Showing posts with label Majel Barrett. Show all posts
Showing posts with label Majel Barrett. Show all posts

Sunday, January 9, 2011

#45 (2-19): A Private Little War

THE PLOT

When the Enterprise is given a scientific mission to a primitive planet, Kirk is enthusiastic about returning to the site of his very first planetary survey, 13 years earlier. He remembers a peaceful world, where the inhabitants use their very basic weapons only for hunting and never for fighting. But he soon discovers that this ideal world has changed over the past decade. The people from the village are now armed with flint-locks, which should be impossible. When Kirk sees the villagers preparing to ambush a party of the Native American-like hill people, led by Kirk's old friend Tyree (Michael Witney), he intervenes - and Spock is shot.

While Spock is treated on Enterprise, Kirk and McCoy learn that the villagers have been supplied these weapons by Klingons, who hope to install the villagers as puppet rulers of the planet. Tyree refuses to fight under any circumstances, while his ambitious wife Nona (Nancy Kovack) wants the advanced Starfleet weapons that Kirk has access to in order to claim absolute power over the villagers.  Kirk now must find a way to re-establish an equal technological footing among the planet's people, hopefully while keeping his old friend alive!


CHARACTERS

Capt. Kirk: Though not immune to Nona's influence, the extent to which he prizes the Prime Directive keeps him from agreeing to her demands, even under the influence of her "spells." He does agree to provide weapons once he realizes that the Klingons are behind the villagers' development of flint-locks. But his solution is one that appalls McCoy, as his plan is to match the Klingons' weapons advances for the villagers exactly, and to continue exactly matching weapons development. In effect, Kirk creates an ongoing civil war. He counters McCoy's outrage by observing that this maintains the spirit of the Prime Directive, with Starfleet interfering only to exactly balance out the Klingon interference.  He adds that while "war isn't much of a life... (at least) it's a life," as opposed to the slaughter the hill people will suffer otherwise.

That Vulcan Voodoo You Do: Shot by a primitive flintlock, Spock is in very serious condition, with the ship suffering from a lack of Vulcan biological stores to treat him. Fortunately, one of the ship's doctors, Dr. M'Benga (Booker Bradshaw) has experience treating Vulcans. When Spock orders Nurse Chapel to strike him repeatedly, using the pain to return himself to full consciousness, M'Benga recognizes that this is actually appropriate and acts to forestall interference from Scotty. Once Spock has regained full consciousness, he allows himself no time for recuperation, immediately returning to the bridge to see the situation to its conclusion.

Dr. McCoy: When Kirk is attacked by a Mugatu, a native creature with poisonous fangs, McCoy uses his medical knowledge to keep Kirk alive until Tyree's wife can cure him. He gets a particularly strong scene in which he argues against Kirk's solution to the Klingon interference. McCoy observes that Kirk's idea of supplying Tyree's people with the same weaponry as the villagers, and advancing those weapons to match every advance the Klingons provide, will result in a civil war that will go on for "year after year, massacre after massacre!" DeForest Kelly excels at playing McCoy's outrage at the thought of such a protracted and bloody war.

Hot Alien Space Babe of the Week: Nona (Nancy Kovacks) is ambitious and ruthless. What she wants most is power for herself. She probably married Tyree in the first place because she saw his status among the Hill People as her best path to power. When she sees McCoy using his phaser to heat the rocks to keep Kirk warm, she pounces on the idea of Tyree's men having those weapons. As Kirk persists in refusing to give her what she wants, she eventually abandons the idea of loyalty to Tyree.  She first attempts to seduce Kirk into doing as she wishes, then steals his phaser and offers it (and, presumably, herself) to the leader of the villagers so that she can rule once they win the conflict. Kovacks provides a very good performance, emphasizing both the character's sensual nature and her ruthlessness. She effectively is Lady Macbeth, only with more sex and less conscience.

