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The film that gave Star Trek back to the world
Directed by Robert Wise
Screenplay by Harold Livingston
Story by Alan Dean Foster
Based on Star Trek by Gene Roddenberry
Produced by Gene Roddenberry
Cinematography: Richard H. Kline
Edited by Todd C. Ramsay
Music by Jerry Goldsmith
Production company: Paramount Pictures
Distributed by Paramount Pictures
Release date: December 7, 1979
Running time: 132 minutes
Budget: $44 million]
Box office: $139 million
Cast
William Shatner: Captain KirkLeonard Nimoy Leonard Nimo: Spock
DeForest Kelley DeForest Kelley: Dr. McCoy
James Doohan James Doohan: Scotty
George Takei George Takei: Sulu
Majel Barrett Majel Barrett: Dr. Chapel
Walter Koenig Walter Koenig: Chekov
Nichelle Nichols: Uhura
Persis Khambatta: Ilia
Stephen Collins: Decker
Grace Lee Whitney: Janice Rand
Mark Lenard: Klingon Captain
Billy Van Zandt: Alien Boy
Roger Aaron Brown: Epsilon Technician
Gary Faga Gary Fag: Airlock Technician
David Gautreaux: Commander Branch
John Gowans: Assistant to Rand (as John D. Gowans)
Howard Itzkowitz: Cargo Deck Ensign
Jon Rashad Kamal: Lt. Commander Sonak
Marcy Lafferty: Chief DiFalco
Michele Billy Povill: Lieutenant (as Michele Ameen Billy)
Jeri McBride: Technician
Terrence O'Connor: Chief Ross
Michael Rougas: Lt. Cleary
Susan O'Sullivan: Woman (as Susan J. Sullivan)
Ralph Brannen: Crew Member
Ralph Byers: Crew Member
Paula Crist: Crew Member
Iva Lane: Crew Member
Franklyn Seales: Crew Member
Momo Yashima: Crew Member
Jimmie Booth: Klingon Crewman
Joel Kramer: Klingon Crewman
Bill McIntosh: Klingon Crewman
Dave Moordigian: Klingon Crewman
Tom Morga: Klingon Crewman
Tony Rocco: Klingon Crewman
Joel Shultz: Klingon Crewman
Craig Thomas Craig Thomas: Klingon Crewman
Edna Glover Edna Glover: Vulcan Master
Norman Stuart Norman Stuart: Vulcan Master
Paul Weber Paul Weber: Vulcan Master
Joshua Gallegos: Security Officer
Lisa Chess Lisa Chess: Yeoman
Leslie C. Howard: Yeoman
Sayra Hummel: Technical Assistant
Junero Jennings: Technical Assistant
Trailer
(Spoilers follow below.....)
A cloud-like ominous entity moves through deep space, having long traversed its bejewelled beauty festooned with supernova, nebulae and innumerable star systems. This mysterious luminescence is of a size that can barely be comprehended by human or extraterrestrial intelligence. It seems to defy all known concepts of size and distance.
The interstellar intruder is about to be confronted by one such extraterrestrial intelligence in the form of three Klingon heavy cruisers. On the Klingon command cruiser bridge ‘battle stations’ is sounded. From the point of view on the tactical grid, the main viewer and from the external perspective, the three diminutive ships closing on the steadily growing luminescent cloud-like entity appear puny and inadequate in comparison to the enormity of the unwelcome trespasser.
Undaunted, the ships sweep further into the mysterious cloud as if under the influence of some unknown beckoning force together with an impelling innate force located deep within the Klingon psyche and genetic makeup. The cruisers are soon dominated by the sheer immensity of the cloud that seems to dominate and consume all the available surrounding space.
The hatches of the photon torpedo launch tubes slowly slide open to reveal red-hued harbingers of death within. The order is then given to fire and the brilliant orbs of the photon torpedoes burst forth from the tubes.
On the Klingon bridge, the tactical grid displays the three torpedoes heading directly toward the Cloud and then suddenly and unexpectedly winking out of existence before reaching their intended target.
An external shot reveals the same course of action with the same result as the other ships launch their torpedoes toward the cloud. This time, however, there is a response in the form of an orb of power emanating from within the luminescence and heading directly toward the Klingon ships.
Despite evasive maneuvers, the orb strikes one of the cruisers with a bolt of energy which engulfs the vessel causing it to dematerialize. Raising defensive shields, executing evasive turns and discharging rear torpedoes at the approaching energy orbs do nothing to forestall the fate of the remaining two cruisers. The Klingons achieve an honourable death - their passage and entrance to Sto'Vo'Kor' assured.
Meanwhile at Starfleet Monitoring Station Epsilon IX, from the outside there appears to be an air of sedate almost complacent serenity surrounding this small outpost as astronaut workers lazily and quietly waft about servicing the station’s equipment. This atmosphere is about to be shattered within the installation where a report of the battle scene has come through to the monitor room.
A text translation of the Klingon commander’s voice appears on a monitor screen:
The crew of Epsilon IX know that the battle has taken place “within Klingon boundaries” but not who or what the Klingon’s were fighting. After the shock of witnessing the complete annihilation of the Klingon vessel on the viewer, their minds now turn to the realisation that the cloud will pass into Federation Space fairly close to them “on a precise heading for Earth.”
Read on for more……..
On a harsh alien planetary landscape that suitably reflects that planet’s name, we witness volcanic activity, vaporous clouds and harsh angular mountain peaks and rock formations. This landscape forms the barren region of the Vulcan Masters.
The familar featuresof Spock reflect the ordeal he has undergone as he has laboured through harsh discipline to achieve purification of mind in the ritual of Kolinahr, the final shedding of all emotion.
Spock, son of Sarek of Vulcan and of Amanda of Earth stands facing three Vulcan Masters. The elderly female Master holds an ancient pendant, a “symbol of total logic” and appears ready to place it around Spock's neck. Something else however sees to be reaching out to Spock and claiming hold of his consciousness. He appears to be troubled and waves the pendant away.
