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.
I had thought I had reviewed all of the past Star Trek films I was going to review, but I figured, “Why the hell not?” I’m not going to run through all the back story of the production of this movie because it’s been documented in great detail already elsewhere. Star Trek: The Motion Picture is definitely very far from being the best of the franchise, and is rightfully ranked low on the scale. However, there are some elements of it that I have always liked, and have never heard anyone else give credit to. So, here I am to provide you my perspective on this misstep in taking this 1960’s television series into a feature film franchise.
When a destructive space entity is spotted approaching Earth, Captain James T. Kirk (William Shatner) returns to the newly retrofitted U.S.S. Enterprise to take command away from the young and driven Will Decker (Stephen Collins). Kirk’s entire trusted crew is reunited with the addition of the alien navigator Lieutenant Ilia (Persis Khambatta), and the surprise return of Mr. Spock (Leonard Nimoy) who seeks deep, soul searching answers from the mysterious intruder. Now, the crew of the Enterprise must intercept and find a way to stop this alien intelligence before it destroys every human life on Earth.
Okay, let’s get the obvious critiques out of the way. This movie is especially dated in so many ways. Even though this was made because Star Wars was a big success, this is distinctly a science fiction film more akin to those made before Star Wars existed. The grindingly slow pace and the very cerebral focus fall more into a 2001: A Space Odyssey or Logan’s Run mentality. The costuming and general look of the film are quite 1970’s like Battlestar Galactica. The one piece jumpsuits with their muted color palettes don’t have much of a progressive feel from the vibrant, yet simple uniforms of the television series. There’s a definite reason why these uniforms never reappeared anywhere in Star Trek – they’re instantly dated, impractical, and unappealing. The cast utterly hated wearing them. There’s so much in this film that feels like a step backwards for its time. Amidst films like Star Wars, Alien, and even Superman: The Movie, which all made large leaps forward with the science fiction and fantasy genres with special effects, exciting storytelling, and progressive filmmaking innovations, Star Trek: The Motion Picture feels like it was lagging behind the times on all fronts.
The more immediate problem here is how little resemblance this bares to the television series. Star Trek was an exciting piece of episodic science fiction. It was usually quite intelligently written, and it had action, peril, consequence, and danger making for thrilling entertainment. This film has almost none of that. Star Trek: The Motion Picture has been called The Slow Motion Picture and The Motionless Picture by many people. I do enjoy a slow burn, methodically paced film, but this is slow pacing simply for indulgence sake. For example, this film takes almost an hour before the crew of the Enterprise actually encounters V’Ger at all, and every plot element is almost agonizingly drawn out with next to no impact. Instead, this film concerns itself with a drawn out briefing scene, a malfunctioning transporter, a malfunctioning warp drive, and many graceful, yet frivolously time sucking visual effects sequences. So much of this content could be chopped out entirely for an exceedingly tighter story structure, and leave room for building more substance and momentum into its intended story.
While there are character dynamics at play, the film takes no real time to develop a particular story to be engrossed in. While Stephen Collins and Persis Khambatta put in good performances as Decker and Ilia, respectively, not enough effort is put into developing them to the point where an audience is invested in their plight. Kirk, Spock, and McCoy, just self-contained within this film alone, are infinitely more fascinating than Decker and Ilia. This is firstly a script problem, and secondly, a directorial issue. Robert Wise had a very highly acclaimed career, but nothing in his filmography says he was the right man to direct a feature film version of Star Trek. This is the director who did several musicals like West Side Story and The Sound of Music, and methodically paced thrillers like Run Silent, Run Deep. He could do critically acclaimed science fiction such as The Day The Earth Stood Still and The Andromeda Strain, but none of his work aligns with the exciting, innovative style that was Star Trek. Apparently, Wise really only directed this film because his wife was a fan of the television series.
