I have nothing new to say about any of them. That doesn’t mean I don’t have some critical statements to make about one of the more highly regarded films in the franchise, though.
There is a myth in Star Trek lore that the even numbered movies are good and the odds numbered ones are bad. That’s fairly simplistic, and not entirely a fair statement. Yes, the franchise has had poorly conceived and problematic films in its lineup, but that hardly means that all the lesser entries are terrible. Star Trek: The Motion Picture has a lot going against it, but as evidence by it, the talents of Shatner, Nimoy, and Kelley have always been able to add redeeming qualities to all the original cast films. Their chemistry, charm, heart, charisma, and depth have always shone through. While there is a potential future review from me for Star Trek V: The Final Frontier, I wanted to delve into the follow-up to the franchise’s most critically successful film. I wanted to address Star Trek III: The Search For Spock. While the first and fifth films have very obvious problems that have been well vocalized, I feel Trek 3 gets too much of a bad wrap. I can pinpoint and agree with the reasons why, but I believe it’s been overly beat up because of it being in the shadow of The Wrath of Khan. Time for someone to give it a more fair viewpoint.
The starship Enterprise is heavily wounded in the aftermath of her battle against Khan, but her crew survives by way of the sacrifice of Captain Spock (Leonard Nimoy). His body is launched from the ship in a memorial ceremony, and crash lands on the Genesis planet. As the Enterprise and her crew arrive home to Earth, Admiral James T. Kirk (William Shatner) finds his close friend and confidant Dr. Leonard “Bones” McCoy (DeForest Kelly) in Spock’s sealed quarters talking crazy, and eventually finds himself in lock-up after trying to charter passage to Genesis. The hits keeping coming as Kirk learns that the Enterprise is to be decommissioned as the Starfleet brass believe her day has passed. This is ever more apparent with the experimental new U.S.S. Excelsior ready to begin trial runs, ushering in a new era of Starfleet engineering. However, Kirk is soon paid a visit by Spock’s father, Ambassador Sarek (Mark Lenard), who tells him that Spock’s katra (i.e. everything that is not of the body) still lives, and they determine that Spock mind-melded with McCoy before his death. This commits Jim Kirk to a course of action that could cost him his career by stealing the Enterprise to rescue Spock’s body from the newly formed Genesis planet, and reunite it what’s in Leonard McCoy’s mind. Meanwhile, a ship of rogue Klingons, headed up by the cunning and merciless Commander Kruge (Christopher Lloyd), seek to learn the secrets of the Genesis Device for the protection of the Empire with the science team on U.S.S. Grissom, including Kirk’s son David (Merritt Butrick) and Lieutenant Saavik (Robin Curtis), caught in the crossfire. The sacrifices of the crew of the starship Enterprise will be dire as they endeavor on their search for Spock.
I believe why this film is not as highly regarded as others is the lack of a strong theme. In The Wrath of Khan, there was a prominent exploration of age, life, and death. What they all mean in context to one another, and how someone like Jim Kirk dealt with them. Here, there was enough room left open for strong themes to be explored, such as sacrifice and rebirth, but the opportunities are not taken with much ambition. Considering all Kirk has battled through from Khan to the death of his friend, ship, and son, the story was ripe for deep resonance. Of course, The Voyage Home doesn’t have such dramatic elements to it, and it has been widely beloved. The Search For Spock is a segue between the tones of the films its sandwiched between. It has its strong, dramatic elements, but also a lot of fun and light-hearted charisma. One would think it would be praised for that fine blend, but it does lack the ambition that those other two films had. They took some chances, pushing themselves for higher standards, and they succeeded. While this second sequel doesn’t have much scope, I do gain enjoyment from it. There are many aspects that I find are worth commending.
I love how the film is able to show the loyalty of the Enterprise crew. Admiral Kirk gives them the opportunity to walk away before getting too deep into this rogue mission, but they have no hesitations in voicing their loyalties. They are willing to stand by Kirk, regardless of the repercussions, because of what they owe him, and ultimately, what they owe Spock for his sacrifice. That strong, indestructible bond is not something that all Star Trek casts have been able to achieve, and that history amongst the crew of the original U.S.S. Enterprise NCC-1701 sells so much of Kirk’s motivations here. Even if the film doesn’t dig deep enough to show how it penetrates to his soul, a seasoned viewer already knows it. Tying into that is the always solid chemistry amongst the regular cast members. They work as an ensemble that is very cohesive, and always on the mark. Regardless of the quality of the film they are making, or how troubled the production may have been, the actors never get lazy or sloppy. They respect their characters and the legacy they leave behind. No pun intended, but Shatner puts in an admirable performance giving the film its constant pace through his wit and charisma. He adds in the right touches of humor, as do his co-stars, but focuses the drama of the screenplay when it’s needed.