The elderly female Master then lays her hands on Spock’s temples in order to perform the Vulcan mind-meld. She realizes that there is a consciousness which calls to Spock and stirs his human half. She concludes that he has not achieved Kolinahr whereby his “human emotions are not fully extinguished” and that “his answer lies elsewhere.” In confirmation that his journey and what he is seeking lies elsewhere Spock, having raised his head and peered skyward and beyond into the very heavens, now contemplates the discarded symbol of his now discontinued inner search for self.
Back on 23rd century Earth, San Francisco stretches out before the onlooker proudly proclaiming her modern technological raiment, while paying fleeting homage to its heritage in the form of monuments like the Golden Gate Bridge.
An anti-grav tram flies several feet above the ground before smoothly settling to the ground. The doors open disgorging both civilians and Starfleet personnel. Among the departing commuters is the former commanding officer of the Enterprise, James T. Kirk, who has since been promoted to Admiral, with two and a half years as Chief of Starfleet Operations.
The admiral’s features have a rather determined and grim set to them signifying the magnitude of whatever it is that besets his mind along with his purpose in being at Starfleet Headquarters right now.
As Kirk makes his way to Starfleet HQ, he is accosted by Vulcan, Lt Commander Sonak. Kirk had recommended him for the appointment as Enterprise Science Officer. The starship Enterprise is undergoing a major refit and is in final preparation to leave dock which according to Sonak “will require twenty more hours at minimum.” Kirk corrects the Vulcan commander by insisting that it will be done in twelve hours. Kirk intends to meet with Admiral Nogura for a total of three minutes before being present himself on the Enterprise. Kirk leaves in his self- confident and purposeful wake a perplexed Sonak who is instructed to report to him in one hour aboard the Enterprise.
Later in Earth orbit at the Orbital drydock offices, Kirk materializes before stepping off the transporter plat-form. His is enthusiastically greeted by his dependable stalwart old friend and starship Engineering Officer, Montgomery Scott who is somewhat surprised to see Kirk here.
Scott may have been hoping to see Kirk as both his former captain and in his capacity as Admiral to “get through to those thick heads in Starfleet.” However, Kirk’s grim determined manner and expression suggest that this is not going to be a bro-hugging reunion.
In response to Scott’s opinion that the newly refitted Enterprise requires a “shakedown,” Kirk interrupts him to explain the urgency of the matter namely, that “there's an alien object with unbelievable destructive power less than three days away from this planet” and that “the only Starship in interception range is the Enterprise!” Despite the ship’s condition, she has to launch in twelve hours.
Aboard the travel pod as it moves way from the orbital office complex, Scott launches into engineer mode by pointing out to Kirk that the crew hasn't had sufficient transition time with all the new equipment and that the engines haven’t even been tested at warp power. In addition, there’s the matter of “an untried Captain” to which Kirk replies, “but I wouldn't exactly consider myself untried.”
It finally dawns on Scott what Kirk means by that comment and assures him that the Enterprise will launch on time, and that “she'll be ready.”
As Scott maneuvers the pod toward and around the Enterprise in drydock, Kirk’s facial expression and demeanour reflect the longing, awe and wonder he feels for the really one true love of his life. It has been a long time - too long perhaps for Kirk (and for the film’s audiences) since that five year mission and the quest or search “to explore strange new worlds; to seek out new life and new civilizations; to boldly go where no man has gone before!”: Both the Enterprise’s and Kirk’s purpose.
With that purpose about to be regained, it is fitting that time be taken to savour the view of the majestic starship and the emotions she evokes. Scott gives Kirk the time he needs and the time the audience needs for who can recall a time when such an up-close, detailed and personal view of the Enterprise had ever been given before?
At last the pod moves toward mating position, closes in and secures itself to the outer airlock in a procedure that is somewhat almost disturbingly metaphorical. This has indeed been a very satisfying moment for Kirk.
Upon entering the cargo deck of the Enterprise, Kirk is confronted by a cacophony of voices amidst bustling activity. While Kirk is being formally greeted by a nervous and harried ensign, Scott is soon quickly called away to deal with an emergency in Engineering. It seems as if Kirk has well and truly finally come home. In the turbo elevator, Kirk as commander issues his first order: “Kirk...Bridge!”
What awaits Kirk however, is a world that has undergone change and one that may not easily yield to his will or execute his commands. Gone are the brash bold youthfully hopeful and optimistic primary colours of yesteryear’s Starfleet. They have been replaced by the safe, efficient, functional and subdued neutral colours of a more settled, mature, uniform and somewhat self-satisfied and complacent society. (Consider our own society’s preference for boring unimaginative colours for cars – blue, black, grey, white. Or conformist uniform interior neutral colours in our homes!)
Despite the 23rd Century veneer of technological efficiency, what greats Kirk as he steps on to the bridge, is a whirlpool of disarray, disorganisation, desperation and confusion borne of extreme haste. In fact, scratch the surface of any seemingly efficient, organised and advanced society and you’ll find that somewhere somehow Captain Chaos reigns supreme.
At first no-one notices Kirk but as he moves forward toward the command center, everyone gradually becomes aware of his presence and reacts with awe and a touch of reverence. The familiar members of his old crew, Uhura, Sulu, and Chekov gather closer to him but it is straight down to business for Kirk as he instructs Uhura to keep a channel open to Epsilon IX which is “monitoring the intruder.” Due to the urgency of the situation, there is just no time for Kirk (or we the audience) to savour any kind of sentimental interlude of reunion. And of course, there is the impending matter of having to confront Captain Decker who has “been with the ship every minute of her refitting” and who has not been informed that he is being replaced by Kirk…..