Circa 1983, George Lucas did a very intelligent interview that coincidentally details the problem of this film, and unfortunately, makes you wonder where that George Lucas disappeared to. He said, and I quote, “One of the fatal mistakes that almost every science fiction film makes is that they spend so much time on the settings, creating the environment, that they spend film time on it. And you don’t have to spend too much film time creating an environment. What they are doing is showing off the amount of work that they generated, and it slows the pace of the film down. The story is not the settings. The story is the story, the plot.” Star Trek: The Motion Picture spends so much film time gushing over the exquisite detail of its models and visual effects that it forgets to actually tell an engaging, thrilling story. I will admit that the models are excellent, but due to a rushed production schedule to meet an unrealistic release date, many of the film’s visual effects were less than what they were supposed to be. The director’s cut released in 2001 went a long way to rectify that, but the fact still remains that this film is better suited as a dazzling visual effects reel than a well constructed and smartly conceived narrative movie. However, while the script is terribly misguided, and the choice of director was way off the mark, there is one great element that flows through both the good and the bad first six Star Trek films – the core cast.
The one actual strength of this film are the character interactions. The foundation of Kirk, Spock, and McCoy is retained as solidly as ever. When Bones first beams on board the Enterprise, I really love the exchange between him and Kirk. How McCoy is still as fiery and cranky as ever is great, and how Kirk pleads with his friend because of how desperately he needs him on this mission has always been a favorite moment of mine. It shows that the characters that we know are intact and the actors know exactly who they are inside and out. Jim Kirk knows he can’t do it alone. He’s already without Spock at this point, and so, he has to draft Dr. McCoy back into service. Spock and McCoy balance out Kirk’s ego, passions, humanity, rationale, and decisiveness. You can see this in the first minute that McCoy steps foot on the bridge, and once Spock joins them, the equation is complete. DeForest Kelley did get all the best dialogue, and constantly proved to be an excellent talent in this role. He doesn’t have a great deal to do in this movie, but the moments he does have are pitch perfectly filled with passion, depth, emotion, and wit. Kelley is actually one of the few to inject a humorous, smart quip every now and then, which this film greatly needed to break up its monotonous tone. It’s amazing that the entire original series cast did not miss a single beat slipping back into these classic characters after so many years, and that comfortable, sharp chemistry is part of what always made them work so greatly in any medium.
What I really like about James T. Kirk is that he is a man with an ego, but he’s not so consumed with it to not be aware of it. He’s able to correct himself when he realizes he’s in the wrong, and that becomes clear when dealing with Decker. When Kirk learns that his objection to Decker countermanding his phaser order was justified, he retracts his stance and acknowledges his error. Later on, he catches himself quicker when Decker offers an alternative course of action in defending the ship, and it shows that he’s tempering his actions. William Shatner really does a lot to enhance Kirk in this story as a man who is a little older and a little out of touch with his own ship. He stumbles here and there, but is able to stay on his feet, on his toes. The sort of ticking clock of V’Ger coming closer and closer to Earth forces him to make brash, impulsive decisions. They may not be the wisest ones, but they are the chances he has to take as a Starfleet Captain.
The finest performance in this film, by far, is from Leonard Nimoy. While other characters lack a through line arc, Spock is given one that is prominently at play throughout the movie. In the midst of a Vulcan ritual that would purge all emotion from him, Spock telepathically connects with V’Ger, and begins to question if logic is enough. He then abandons the Kolinahr ritual to seek out V’Ger in hopes of finding answers to his questions. Early on, you can see Spock is troubled and distant. Nimoy utilizes such subtlety in these moments, and it is very compelling seeing that unfold behind his masterful facial expressions. Yet, we gradually see the more comfortable and familiar Spock take stage on the bridge. The intelligent insight and perceptiveness of Spock is hit perfectly on the mark showing us exactly what value this character brings to this crew. Spock progresses and develops as he explores V’Ger in depth, and he once again becomes whole through a introspective, soul searching journey. What story there is in this film is really Spock’s in relation to V’Ger, but it certainly feels like a subplot that is almost drowned out by the constantly dull banality of the weak main plot.