The Klingons: In Errand of Mercy, the Klingons were simply conquerors, fighting their enemies directly while ruling their conquered lands with brutality. Here, we see a refinement of the (ineffective) use they were put to in Friday's Child. They are working covertly to set up puppet governments, picking a side in a civil war and making sure that their side wins, while not giving their side a level of technology that would actually make them troublesome to the Klingons. The Klingons actually aren't much seen, they are more memorable here than they were with "Inept Klingon!" in Friday's Child.

THOUGHTS

OK, Nona's "cure" for Kirk has to be commented upon. With her undoing his shirt, then thrashing around over him while moaning out her incantations, it was impossible for me to keep a straight face during that scene. As close to a sex scene as 1960's Trek could have come, complete with Nona having an apparent orgasm at the end of the "treatment."

A few adolescent giggles aside, this is a thoughtful and interesting episode. The parallels with the then-escalating Vietnam War are quite obvious, but Kirk states his case for matching one puppet army with another - essentially fighting a human/Klingon war by proxy - in such a way that it's persuasive. Of course, the situation is deliberately loaded. The Klingons have clearly interfered before Kirk ever got here, and the hill people are obviously doomed without assistance. But it's still a compelling presentation of a situation not dissimilar to that which would come to dominate too much of foreign policy (for East and West alike) for far too long a time.

Tyree, the pacificist who must be made to see the necessity of war, could be a compelling character. Unfortunately, the actor is bland and he is given very little interesting material. His final scene, in which he picks up the gun and determines to use it, renders his pacifism a fairly shallow value, a position to be abandoned the instant someone dear to him is killed. Making him into a true, Gandhi-like figure might make his story more tragic and compelling, if even at the end he refuses to fight and is clearly doomed to be an early casualty. As it stands, he's a straw man, arguing foolishly against a necessary conflict, his arguments there only to be toppled by The Wisdom of Kirk.

The blandness of Tyree keeps the episode from being all it could be. But there are some truly memorable scenes: the Spock/Chapel slapping scene, the Kirk/McCoy argument, and Kirk's sadness at a solution that he knows is far from perfect, all make this an episode that lingers in the mind. Marc Daniels proves again why he was Trek's best director, and the script is well-paced and intelligent. Not one of Trek's greats, as it might have been, but still very good.


Rating: 8/10.

Previous Episode: Journey to Babel
Next Episode: The Gamesters of Triskelion

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Sunday, August 29, 2010

#10 (1-7): What Are Little Girls Made Of?

An android duplicate is made of Capt. Kirk!
An android duplicate is made of Capt. Kirk!

Original Air Date: Oct. 20, 1966. Written by: Robert Bloch. Directed by: James Goldstone.


THE PLOT

The Enterprise travels to the planet Exo III to investigate the disappearance of an archaeological expedition under the command of Dr. Roger Korby (Michael Strong), who is also Nurse Chapel's fiancé. They are all prepared for the worst - which makes it even more surprising when they actually make contact with Dr. Korby, who is alive and well!

Kirk, Chapel, and two security guards beam down. They learn that Korby survived by moving underground, where he discovered that the planet's long-dead civilization had left behind androids so advanced that they are all but indistinguishable from living beings. Korby plans to use this technology to create an android civilization, replacing human beings with robot doubles.

Korby views this as virtual immortality. Kirk has a different view, seeing the androids as an invasion threat that must be stopped at all costs!


CHARACTERS

Capt. Beefcake: Kirk gets as close to a nude scene as 1960's television would allow for. As Korby prepares an android duplicate of Kirk, Shatner is left lying on a big, spinning wheel, with only his waist covered for discretion's sake. This same scene shows Kirk thinking fast, finding a way to "program" his double to tip Spock off that something is wrong. Kirk also shows what a real man he is by successfully seducing an android woman. Now, that takes skill!

Nurse Chapel: She is still in love with Korby, and she refuses to condemn him as evil despite his actions. However, while she prefers not to be put in a position where she might have to betray him, she remains loyal to Kirk. When Kirk escapes, with the imposing android Ruk (Ted Cassidy) in pursuit, she calls out to Ruk not to harm him, using the exact conditioning Korby had established to keep Kirk alive.