Kirk next makes his way to the engineering section which is in the midst of a flurry of preparation in readiness for the ship’s departure. That is where he finds Willard Decker busily working with Scott on a malfunctioning device. Scott notices Kirk and his expression of embarrassment highlights the awkwardness of what is about to transpire.
A delighted Decker is under the impression that Kirk’s presence is part of “a top brass send off.” What he doesn’t know and is about to find out is that Kirk has used his authority to take command of the ship despite the fact that Captain Willard Decker has been overseeing the refit of the Enterprise as its new commanding officer. Decker is to “stay aboard as Executive Officer, a temporary grade reduction to Commander.”
An understandably shocked and angry Decker listens to Kirk as he explains his reasons for assuming command of the Enterprise: “My experience - five years out there dealing with unknowns like this - my familiarity with the Enterprise, this crew…” His explanation sounds reasonable, but does it merely amount to rationalisation for something else?
Decker seems to think so as he points out to Kirk that the Enterprise is virtually a new ship and he does not know her “a tenth” as well as Decker does. He goes on to suggest that Kirk is perhaps motivated by envy and that he has finally found a way to get a starship command again.
The stand-off between the two men is broken when Kirk reverts to chain of command authority and orders Deker, “report to the bridge, Commander. Immediately.”
As Decker leaves and as if on cue, Kirk’s command is about to be confronted by its first crisis which erupts from the transporter room. Two officers, including the newly appointed ship's Vulcan science officer Sonak, are killed by a malfunctioning transporter. Their grotesque partially materialised misshapen forms, along with their groans and screams of pain highlight the horror of the incident. It also brings home to Kirk what he knows all too well from experience – the nature of command and all that comes with it, including the heavy weight of responsibility. Also the fact that both space and the technology used to live work in it are inherently dangerous and can kill.
As Kirk ventures out into the tumult of the corridor, he appears to be absorbed by disturbing thoughts which we might well guess at: Could he have done something to prevent the transporter accident? Was he in some way responsible by insisting that the ship launch before it was ready? Has his judgement been clouded by his yearning for starship command again and pressuring Starfleet to give the Enterprise back to him?
Almost symbolically, Kirk looks up from his thoughts to discover that he has lost his way and needs to ask one of the ship’s crew where turbo-shaft eight is. Has Kirk become someone who is being left behind by the times – a rapidly by-passed figure of past glories in an ever changing world in which there is no real place or relevance for him?
Perhaps Decker thinks so as the two men suddenly come face-to-face. With the death of Sonak and no other Vulcan officer available “who’s fully rated on this design," Decker is informed that he’ll “have to double as Science Officer.”
The crew of the Enterprise is assembled in the ship’s large recreation deck. They stand shocked and incredulous at the video viewer display of the destruction of the Klingon cruiser by the energy weapon discharged from the approaching mysterious cloud.
Kirk now appears as captain and the assembled crew fall silent. He informs them that the Enterprise is the only Federation starship that stands in the intruder’s way. This is really quite startling considering that it involves the defense of the home planet – Earth! It speaks volumes as to the apparent degree of complacency and lack of preparedness that has developed over time.
Kirk goes on to inform the largely youthful crew that it is assumed that “there is a vessel of some type at the heart of the cloud” and that their orders are to “intercept, investigate and take whatever action is necessary and possible.” Kirk concludes with the hope that the life form aboard the vessel reasons in the same way as they do. (Something for us to ponder when we establish contact with extraterrestrial intelligences! It may turn out to be a rather big hope and a rash assumption on our part)
Suddenly a priority signal from Epsilon IX comes over the intercom and is put up on the viewer for all to see and hear. The tension and urgency is evident on the faces and in the voices of the crew in the monitor room of Epsilon IX as they provide what information they can:
The Cloud is:
All is silence as the viewer goes blank. The stunned gathering turn their collective gaze toward Kirk, hoping and looking for…..? No words – not even from the captain – could add to or provide comfort or meaning for the sense of shock and grief being experienced by all who witnessed that senseless terrible scene of destruction. Perhaps those beings at the centre of the on-coming cloud do not reason in the same way as humans supposedly do.
As Starfleet personnel, the crew of the Enterprise do know one overriding thing – their duty - as they somberly respond to Kirk’s order: “Pre-launch countdown will commence in forty minutes.” Kirk then exits followed by the bridge crew and the remainder of the silent ship’s crew who head toward their duty stations.
With the transporter system fully repaired and functioning normally and the dock signals clear, the Enterprise is placed in a “holding position awaiting final crew replacements.”
The first of the replacement crew is the Navigator, Lieutenant Ilia, a Deltan whose species from which there “are no finer navigators in Starfleet.” The elevator doors open and a beautiful bald-headed young woman steps out on to the bridge. The effect of her presence is especially felt by the male crew members, a characteristic of her species. Lest this sensual effect of hers prove to be a potential disruption to the crew’s effectiveness, Ilia assures Kirk that her oath of celibacy is on record.
As can be surmised from their reaction to seeing each other, it also appears the there is history between Decker and Ilia as we learn that Decker had been “stationed on the lieutenant's home planet some years ago.” When Ilia questioningly refers to Decker’s rank, he somewhat bitterly and sarcastically responds, “Captain Kirk has the utmost confidence in me.”
With the last last six crew members ready to beam up, Kirk is informed that “one of them is refusing to step into the transporter.” We don’t need two guesses to know who that would be! Someone who detests having his molecules scrambled all over the universe, no doubt.
Kirk hurries off to the transporter room to “see to it that he beams up.” It isn’t long before an irascible bearded Leonard “Bones” McCoy materialises in the transporter chamber and proceeds to grumble and complain about having been drafted back into Starfleet by means of a “seldom used reserve activation clause.”
In the face of McCoy’s curmudgeony reticence and contrariness, Kirk appeals to his old friend on a level he knows that Bones will understand: a combination of the straightforward and direct (there’s a thing “headed this way”) and emotional based on friendship (“Damn it, Bones. I need you.”) Kirk’s appeal is almost visceral as he extends his hand toward Bones as if he is reaching out to grab hold of an essential component of his own psyche – that human element that makes up the being called James T Kirk, without which he would indeed be incomplete and lost.