What you have to give credit to is that despite all the blatantly obvious flaws of this movie, it does treat its characters with respect, and features some good character development. At the beginning, Kirk is restless as an Admiral pushing the proverbial paper work around, and Spock is empty, incomplete, and searching. By the end, Kirk has found his home and his purpose again as the commander of a starship, and Spock has embraced more than just logic. And it is clear to me that there was supposed to be more going on with Decker. He starts out ambitious and driven, a man who wanted this command, but had it robbed form him by the very man who endorsed him for the position. In the end, he finds another purpose and path for himself. While the film doesn’t convincingly drive him down that road at all, you can see there was an intention there for it. The fact of the matter is, even if the movie is bad and ill-conceived, as long as the characters are treated with respect and the actors are solid in their portrayals, I can find some enjoyment and a little admiration for any Star Trek film with the original cast.
Now, I firmly believe that Jerry Goldsmith was the quintessential feature film composer for Star Trek. I only find it unfortunate that he just happened to end up scoring some of the worst regarded films in the franchise. While this film has its excessively long, drawn out sequences, they translate into some very inspired and wonderful compositions by Goldsmith. Beyond the new main title theme, I have always loved his Klingon theme as it just encapsulates the feel of them perfectly. Overall, Goldsmith sets the right tone with his score adding in cues that evoke danger, mystery, and the unknown. Even if you can’t bare to sit through this film, listening to Goldsmith’s score is a pleasure. I own the 20th Anniversary Collector’s Edition CD, and it is one of the late maestro’s finest epic scores.
While the film has visual spectacle, is fairly well directed, and is technically sound, it was a severely misguided attempt plagued with problems. Nobody was happy with this movie during production or upon release. There were constant creative disputes amongst Gene Roddenberry, the screenwriter, Nimoy and Shatner, and the studio to where rewrites happened daily with the ending being conceived essentially on the spot. Today, a movie like this would kill any chance for a franchise, but Paramount was willing to revamp the creative team and it resulted in what is widely regarded as the absolute best of this film franchise – Star Trek II: The Wrath of Khan. With this first movie, I suppose if, by some slim chance, this film does engage your interest and attention, it could be fairly thought provoking about your place in the universe, but there’s a long way it could go to improve upon that material by simply adding more substance into its proceedings. Star Trek: The Motion Picture simply does not have enough meat on the bone to satisfy, and instead, fills itself out with a lot of pointless fat in the form of mind numbingly long visual effects sequences. There are certainly fan edits out there which trim this movie down to under ninety minutes, and it’s likely a little better off for it. I think it is important to say that this is not so much a bad movie as it is a mostly unexciting and dull one. I can’t really urge anyone to go see it if you haven’t already, but if you have seen it, I hope that what I’ve had to say here at least opens you up to seeing that it does have some merits, even if they are lost in a vast sea of stillness.
I have heard a few extensive reviews of Star Trek VI in recent times, all of which praising it glowingly with nary a blemish. This is definitely one of the better films of the franchise, and the first Star Trek movie I ever saw, on cable no less. It used to be my favorite, but over time I’ve come to feel as if this film lacks a certain something to get it all the way to greatness. I certainly know what that is, but let’s give you a plot first before I share that with you.
On their way home from their first assignment, the U.S.S. Excelsior, now at the command of Captain Hikaru Sulu (George Takei), monitors a massive explosion on the Klingon moon Praxis, the Empire’s key energy production facility. This incident signals an eventual crippling of the Klingon Empire within fifty years, and thus, motivates a push towards peace between the Federation and the Klingons, championed by Captain Spock (Leonard Nimoy) and Chancellor Gorkon (David Warner). Starfleet orders the U.S.S. Enterprise to escort the Klingon Chancellor to a peace conference on Earth. This does not sit well for Captain Kirk (William Shatner) who is vocally opposed to the idea of peace for many personal reasons, not the least of which being the murder of his son by the Klingons. However, despite his efforts to support the peace initiative, the hope for it is soon crushed when the Chancellor’s ship is fired upon and Gorkon himself is assassinated. A malicious conspiracy becomes evident as all evidence supports that the photon torpedoes and assassins originated from the Enterprise. Meanwhile, Captain Kirk and Dr. McCoy are arrested and convicted for the crime, and banished to the frozen penal asteroid of Rura Penthe. Now, the crew of the Enterprise must expose this plot, and rescue their comrades before all hope for peace in the galaxy is destroyed.