This film was really the dawn of the revamped Klingons. The makeup redesign happened in the first film, but here, they finally explore the revised culture of the warrior race. The concepts of honor, guile, and glorious death are well explored through Christopher Lloyd’s excellent Commander Kruge. While the character himself is not explored with as much depth as he could have, Lloyd plays a surprisingly solid villain. He’s cunning, deceitful, intelligent, and treacherous. Lloyd has been known for a wide range of eclectic characters, but here, he delivers an excellent, calculated performance with a fine operatic screen presence. Essentially, all Klingon actors followed in his footsteps as he laid the foundation and template for them right here. I also enjoyed Kruge motives, which could have been the basis for fleshing the character out. Like with Khan, Kruge sees the potential for Genesis as a weapon, but instead of using it as an instrument of revenge or tyranny, the Klingon Commander seeks it to protect his people. He will not let the Federation have sole claim to something that could be used to commit genocide on his people, and he will stop at nothing to learn its secrets. It could almost be an allegory to the nuclear arms race if Genesis was created as a weapon instead of as a terraforming device. Kruge is calculating, and accepts nothing but the absolute best from his crew, lest they be met with fatal punishment. Lloyd as Kruge was also the first to use the fully realized Klingon language. It was great having the alien race’s culture more fleshed out and developed for this film to give the actors something solid and powerful to work off of. The always impressive John Larroquette is here as one of Kruge’s subordinates, Maltz. It’s a minor role, but he embraces it with his usual full commitment and high quality. This film also introduced one of my favorite Star Trek starships – the Klingon Bird of Prey. It’s an amazing design that is fierce and dangerous. The green paint job was a smart departure from all the dull grey ships we had seen until then. It gives the Klingons more personality from the moment the ship de-cloaks. It is given an imposing, threatening introduction that serves the Klingons thoroughly.
I have always held Mark Lenard as Sarek in high regard. You never get to meet the parents of the other Enterprise crew members, but for Spock, it has always been important to his character to see his family. Lenard has always been able to portray Sarek’s wisdom and logic with a touch of heart. While it’s hard to link emotional terms with the performance of a Vulcan, I would say that Sarek shows his soul in this film. Losing his son is like losing a part of himself, as is the same with Kirk. So, they share a rare moment which only Spock’s death could compel from them. While Sarek & Spock’s father-son relationship has had its conflicts, Sarek is still a fine father that cares for his son more than he can ever allow himself to express. No parent should see their child’s life end before their own, and Sarek sees a chance to reverse that tragedy. Any parent would take that chance, no matter the odds. Mark Lenard gave Sarek his wisdom, grace, conviction, and noble depth of character. He was an incredible, inspiring actor that forged a legacy in this franchise that will stand for all time.
A possible issue of contention with this movie is the recasting of Saavik. The role was originated by Kirstie Alley in The Wrath of Khan, but financial demands from her agent prevented her reprisal. Instead, it went to Robin Curtis. Both actresses play the role differently, but it was necessary to keep Saavik to maintain the character and story threads from the previous movie. Both Alley and Curtis offer unique and admirable performances. Alley’s Saavik was decently Vulcan with a subtle emotive quality. She was a very untested Starfleet cadet with promise. She came to grow over the course of the adventure, earning her keep. Curtis’ Saavik is more confident and capable with a stronger Vulcan characterization and a sensitive nature that proves to be a strength. She has a stronger will and sharper intellect to create a more complex character. With the guidance of director Leonard Nimoy, she was given the freedom to make the character her own without the baggage of Kirstie Alley’s portrayal. In the Vulcan legacy of Spock and Sarek, she adds great depth to Saavik beneath the surface. Alley’s version entirely served the needs of The Wrath of Khan while Curtis’ portrayal suits the demands of The Search For Spock just as perfectly.
The visual effects are solidly up to the levels of the first two Star Trek films, as handled by Industrial Light & Magic. They are definite proud achievements that hold up excellently today. Model work and optical effects, when done by the master craftsman of the era, entirely stood the test of time, and should always remain available as milestones in cinematic history. What doesn’t quite stand up over time are the scenes on planet Genesis. The limitations of the budget are painfully evident with the obvious soundstage sets and painted backdrops. Because of the limited budget, the filmmakers obviously couldn’t fly their actors to exotic locales around the world to feature all the diverse climates of this manufactured planet. I can’t say that there was a feasible way to do this better at the time this movie was made, but even if it was the best solution, it’s still a detractor to the film’s production quality. This is not a constant for every scene on Genesis, but the evidence is frequently apparent, regularly reminding you of this fact.