With all flight positions manned and ready, Kirk gives the order for maneuvering thrusters. Upon his order of “thrusters ahead,” the Enterprise begins to move majestically from the drydock. As the ship’s great throbbing engines draw ever increasing amounts of power, Kirk in his captain’s chair briefly hesitates before issuing the command: “Impulse power, Mr Sulu. Ahead Warp point-five…..Take us out” For Kirk this very instant amounts to a kind of orgasmic moment for him – one he has waited too long for.
The viewer image soon displays a rapidly diminishing view of Earth as the starship gathers speed and heads into its natural and rightful domain of space and all it contains both known and unknown: its own and Kirk’s ultimate destiny.
As the Enterprise begins to head out of the solar system, Kirk enters the following into the Captain’s log:
Before the decision is made to engage Warp drive, Decker recommends “further simulation study.” Kirk, however abruptly and impatiently responds that “every minute brings that object nearer Earth” and that the urgency of the situation demands Warp speed immediately.
McCoy quickly realises that Kirk is pushing too hard and reminds him that his crew “know their jobs.” Despite his gentle advice and Scott’s warnings, Kirk orders “Ahead Warp One, Mr Sulu.” It is as if he were powering the Enterprise with the force of his own will alone.
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The starship makes the leap into warp drive and achieves Warp one. All seems well momentarily until the incessant red alert warning alarm sounds triggered by the presence of a wormhole distortion forming a vortex into which the Enterprise is hurtling deeper and deeper into its maw…..
With negative helm control and attempting to go reverse on impulse power, attention is drawn to the fact that an unidentified small object has been pulled into the wormhole along with the Enterprise and it lies directly ahead. All evasive measures, however prove to be useless. It is soon determined that the object is a small asteroid that is on a collision course with the Enterprise.
With 12 seconds to impact, Kirk orders stand-by on phasers but Decker quickly belays the order to fire and instead orders Chekov to arm photon torpedoes.
With barely five seconds until impact, Decker gives the order to fire the torpedoes. As the object grows closer and ever larger, the photon torpedoes hit their target and succeed in disintegrating the asteroid into a myriad of fragments.
The Enterprise successfully exits the wormhole effect and travels at warp point eight, with helm control and communications back to normal. But what of the captain? For a while there he seemed to be stunned and rendered somewhat at a loss. Regaining his composure he orders, “warp drive as soon as possible.” Scott, however, reminds him that it was the anti-matter imbalance that created the wormhole in the first place and that it will happen again if they don't correct it. Shouldn’t Kirk be aware of this?
Once again Kirk seems to draw on sheer will and determination and points to the imperative of having to intercept the oncoming intruder “ while it still is out there!” He seems to come across as the motivating force, the power that makes things happen while he depends and relies on his crew to make it so. Isn’t that how he has always operated? Perhaps with the passage of time there is something else now at play that lies behind his conduct as captain?
After handing over the conn to Mr Sulu, Kirk exits the bridge with Decker along with McCoy who senses the captain’s reactions and demeanour and decides that he also ought accompany the two men to Kirk’s quarters for the anticipated showdown.
Once in Kirk’s quarters, the captain quickly asks Decker for an explanation as to why his phaser orders were countermanded. Decker provides the captain with a straightforward and reasonable technical explanation related to the Enterprise’s redesign. The point being that Kirk should have known this information but didn’t and is therefore out of touch. This realisation is reflected in Kirk’s body language.
After acknowledging the appropriateness of Decker’s actions, Decker provides a further dig at Kirk by apologising for having embarrassed him and agreeing that he had indeed “saved the ship.” This is tantamount to holding a red rag to a bull and Kirk responds accordingly by telling Decker to stop competing with him. It is almost as if Kirk were competing with something of his younger self.
After receiving permission to speak freely, Decker points out to Kirk that the captain hasn’t logged a single star hour in two and half years and that his unfamiliarity with the ship’s design seriously jeopardises the mission.
In a rather sarcastic and patronising manner, Kirk dismisses Decker with a parting shot in which he says, “I trust you will nursemaid me through these difficulties, mister?”
Of course, the entire interaction has been observed by McCoy – that essentially pragmatic and human side of Kirk’s psyche – that will naturally demand some kind of opinion from him…….But first……
Out In the corridor, Decker meets Ilia where we learn that Decker had left her home planet, Delta IV without even saying goodbye. If Decker had seen her, he believes he would not have been able to say goodbye to her. As Ilia enters her quarters, Decker is left with memories and regrets about the journey and direction their relationship has taken.
Back in Kirk’s quarters, McCoy gets down to the point by telling him that it is he who is competing and that his obsession to get the Enterprise back is what has been driving him. The emergency involving the approaching cloud is merely an excuse or a means to an end.
McCoy’s concern is that Kirk’s obsession will blind him “to far more immediate and critical responsibilities” and that his reaction to Decker is an example of this. Has McCoy in fact touched a nerve? Could Kirk himself have been unaware of his true motivations and the dangers involved? As the doctor soon notes, what happens from here on will depend entirely on Kirk himself.
In the meantime, Kirk has received word that a Federation-registered long-range shuttle wishes to come alongside and lock on to the Enterprise. A security scan shows that it has a Grade 1 priority and is non-belligerent.
We see the almost choreographed movements of the small shuttle as its fuselage detaches from the warp drive nacelles before moving slowly and unerringly toward the starship's airlock.
Standing ready to greet the newcomer is Chekov. The entry hatch soon slides open to reveal……SPOCK! Chekov nearly wets himself with surprise and delight while the collective hearts of the audience skip a beat at the sight of the all too familiar face of the Vulcan finally aboard the Enterprise.