Before I actually point out the shortcomings of the film, I think it’s fair to detail a few behind-the-scenes points first. Mainly, this film was rushed, to an extent. Paramount Pictures wanted this out to celebrate the 25th anniversary of Star Trek, and it just made it with a late December, 1991 release. So, the filmmakers didn’t have an abundant freedom of time to really develop this film fully, but this is not some train wreck where you can tell things were slap dashed together. This is quite a well-made and conceived movie. I merely say that if they had the luxury of no forced deadline, perhaps a few of my concerns with the script could have been resolved. They are not glaring issues, but ones that I feel take away from the potential of the movie which require some in-depth analysis.
Let me also say that there is plenty of greatness in this film. The ideas of prejudice and the struggles of overcoming those feelings for the cause of peace are very relevant. This film was made at the time of the fall of Soviet Russia and the tearing down of the Berlin Wall. So, our world was going through a change of perspective and socio-political ideals. The Klingons here were essentially Soviet Russia, and Praxis was an obvious allegory for Chernobyl. This was a necessary story to be told considering that the Federation and the Klingon Empire became allies by the time of Star Trek: The Next Generation, and I feel this story was handled very well, in general. For both sides, who had gotten used to hating one another, to finally have to reach an accord of peace and allegiance would not be easy at all. Kirk is portrayed excellently in this story with him having to overcome his prejudice from the murder of his son David by Klingon hands and a life full of distrust towards them. He truly goes through an arc that re-instills the outlook of hope and humanity that Star Trek has always strived for.
This film also rebounds amazingly well from the poorly executed and conceived Star Trek V: The Final Frontier. The serious tone is brought back with very solid and respectable performances by the entire cast. Every regular cast member is given some forefront time, and I love the exchanges between Spock and McCoy in the climax. Spock asks if McCoy would assist him with surgery on a torpedo, and McCoy responds with, “Fascinating.” It’s a nice sly piece of dialogue that shows the respect and camaraderie between two characters that have not always seen eye-to-eye. It’s also a treat to have seen Sulu be promoted to Captain, and given command of the U.S.S. Excelsior. I like that Scotty gives praise to the ship now because of its captain when he was ragging on it back in The Search For Spock. It’s another subtle show of growth for these characters, and the cast embodies those moments beautifully.
Now, there have been extended cuts of the film released on home video, and each cut of the film has their advantages. The original theatrical version is quickly paced punctuating some dramatic beats a little better, but the extended versions make the film feel a little fuller. The extra scenes don’t amount to too much with characters or plot, but sometimes, it helps to draw sections of a film out for more prolonged build up, such as going into Kirk & McCoy’s trial. The pacing of the film in any incarnation is quite consistent, even if it is rather gradual. What the film really lacks is a sustained sense of urgency. I believe this stems from the fact that no one knows who the villains are until the final thirty minutes or so of the movie. If the villains either don’t have a sustained presence in the film to maintain a threat level, or you don’t have them actually doing anything in opposition to the protagonists, you lose urgency in the plot. The mystery plot isn’t enough without the dramatic pressure of active villainy going on around it.