Another thing that I don’t care for here is James Horner’s score. I’ve always been underwhelmed by his music for Star Trek. For me, Jerry Goldsmith will always be the one and only master when it comes to cinematic Trek. What John Williams is to Star Wars, Jerry Goldsmith was to Star Trek, in my view. He ultimately defined the vast, sprawling, epic musical landscape of the franchise for me on the big screen. Horner’s themes and cues are fine work, but they never became signature, identifiable themes for Star Trek. Evidence of this is that Goldsmith’s theme for Star Trek: The Motion Picture became the theme music for Star Trek: The Next Generation, and Jerry was brought in to score five total films in the series over thirty-four years. Horner was kept around for a total of three films, but I never cared all that much for the music he produced. It was never outright bad, but it just never lived up to the musical potential of what Star Trek demanded. It’s nicely arranged and gives the film some character, but it simply never does enough for me. In this film, I seriously miss one of my favorite Goldsmith themes – the Klingon theme. I can only imagine how awesome it would’ve been to see that Bird of Prey swooping around for the kill with that glorious fanfare in full orchestral breadth. Kruge surely deserved a verbose and powerful theme to accompany his commanding presence, but James Horner makes no attempt to give the Klingons any presence in the film’s score.
The screenplay was written by producer Harve Bennett who was more akin to writing for television (such as The Mod Squad and The Bionic Woman) which, at the time, didn’t explore big thematic storylines with strong emotional resonance. So, the scope of the film feels small for that reason. As I said before, the limits were not pushed here to be ambitious and reach for something bigger or deeper. That doesn’t mean the script is bad. It certainly has its moments. I truly like the part where the Excelsior’s Captain Styles tells Kirk that if he goes ahead with stealing the Enterprise, “You’ll never sit in the Captain’s seat again.” Kirk doesn’t even flinch as he just orders, “Warp speed.” The first two films made a definite point that Kirk’s worth in life is directly tied to being a starship captain, but there’s something far more important at stake here. He’d rather lose everything in his career if there’s a chance to bring Spock back to life, and restore McCoy’s mind to peace. The dialogue is good and entertaining while encapsulating the characters perfectly. The action scenes are nicely conceived, especially with the fight between the Enterprise and the Klingon Bird of Prey. Seeing how the old NCC-1701 is overmatched because it is wounded and undermanned being run on automation was a fine touch. It is entirely realistic that she can’t take the pounding. While it would have been a glorious moment to see Admiral Morrow proven wrong with his statements of how old and outdated the ship is by seeing it triumph against such steep odds, I think it better fuels how much Kirk has to sacrifice to get his friend back.
While, clearly, I’ve said much about what is sacrificed on Spock’s behalf, but McCoy is at risk as well. Jim Kirk has one friend dead and another in turmoil. These two men – Leonard McCoy & Spock – are pieces to the whole that is James T. Kirk. I always enjoyed the moment in Star Trek: The Motion Picture where Kirk drafts Bones back into service because he can’t do what he has to do alone. “Dammit, Bones! I need you!” says Kirk to McCoy. Only after he has the wisdom, perspective, heart, and soul of these two men at his side can he succeed. They bring balance to his ego, passion, guile, and intellect. They re-enforce and focus his confidence. They help him reflect upon himself. Leonard McCoy is a vital piece of that formula bringing passion and humanity to the table. Kirk can’t allow to see his friend’s mental state deteriorate, and lose him as well.
Regardless of anything else, ultimately, I have to praise Leonard Nimoy on his feature film directorial debut. It was both a tough and enviable position for him to be in. On one hand, he was unproven as a movie director, and had scrutinous limitations and supervision put on him in the shadow of a critically and commercially successful film. However, he was working largely with a cast he had known for over fifteen years who knew their characters thoroughly, and that could allow Nimoy to direct with a built-in sense of respect. I’m sure he had his difficulties, but his talent is clear to me. He surely was allowed to soar with Star Trek IV: The Voyage Home based on his success here. It is a serious cinematic disservice that his career as a feature film director ended before it had a chance to soar. He started out with solid hits including Three Men and a Baby. However, he faced a crushing defeat, both critically and commercially, in 1994 with the comedy film Holy Matrimony which grossed less than $800,000 (less than 20% of its production budget). Leonard really appeared to be a wonderful filmmaker with a great handle on action, drama, and humor. I believe he would’ve had a lot to offer in a lengthy career had he gotten the right projects to his credit as a director. Here, he delivered a very consistently paced and well balanced film that keeps is story elements in focus. While there are likely plot holes in the reasoning of some characters here and there, they are minor bits and pieces that are relatively inconsequential.
At the end of this, I feel Star Trek III: The Search For Spock should not be viewed as a “bad movie.” It doesn’t live up to the thoroughly solid thematic work of the previous film or the fun adventurous spirit of its follow-up, but it’s a nicely enjoyable film that had potential to be more than it was. It has plenty of action, drama, and humorous moments to make it a consistent, satisfying and entertaining film. The screenplay could’ve benefited from getting in deeper to the soul of the story. It certainly touches upon it several times, but doesn’t stay there long enough to really develop the underlying themes in the story. As it is, there is no reason to rank it poorly in the franchise. It was commercially successful, and remains a fine classic Trek adventure for the original cast. It merely in contrast to the exceptional and vastly superior films it is sandwiched between that give it a perceived smaller stature, and that I can understand. But sometimes, you need to take things a little out of context to give them their proper due respect.