Bur wait! What’s this? Standing before Chekov is a totally impassive Vulcan, who after having been granted permission to come aboard immediately departs the pod entry area oblivious to any sign of recognition, acknowledgement or friendship from his former crew-mate.
Spock soon makes an appearance on the bridge where those present are gobsmacked and disbelieving upon seeing the Vulcan. For Kirk it appears that the other essential part of his being has arrived to complete what makes up the whole person that is James T Kirk. The one who has been, is and always will be his friend has come home….Or so it is hoped.
Despite Kirk’s exclamations of surprise and show of greeting, welcome and friendship, Spock instead immediately turns aside and moves toward the science console where Decker sits. As he takes over the console, Kirk stares at him with a mixture of bewilderment and disappointment.
Spock declares that he will offer his services as science officer – his former role which then pleases Kirk no end as he instructs Chekov to “log Mr Spock's Starfleet commission reactivated” and to “list him as science officer, both effective immediately.” However, it may not amount to reverting back to how things were in the past because despite how pleased everyone (including the audience) may feel to see Spock, the science officer is intent only on discussing his fuel equations with “the engineer” (Mr Scott). The crew’s feelings apparently are not reciprocated as the Vulcan seems to have worked hard at eliminating his human half while on his personal journey on his home planet.
As much as may like to, we can seldom successfully recreate the past after the passage of time. So much of what we recall can be tinged with sentimentality and viewed through rose-coloured glasses. Some things may seem to remain the same as we remember them but many other things change irrevocably as we and other people grow older, have different experiences and undertake our individual journeys in life. Time marches on and we either learn to move with it or risk being mired in the past and left behind.
Whatever the situation is with Spock and the difficulties the captain has had settling into his command, Kirkr’s mood is somewhat more buoyant as he makes his log entry:
Meanwhile the Enterprise in a tense moment accelerates toward the speed which had earlier thrown them into the wormhole effect. As Sulu marks off “Warp point eight... point nine..” the starship leaps into warp drive and continues to accelerate without a hitch to warp seven.
Later in the officers’ lounge, Kirk and McCoy await the arrival of Spock. When he does arrive, his bearing and presence exude coldness and aloofness underscored by his reluctance to sit down when invited to do so by Kirk. His manner is almost studied in its execution and defiant in his intent to convey his abandonment of all things human.
McCoy’s observation that Spock hasn’t “changed a bit’ is somewhat ironic as we all know that he has at least on the surface changed considerably by almost becoming more Vulcan than the Vulcan’s themselves. Despite all his experiences and contact with human beings, Spock seems to have reverted to type.
The sarcastic bantering between Spock and McCoy is by contrast very familiar with McCoy observing that Spock is “just as warm and sociable as ever” while Spock retorts that neither has the doctor changed with his “continued predilection for irrelevancy.” I guess there are some things that just don’t change all that much!
Kirk eventually has to order Spock to sit down and he complies but adopts a formal, rigid and straight-backed sitting position antithetical to all notions of informality, comfort and relaxation.
The discussion moves on to Spock’s having gone to Vulcan, apparently to stay, while “undergoing the Kolinahr discipline…...the Vulcan ritual that's supposed to purge all remaining emotions.” However, Spock broke the ritual to join the Enterprise when he began to sense a consciousness emanating from a source – the intruder - more powerful than he had ever encountered.
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Spock’s journey has now taken a new direction - one on which he may finally find the answers he has been searching for in his quest for perfect logic and one that is on a joint path of “mutual advantage” shared between himself, Kirk and the Enterprise itself.
Despite the aloofness and rigidity of Spock’s manner, Kirk now feels whole again with both the Vulcan and Bones by his side, on a vessel that itself expresses the essence of his own being and on a journey that gives meaning and purpose to his life. It is no exaggeration when he tells Bonse that he “needs” Spock. The history he has with Spock and their friendship cannot permit Kirk to believe that his friend would put his own interests ahead of the ship's as McCoy suggested as being a possibility.
Back on the bridge with cloud visual contact imminent, the Red Alert sounds and friendship messages on all frequencies are transmitted, while on the view screen at full magnification, the image of the approaching luminescent cloud now appears as both a beautiful and menacing entity.
Spock reports that the Enterprise is being scanned and Kirk wisely orders not to return scan as “it may be misinterpreted as hostility.” Spock further reports that the scans emanate from the exact cloud centre and that they constitute an unknown form of energy.
With no response to the friendship messages, Kirk decides against ordering battle stations or taking any kind of provocative action, including as suggested by Decker, defensive measures such as raising screens and shields which “could also be misinterpreted as hostile.” We are witnessing something of the old Captain Kirk beginning to re-emerge.
Of particular shock to the bridge crew is the revelation that the cloud composition consists of an unbelievable twelve power energy field! In addition, Spock reports that he suspects that there’s an object at the heart of the cloud.
Decker advises that every possible defensive measure and precaution ought to be taken which adds a moment of tension to an already tense scene foreshadowing another impending showdown between the Captain and his Executive Officer. However, when Decker points out to Kirk that as his Exec., it is his duty “to point out alternatives,” Kirk quite rightly concurs, stows away his ego and states that he stands corrected.
As the Enterprise approaches the cloud boundary, Kirk orders a flight path parallel to whatever they might find within the cloud. Even at this early stage of contact with the cloud, it soon becomes apparent just how puny and insignificant they are in the face of an entity of unimaginable dimensions and possessing power of a magnitude that thousands of starships could not hope to generate.
Spock, however seems to be absorbed by something he senses, something akin to a form of communication which only he is attuned to. He informs the others on the bridge that the entity has been trying to communicate with them but he can sense puzzlement over why they haven’t replied.
All of a sudden the ship’s alarm clamours for attention indicating “Incoming fire - Ahead. Zero, mark, zero.” On the main viewer can be seen a rapidly approaching energy bolt completely contemptuous of any force-fields, deflectors or evasive maneuvers that may be taken to counter its deadly effects!