Since Nicholas Meyer also directed Star Trek II: The Wrath of Khan, I feel it’s appropriate to draw a comparison to that film. In Star Trek II, the film was able to establish its villain in Khan and build him up as a substantial threat, and continually cut back to him to keep tension and suspense present throughout most of the movie. As long as Khan was out there plotting his next move, there was a near constant sense of unease and immediacy throughout the film. In Star Trek VI, the villains are completely hidden from us during the vast majority of the runtime. There is surely an adversarial quality to General Chang, but all the way up to and through the trial, he’s never seen acting outside the bounds and expectations of his military position. He’s not an overt villain until he’s revealed to be one until the end of the second act. And while this film has the same general runtime as Wrath of Khan, it feels much slower and thinner. There’s not all that much developing in the plot to build up momentum or create dramatic tension.
Since there is no urgency, there’s also an extreme lack of action and excitement in the film. It would’ve helped to put more dramatic pressure on the crew of the Enterprise to uncover the evidence in their investigation either by way of a time constraint or consequence. While Starfleet keeps demanding they return to Space Dock, it’s really a hollow plot device since there are no consequences or conflict involved with them constantly making up excuses to not return home. It would’ve added a sense of urgency if there was more risk put upon them for disobeying orders, such as in The Search For Spock. Even when the Enterprise infiltrates Klingon space to rescue Kirk and McCoy, there’s no real threat to contend with. Throughout Star Trek, we’ve always seen Klingon ships patrolling the Neutral Zone border, protecting their Empire, but the Enterprise whisks in and only needs to fool some lowly Klingon at a patrol station with clearly the most primitive sensors around since they cannot even identify what ship it is detecting. It doesn’t help that the entire scene is done humorously. If it was handled as a tense and serious situation where they had to evade and strategically slip passed Klingon ships during their rescue mission, it would have, again, created urgency.
Tying into this is the lack of impact with the conspiracy and mystery. Aside from one character who was briefly featured in The Voyage Home, none of the conspirators are anyone of note or poignancy to an audience. They are just one-off characters that either don’t matter or are of no surprise that they are villainous. The mystery of discovering who the assassins are has a strong setup, but eventually falls flat due a lack of tension. The crew knows that treasonous murderers are on board, but no one ever feels a sense of unease aboard the Enterprise. No one worries that two assassins are lurking on their ship capable of further ill-doings. The assassins themselves are also throwaway, nobody characters. Aside from Chang, there’s no real time spent with most of these characters to build them up one way or another to give their role in this conspiracy any weight. In most part, they could have been just about anyone and it wouldn’t have made any difference. It’s surely an aspect of this script that could’ve used a lot more work to integrate some character development and substance into this revelation. I could’ve seen a plot like this working nicely during a season long arc on Star Trek: Deep Space Nine where the writers could take their time to build up numerous characters in twisting arcs, and have a startling reveal later on. In a 110 minute movie where relatively very little time is spent with anyone but the regular cast, it’s not likely to work out very well.
My other main bother with the film is the portrayal of the Klingons. While the very honorable Next Generation Klingons could get tiresome and stereotypical after several years of overly treaded concepts, this film was made right at the strong suit of that portrayal. While it had room for flexibility and expansion, these Klingons, in general, appear to have little substance or texture to invest any interest in. Firstly, their uniforms had long been set in place as very hard and metallic, but here, most of the Klingons are wearing very soft, padded outfits which take away a lot of their visual edge. It’s the only appearance of these outfits that I know of, and it doesn’t suit this aggressive alien race that has always been very vocally opposed to softness and comfort. They are a harsh race never indulging in luxuries, but that ideal is not supported by this costume design. Their attitudes are also watered down somewhat. We already had the cunning and verbose Commander Kruge, the outspoken and aggressive Klingon Ambassador from The Voyage Home, and the rather brash and hard-headed Captain Klaa generally establishing the attitude and personalities of Klingons in this time period. However, The Undiscovered Country simply tones them down far too much for my taste. The bold and intimidating qualities which have made them such a great fan favorite are generally evaporated. The fierce, proud warrior isn’t there. While they are mostly political officers, I would expect more conviction and assertiveness in these portrayals. Furthermore, the Klingon make-up is scaled back severely. At this time, the great Michael Westmore was heading up all of the special make-up effects work and designs on The Next Generation, and the special make-up results here would’ve been far better if the filmmakers had employed his talents. The vast majority of the alien prosthetics lack a sense of fine detail or organic feel to give them a sense of life and texture. The Klingon forehead ridges are all too smooth and toned down. They mostly appear rather obviously fake and rubbery. It further adds to the out of place feel of these Klingons. They simply do not fit into what had come before or after in the chronology of the franchise. At times, they seem like a cheap imitation of a Klingon. Gene Roddenberry himself was displeased that the Klingons came off as generic villains with no exploration of their society or cultural viewpoints, and Leonard Nimoy later agreed with him after the film’s release. I agree with him as well. Time has shown the vast potential of exploration for the Klingon culture, and I think not caring to acknowledge that here results in a very flat and uninteresting presentation of the Klingons, in general.