Hot Android Space Babe of the Week: Andrea (Sherry Jackson) is a very '60s sci-fi android: gorgeous, loyal, and dressed in a revealing if highly impractical outfit. In an earlier draft of this review, I noted that many would enjoy such an android. Korby's thoughts may have run along similar lines. When Kirk kisses her (because of course he does), her immediate reaction is that she isn't programmed for him - indicating that she may be programmed to do such things with someone else. Not much mystery who that would be.

Villain of the Week: Michael Strong makes Roger Korby a reasonably three-dimensional Trek villain. He is soft-spoken and behaves with sincerity and empathy at all times. He genuinely believes that what he is doing is right, and he hopes to get Kirk to come around to his way of thinking. Even creating an android duplicate of Kirk is not an immediate takeover bid. He wants the captain to see how effective this process is, with actually using the android a last resort. By the end, he emerges as a tragic figure, making the episode's final moments a lot memorable than they might have been.


LET'S PLAY... ZAP THE REDSHIRT!

Redshirt Count: Two. When two security guards beam down with Kirk and Chapel, we know instantly that they're in for it. One gets thrown down a pit to become a redshirt pancake. The other is crushed by the gigantic android Ruk (an imposing Ted Cassidy).


THOUGHTS

The first of several Trek scripts by suspense/horror scribe Robert Bloch, best known for penning the novel that was adapted into Hitchcock's Psycho. What Are Little Girls Made Of? is not top-tier Star Trek, but it's still a well-paced and passably intriguing bit of fluff science fiction.

Questions of what would separate a sentient android from a true human being were not exactly new material for science fiction literature, not even in the 1960's, but it likely felt thought-provoking and fresh for television viewers. The Korby/Chapel romance is also reasonably convincing, with Chapel neither too emotionless nor too soppy to be sympathetic. There's a twist ending that isn't exactly surprising, but it also isn't so telegraphed that we're left to wait for the characters to catch up. 

The remastered shots are once again carefully blended with the episode itself. Online comparisons between the original mattes and the remastered ones show improved detail that makes the underground caves look a little more atmospheric. However, the revamped caves still look like sets and mattes that could have been achieved in the 1960's, albeit with more time and money than the original version had to work with. I find that type of remastering commendable. It looks better, but it also looks like it belongs. It enhances the episode without distracting from it.

That said, if they can fix the mattes, why leave the glaringly obvious jump-cut in the Kirk duplication scene? That jump-cut does jar me from the episode for a few seconds, and it could have been fixed. It makes no sense to replace mattes and model shots and leave that in place!


Rating: 6/10. Engaging enough on its own merits, but far from the show at its best.

Previous Episode: Balance of Terror
Next Episode: Dagger of the Mind

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Saturday, July 31, 2010

#1 (0-0): The Cage

The Talosians use their mental powers to
trap the captain of the Enterprise!

Original Air Date: Oct. 4, 1988. Written by: Gene Roddenberry. Directed by: Robert Butler.


Captain Christopher Pike (Jeffrey Hunter) meets a nice girl but has trouble with her family.


PLOT

Capt. Christopher Pike (Jeffrey Hunter) of the U. S. S. Enterprise is thinking of resigning.  The ship is returning from a particularly bloody mission that ended in the deaths of crew members, and Pike feels depressed and weary.  Then the Enterprise receives a distress call from a ship crashing on the planet Talos IV.

Though the message is approximately twenty years old, the Enterprise crew find survivors, ones who are in remarkably good health. Among these is Vina (Susan Oliver), a lovely young woman who takes an instant liking to Pike. She insists on showing him the reason for the survivors' good fortune - and then springs a trap, ensnaring the captain even as all that the crew have seen is revealed to be illusion. No survivors, no encampment - just tricks of the mind, played by an alien intelligence.