When the inescapable energy bolt strikes, a flaring curtain of charged death seems to cling to and spread over the shielded body of the starship sending its systems into disarray.
As was the case in just about every episode of the original series, we are soon treated to the spectacle of our trained Starfleet officer Chekov screaming his lungs out. Instead of some trivial matter, this time it’s due to having his arm receive a nasty burn. At least he had a good reason for an emotional outburst on this occasion!
Meanwhile, the energy discharge has enveloped the entire vessel and like a malevolent predator it seeks some point of access into its hapless victim. Fortunately, after clinging on for a moment or two longer, the shroud of energy begins to fade before dissipating entirely. The starship’s new screens have managed to hold.
Also as in just about every episode of the original series, chief engineer Scott’s familiar insistent and cautionary brogue emanates from the intercom warning that they ‘canna’ hold full power on the force-fields and that deflector power is down seventy percent.
Spock realises that “the intruder has been attempting to communicate” but that their “previous transmission mode was too primitive to be received.” He then programs the ship’s computer to transmit linguacode at the cloud entity’s frequency and rate of speed.
With the immense cloud ever closer to and completely dwarfing the Enterprise, yet another energy bolt is sent hurtling toward the vessel to the accompaniment of warning alarms emanating from the ship’s overworked computer.
As the energy bolt inexorably heads toward the Enterprise, the tension mounts as the countdown to impact proceeds. A harried Scott reports that the shields ‘canna’ handle another attack and with twenty seconds remaining Kirk frantically appeals to Spock to transmit the linguacode immediately. Finally, with barely five seconds remaining it appears that the “friendship messages have been received and understood.”
With communication having been established and annihilation averted, Kirk orders the Enterprise to be held in its present position. The question now arises as to what their next course of action should be.
Mr Spock recommends that they proceed while Decker advises caution on the basis that the ship cannot withstand another attack, that they know nothing about the entity yet and that they don’t know what it will do. In short, according to Decker, “moving into that cloud at this time is an unwarranted gamble.”
Kirk responds by asking Decker, how he would define "unwarranted"? It is precisely this that sets the two men apart as starship captains. It signifies the kind of quality that is not necessarily dependent on technical competence, rank, training, education, experience, personal ambition or even ego. It is something indefinable and forms part of a person’s character and informs those in command when and how to act. You either have it or you don’t.
The Enterprise is about to enter a domain in which all known and accepted laws of physics are smashed into irrelevance by something as yet unknown that “could generate a power field of this magnitude,” that can produce unrecognisable patterns and that can effortlessly reflect back transmissions from the Enterprise to Starfleet.
The now truly diminutive Enterprise has stood as a symbol of pride of what its creators would consider a technologically advanced and enlightened human civilisation. That very civilisation may very well over the course of time have become somewhat smug, complacent and self-satisfied, almost to the point pf being unable to conceive how it might appear to be insignificant when viewed from the perspective of such an intelligence that is contained within the luminescent cloud they are about to enter. Nor might such an advanced intelligence be able to comprehend the likely motives, desires or purpose of the tiny object that now seeks contact with it. Its own purpose and function may be motivated solely by what Spock seems to sense and has long searched for: pure logic.
For Kirk, the gamble to proceed into the cloud is not unwarranted and as commander, it is his decision to make. And so the Enterprise like a cautious gnat, skirts around the cloud while heading toward its centre. Deeper and deeper it ventures as the crew of the Starship are struck dumb with awe at the cloud’s immensity and the prospect of entering into the realm of the truly unknown where language loses its power to adequately convey what they are witnessing.
Images of spiraling fields of energy in a choreographed ever-changing dance of changing shapes and colour mesmerize the incredulous spectators…..until…the centre region of the cloud is reached wherein lies the object they have been seeking.
This region seems to be composed of a combination of matter and energy far beyond the scientific comprehension of Earth's supposedly advanced science. Its incredible dimensions beggar belief and the power it can generate would rival that of a star. How foolish human-kind appears in the face such god-like power! Rather ironic considering what is yet to transpire.
Seemingly so close as to be able to touch this “god” that fills the entire view and yet is still so far away, what will you decide to do Captain James T. Kirk? Move in closer or deem that to be an “unwarranted” gamble and withdraw?
The die is cast and the order is given to move in to one hundred kilometres distance. As the Enterprise angles in closer and closer and their objective looms larger and larger, the starship unnervingly seems to grow smaller and smaller. What kind of strange new world is Kirk sending his Starship and its crew into in which energy and matter and sub-atomic particles seem to come alive to form constantly shifting and rearranging crystalline patterns? This is truly a place where no man has gone before. That is what makes the gamble warranted.
The “intruder alert” warning blares out yet again as the blinding light of an energy probe flares momentarily before fading and being replaced by a humming charged column of energy that seems to be almost like a living entity. The energy column intensifies and writhes its way across the bridge sending out electric snake-like tendrils across various consoles in a quest to gain information.
Spock manages to determine that the entity is a probe from the intruder’s vessel, and consists of a plasma energy combination. Meanwhile the probe checks out Chekov who amazingly for once resists the urge to scream. It is apparent that it is intent on probing the starship’s functions, in particular the science console where it has managed to gain access to and control of the ship’s computer.
The probe’s actions constitute a security breech whereby gaining access to the ship’s records will enable it to ascertain Starfleet strength and Earth defenses.
When Spock intervenes by smashing the console with his fists, he is struck by the probe's energy tendril sending him spinning to the floor. The probe then moves to zero in and hover over Ilia before taking control of her body with an energy tendril as if she were a helpless laboratory specimen being examined for her suitability for….what?
The probe then abruptly vanishes in a blinding flash of light along with Ilia herself. Her tricorder in the process of falling from a station seat before clattering to the deck, being the only physical evidence of her existence.