Now, I do very much like what Christopher Plummer did as General Chang, who is a distinct exception to my Klingon gripes in this film. Right from his first moments, you can tell that he is someone to contend with. He’s a definite skilled warrior with an intimidating quality. He doesn’t give into hostility, instead he projects a patient and cunning demeanor. Plummer works excellently in the trial sequence prosecuting Kirk and McCoy with great zeal. He brings a fine theatrical sensibility to the character which allows him to command many scenes, and truly is the one that makes that trial compelling. However, at no fault of his, but of the screenwriters, is Chang’s painfully excessive quoting of Shakespeare. The bit was good for a little while, but it wears thin very quickly. Eventually, the vast majority of his dialogue is directly quoting lines from Shakespeare plays. I agree with Ira Steven Behr, who recorded a commentary track for the theatrical cut, that it’s simply lazy screenwriting. The screenwriters couldn’t come up with anything original or freshly poignant for the character to say, and so, they just flippantly copy lines verbatim from another literary work. When Khan was quoting literary works in Star Trek II, it did have a thematic purpose. His obsession for vengeance or pain of exile were parallels to Ahab in Moby Dick or Lucifer in Paradise Lost, respectively, and these quotes were used at generally the most purposeful moments. They had weight and meaning behind them for Khan. With Chang, he just spouts these lines out randomly. They hold no thematic weight or meaning at all because he has no thematic purpose in the film. He might as well be quoting anything, or saying nothing at all, because it really makes no difference what he’s saying. This lazy screenwriting becomes very irritating during the film’s climax. Even Dr. McCoy says, “I’d give real money if he’d shut up.”
The film also makes blatant references to 20,000 Leagues Under The Sea, The Bridge on the River Kwai, Guess Who’s Coming To Dinner, Sherlock Holmes, and the only one I really thought was worthwhile, Peter Pan. It eventually feels like too much referencing of other material instead of the screenwriters strengthening their own original material. Whether they are appropriate references or not, it just feels as if almost every poignant piece of dialogue is lifted from another source, and that reflects a major weakness in the dialogue of the script. Nicholas Meyer can be a great screenwriter and filmmaker, but at times, I feel he doesn’t view Star Trek to be good enough to stand on its own. He has to prop it up by injecting ideas from other sources to make it great. It worked brilliantly in The Wrath of Khan, but it simply does feel like lazy, uninspired writing in The Undiscovered Country.
The great and always respectable David Warner does a fine job as Chancellor Gorkon. Nick Meyer envisioned the character as a meshing of Abraham Lincoln and Mikhail Gorbachev. The Lincoln aspects definitely show through with both the make-up design, and Warner’s regal, wise performance. However, I do believe Gorkon was grossly underused in the film. His goal of peace is the crux of this story, and we are barely given any substantive time with him to grasp his ideals and values. Essentially, all we know is that he wants peace, period. This feels like another mark of an underdeveloped script. Surely, the script had a good, solid foundation, but given some more time to refine and flesh it out, it could’ve had so much more dramatic impact, exciting tension, and a far wider scope. This film feels like it needed a tighter pace and an extra half hour of runtime to fully flesh out and setup all of its ideas, characters, and conflicts for maximum effectiveness.