Pike finds himself in a cage, unable to escape, his every thought read by the telepathic Talosians. Oddly, Vina is still there, insisting that she is as real as he is. The Talosians proceed to use their mental powers to put Pike into a series of illusory settings: the combat Pike recently experienced, a pastoral scene at Pike's childhood home, and finally a smuggler's den, with Pike in the role of Pirate King. In each new scene, Vina is there - to be protected, or cherished, or even owned as his property, should he choose to claim her. Pike resists... but as the experiences grow more and more tantalizing, he finds that resistance weakening...

Capt. Christopher Pike (Jeffrey Hunter) is briefed by his officers.

CHARACTERS

Captain One-Shot: Jeffrey Hunter brings a more naturalistic acting style to Pike than his successor would to Kirk. Pike is a bit world-weary (universe-weary?) as the episode begins, clearly an experienced leader who is starting to cross that blurry line between "seasoned" and simply "burned-out." This had the potential to be developed in interesting ways, had Hunter elected to stay on for the second pilot. However, Pike isn't a very warm character, and the one thing this pilot doesn't do is provide him much interaction with the other would-be regulars. Based on what's here, I'm not sure audiences would have taken to him. I half-suspect a Jeffrey Hunter Star Trek might have lasted only one season, instead of three. Still, he's good in this episode, and the series is a richer place for having had Pike, if only for a very short while.

Spock: Early Spock is surprisingly emotional, grinning openly at a strange alien flower. He also reacts to the captain's kidnapping with a brashness that seems unusual, given where the character would be taken. Leonard Nimoy's performance is adequate, but nothing special here, and he has a regrettable tendency to shout half his lines. It's a good thing he improved so quickly. Certainly, one sees little evidence here of a character or performance who would become the stuff of science-fiction legend.

The Enterprise Crew: A bland bunch, really. I respect Gene Roddenberry's desire to break barriers with a female first officer. Unfortunately, I can't help but agree with the network's assertion that Majel Barrett wasn't the best actress, at least not here. The young yeoman is obviously the prototype for Janice Rand, only dimmer (and not actually very attractive, at least not to my tastes). The doctor has a tendency to strike poses when on-camera, and I am very grateful that this proved to be his only episode. For characters who were clearly intended as regulars, none of them are very well-served by a plot that focuses all its attention on the lead's interaction with a guest actress.

Vina (Susan Oliver) tries to tempt Pike into accepting his captivity.

THOUGHTS

Though that last paragraph points to one of The Cage's deficiencies as a pilot, in its failure to lay much groundwork for the regular cast's interactions, taken on its own the story holds up remarkably well. In fact, I suspect it plays better today than it did to test audiences in the 1960's. The script is both clever and thoughtful, with a resolution that defies expectations. The aliens are not simply evil monsters; they have motivations that are well-explained and even moderately sympathetic. It is also well-structured, with revelations doled out to Pike and the audience at the same time, at a gradual enough pace for an audience unfamiliar with science fiction to absorb, but not so gradually as to make the audience restless. Plus, there's at least one whopping big (and moderately well-staged) action scene thrown in for the plebs.

Susan Oliver does a strong job in the primary guest role. She has considerable chemistry with Jeffrey Hunter, and manages to create a character who is reasonably consistent, while at the same time changing her from one scenario to the next (mysterious wild child; pleading victim; lovely housewife; exotic slave girl; and fellow captive). The episode's content is surprisingly sexually overt for archive television... which was apparently one of the factors in its rejection, though it also makes it more interesting and less dated than most archive television of the era.

I have no idea which effects were changed for the remastered version of this episode, which indicates that the remastering team did their job well in this instance. The episode as a whole looks very good, and I suspect enjoyed a far higher budget than would be allowed for the rest of the series.


Rating: 8/10. An intriguing look at the series that might have been. I'm just as happy that what might have been, wasn't... but it is startling how little this particular slice of 45 (or more) year old television has dated.

Next Episode: Where No Man Has Gone Before


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