In bitter and helpless fury, Decker says to Kirk, “This is how I define unwarranted!”
After Ilia’s disappearance, the ship’s computer urgently announces, “Emergency Alert! Negative control at helm!” The Enterprise has been seized by a tractor beam and is unable to break free, not having the necessary power to do so. Going to full emergency power and with seconds until the starship burns up, Kirk orders all main drive systems disengaged.
The Enterprise is now at the mercy of the irresistible force pulling it inexorably toward a menacing-looking iris opening into what looks like a dark interior illuminated by strange energy patterns.
Decker cuts through the atmosphere of awe and apprehension on the bridge by suggesting a maximum phaser strike at the tractor beam to weaken it just enough for them to break free.
Spock immediately interjects and asks Decker, “break free to where?” before adding that “any show of resistance would be futile.” Spock’s reaction and demeanour raises a degree of suspicion as to his motives and loyalty. Decker even asks Spock why he is opposed to trying.
Before the matter can be pursued further, the Enterprise is pulled through the iris into the interior void consisting of a vast chamber lit by energy field displays. The question now arises as to why bring the Enterprise inside as it is obvious that it is not in order to destroy them as the intruder could have easily done so already. Spock senses that the reason is due to “insatiable curiosity.”
It isn’t long before the “vessel is floating free” with “no forward momentum.” Kirk then orders manoeuvring thrusters, ahead one third along with full sensor scan.
The reality behind McCoy’s wry humorous observation, “now that we've got them just where they want us” is confirmed when it is noticed that all their scans are being reflected back and that their sensors are useless.
With yet another slap in the face of their faith in their own technological prowess and ability to control situations, all that can be done to assuage the crew’s disappointment is the certainty that they are dealing with a level of technological sophistication that cannot be comprehended, let alone explained.
The ship’s computer has more pressing problems of its own as it frenetically proclaims yet another alert this time in the vicinity of the the Officers’ quarters, more specifically, a sonic shower.
Had Kirk and the others known what sight will greet their eyes within the sonic shower cubicle, they may have picked up even greater speed. Upon entering, they find themselves confronted by the surprising but not too unwelcome sight of a naked Ilia.
After a moment of gob-smacked silence from the surprised gathering, Ilia emerges from the cubicle somewhat magically attired in a very short robe and stands facing Kirk and the others. Her expression is impassive and her beautiful eyes unblinking. She addresses Kirk directly: “You are the Kirk-unit. You will assist me” and adding, “I've been programmed by V'Ger to observe and record normal functions of the carbon-based units infesting U.S.S. Enterprise.
Kirk asks the apparent Ilia who V’Ger is, to which she replies, “V'Ger is that which programmed me.” Meanwhile it is brought to his attention that the figure before them is a “mechanism - a probe” and that its sole adornment is “a sensor-transceiver combination recording everything (they) say and do.” As for the real Lieutenant Ilia? - “That unit no longer functions.”
This android has been given Ilia’s appearance in order to more easily “communicate with the carbon-based units infesting Enterprise.” An interesting concept to consider from another perspective - human beings as amounting to little more than an infestation of vermin. Another slap in the face to anthropocentric notions of human superiority.
Kirk moves on to V’Ger’s purpose, namely why it is travelling to Earth. The android answers, “to find the Creator.”As to what it wants with the Creator, the reply is, “to join with him” whereby “V'Ger and the Creator will become one.” The interrogation about the nature of the mysterious V’Ger then proceeds through a circuitous loop of logic that one might expect would frustratingly be produced by a machine intelligence:
Question: And who is the Creator?
Answer: The Creator is that which created V'Ger.
Question: Who is V'Ger?
Answer: “V'Ger is that which seeks the Creator.”
In accordance with its programming to observe and record normal functioning of the carbon-based units infesting Enterprise, the Ilia duplicate abruptly announces that it is ready to commence its observations.
A suggestion is made that a thorough examination of the Ilia probe might provide some clues as to who manufactured it and how to deal with them. In response to its immovable reluctance to be directed to sickbay, Kirk assures it that the examination is part of a normal function it is programmed to observe.
In due course, the Ilia probe is lying atop a full body medical scanner. The results of the examination reveal, “micro-miniature hydraulics, sensors and molecule-sized multi-processor chips” as well as the fact that “even the smallest body functions are exactly duplicated.”
It is concluded that the Ilia probe is a programmed mechanism whose body duplicates the human navigator in precise detail. Spock, after having observed a flicker of recognition from the Ilia probe upon sighting Decker, postulates that “beneath its programming, the real Lila’s memory patterns are duplicated with equal precision” and that having a pattern to follow “they may have followed it too precisely.” If so, “Ilia’s memory, her feelings of loyalty, obedience, friendship might all be there.”
A plan is beginning to take shape that will capitalise on Decker’s relationship with Lieutenant Ilia. Should Decker be repulsed by the idea, Kirk points out that the probe in another form had killed Ilia. In addition, there is the urgency of the situation whereby they are “locked in an alien vessel, six hours from Earth orbit” and that their only contact with their captor is that probe. It is imperative, therefore that they try to “control it, persuade it, use it.”
Suddenly without regard for human niceties and etiquette, the ilia probe bursts through the adjoining wall from the medical bay into the room where the plan is being hatched. Almost incongruously, the Ilia probe emerges through the wall neither angry nor bent on some kind of retribution. It merely impassively announces that it has finished recording in the medical lab. Possibly needing to change his underwear, Kirk then quickly and cleverly proposes that the”Decker-unit” will assist it with much greater efficiency.
Meanwhile Spock has his own ideas about establishing contact and gaining information as we see him stealthily approach a tech crew-man from behind and apply a Vulcan nerve pinch.