I certainly don’t want to be misunderstood with my critiques. This is a mostly well-conceived and nicely executed film. Production values are great as is the cinematography. This truly looks and feels like a high grade film with a very polished cinematic style. The acting overall is exceptionally good across the board with the entire regular cast giving it their all. Even Kim Cattrall is very impressive as Valeris utilizing subtly in her performance, and striking a fine chemistry with Nimoy especially. Not to mention, there’s plenty of fun dialogue and moments throughout. The film lightly pokes fun at Kirk with the scenes opposite the shape-shifting Martia on Rura Penthe who continually seduces Kirk’s trust, and the brute of an alien that Kirk fights in the prison. Even Kirk fighting Martia after she takes Kirk’s form harkens back to the original series episode The Enemy Within. There, Kirk was split in two by a transporter accident, and he does battle with himself. These bits pay tribute to classic Trek moments and Kirk traits for this, the twenty-fifth anniversary, without betraying the film’s tone in anyway. Star Trek VI has plenty of character building moments for James T. Kirk as he comes to terms with his prejudice and resistance to peace. Spock gets a few moments of depth and growth, primarily with Valeris and Kirk. The Undiscovered Country has a wealth of great qualities which both vastly succeeded in their potential, but also some that didn’t quite get developed as deeply as they could have been.
The visual effects from Industrial Light & Magic are some of the best of the film franchise. Granted, the floating CGI blood in the zero gravity sequence leaves a little to be desired, but it’s certainly up to the standards of 1991’s other big special effects in Terminator 2. Of course, I believe phaser fire should cauterize a wound, and not allow blood to go gushing out like this is a slasher film. All other effects are superb. The model work on all the ships is amazingly detailed holding up to great scrutiny, and being photographed beautifully. The Praxis shockwave is a stunning feast for the eyes that starts the film off on a powerful note. All the way through, you can see the remarkable quality that ILM was worth, and what Star Trek V was lacking without their talents.
With previous franchise composers James Horner and Jerry Goldsmith both turning down this project for their own vehement reasons, Meyer had to seek out someone new to provide a musical landscape for this darker toned film. Cliff Eidelman delivered something right on the money. It’s certainly not the rousing fanfares of old, but surely appropriate for the heavier subject matter and dangerous implications of the story. He nicely throws in the right lighter cues at the perfect moments. When Kirk and Spock have a discussion just before the third act, Eidelman brings out a poignant, warm feeling in his score. His work complements the film’s various dramatic facets beautifully, and the film concludes with a gorgeous composition that sends the original crew out with class and style.
I find it difficult to express a counter-balance to my criticisms to support my opinion in that this is still a good movie. I will never deny that is, but I think it succeeds only well enough instead of exceeding where it could have. Simply put, what I’m saying about Star Trek VI is that it is a good film that still had plenty of room for improvement. It’s themes are smart and topical for the time, and still have some resonance today. Peace is a difficult thing to strive for, and some people are more comfortable with continuing to be at war with a lifelong enemy than try to learn to co-exist with them in peace. These are ideals that primarily Kirk has to deal with and overcome, and that is the best handled thing about this entire movie. While there has been a lot of criticism in this review, it’s simply to point out that many of the good aspects of this movie could have been great, if given more time to fully develop them at the script level. As I said, I have felt as if there was something lacking in this movie, and in short, that something was a lack of tension and urgency in the plot as well as a need for more substance added into many of the newly introduced characters. It has great, strong subject matter which felt like a necessary story to be told in the annals of Star Trek, but for as much as you can read into them, there’s just as much that didn’t end up on the page or the screen to flesh out those details. This is a movie I still like very much, and I think it is a respectable send-off for the original cast of Star Trek. I give it a very strong recommendation. Again, being that it was the first Trek film I ever saw, I think this is one that could draw you into the franchise, and show you it does have substance and relevance to offer.
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.