At the same time, Kirk and McCoy observe Decker and the Ilia probe on a monitor as they move through the recreation deck. McCoy comments approvingly on Decker’s attempt to employ audio-visual association by drawing the probe’s attention to a game the real Ilia once enjoyed and nearly always won playing. Just as it seems that an emotional connection is about to be made, the Ilia probe impassively observes, “this device serves no purpose” and steps away from the game.
The Ilia probe asks Decker why the Enterprise requires the presence of carbon units to which he replies, “Enterprise would be unable to function without carbon units.”
The Ilia probe then blandly states that “more data concerning this functioning is necessary, before carbon units can be patterned for data storage.” The chilling explanation of this statement involves all carbon units (human crew) being “reduced to data patterns” upon the probe’s completion of its examination.
There is no evil intent or menace on the probe’s part. Is is just a part of what it views as its normal functioning or programming.
Decker thinks fast in a similar manner that a captain like Kirk would by hitting upon a course of action that requires something much more personal and has an emotional tie to it to stimulate the probe’s memory patterns. He suggests to the probe that by reviving the memory patterns of the real Ilia, it would better understand the functions of the carbon units. This appeals to the probe’s sense of logic and it agrees to proceed.
In the real Ilia’s quarters, Dr Chapel draws the probe’s attention to a Deltan headband that Ilia used to wear, the one she wore when she and Decker met.
Not knowing quite what to do with the headband, Chapel assists the probe with putting it on. Looking at its image in the mirror, recognition gradually breaks through the mask of impassivity. The ‘it’ momentarily transforms into a ‘she’ as memories of Chapel and Decker surface.
This whole process has been almost overwhelming for Decker and not surprisingly emotions now begin to rise to the surface. He has to be reminded that what is standing before him is a “mechanism” despite appearances and the feelings and memories being evoked.
Decker regains his sense of duty and responsibility and urgently asks the probe to help them make contact with V’ger. The probe replies that it cannot and does not know what the Creator that V’ger is looking for is.
Meanwhile outside the Enterprise, a tiny figure clad in a thruster spacesuit floats in space facing a repeatedly opening and closing orifice. It is a grim-faced and determined Spock and he now activates his suit’s transmitter which he’ll use to record a message detailing his attempt to contact the alien intelligence:
“I intend to calculate thruster ignition and acceleration rate to coincide with the opening of the V'Ger orifice This should facilitate a better view of the interior of the alien spacecraft.”
His expression of deep concentration does indeed suggest that he is intent on accurate calculation and timing of the orifice’s opening and closing. At a precise moment, he engages the suit’s thruster controls and begins to accelerate toward the entrance to……...
In the meantime, contact has been established with Starfleet who report that the intruder is decelerating and that the cloud has begun to dissipate. Of more immediate concern is the fact that the Intruder is on a course into Earth orbit.
Kirk is also informed that one of the airlocks has been opened and that a thruster suit has been reported as missing. Kirk does not need three guesses to know who is responsible.
Wesoon see another space-suited figure floating outside the Enterprise. This one awaits the return of his friend. His patience is rewarded as Spock is seemingly spat out of the orifice toward the waiting arms of James T Kirk. Spock looks more dead than alive as Kirk grabs hold of him and manoeuvres him back into the Starship.
In the medical bay, Spock lies on a bed while an examination has revealed “indications of some neurological trauma” due most likely to the enormous amount of power that poured through the mind-meld.
When Spock finally awakens, an incongruous exchange takes place between him and Kirk in which the Vulcan unexpectedly bursts out in laughter, struggles to focus and speak and suddenly grasps Kirk's hand in friend-ship and desperate need.
Spock struggles to tell Kirk that V’ger itself is a like-form, “a conscious, living entity” that “considers the Enterprise a living machine.” Spock goes on to convey to the others that he saw V’ger’s planet: “a planet populated by living machines.”
The irony of what Spock witnessed and learned about V’ger “with all its pure logic,” its “unbelievable technology” and that it “has knowledge that spans this universe,” lies with the fact that despite this V'Ger is barren and cold and devoid of feeling, mystery and beauty.
Of significance to Spock and his own journey or quest, the goal of which V’ger seemed to stand as a symbolic pinnacle, is what he should have known all along but failed to understand – until now. Spock simply demonstrates what he means by grasping Kirk’s hand: a simple human gesture of emotion and feeling that is “beyond V'Ger's comprehension” without which there is “no meaning, no hope”..... and “no answers.”
V’ger as any intelligent life-form might be expected to do is “asking questions,” the eternal age-old important universal questions:
With minutes remaining until the Intruder arrives in Earth orbit looking for its creator, Kirk is summoned to the bridge. There he learns that V'Ger is transmitting a signal to its creator, unexpectedly employing “a simple binary code transmitted by carrier wave signal….Radio.”
The main viewer shows a strange ominous-looking object moving away from V'ger, followed by further objects all entering earth orbit and taking trajectories that will place them at equidistant positions around the planet. A detonation would blanket the entire surface of the planet. Meanwhile, all Earth defence systems have gone dead.
The reason for V’ger’s actions is that not having received a response, it has concluded that “the carbon-unit infestation is to be removed from the Creator's planet” on the basis that Kirk and his crew “infest” the Enterprise (a 'living' machine) and that therefore, the carbon units “interfere with the Creator in the same manner.”
Spock has deduced that V’ger, despite its almost omnipotent power, is little more than a child and as such should be treated like one. Like any intelligent sentient life form it is “evolving, learning, searching, instinctively needing” and knowing “only that it needs….(but that like) like so many of us, it does not know what.”
Kirk tries to employ a game of verbal poker with the V’ger probe by stating that “The carbon units know why the Creator has not responded” but that he wont disclose the information until V'Ger withdraws the devices orbiting the third planet.”He then obstinately persists with his defiant ultimatum until the V’ger probe almost has what amounts to an emotional outburst. As Kirk orders the bridge cleared, the Enterprise is buffeted by powerful energy forces and discharges within V'ger. The child is indeed having a tantrum.
Kirk tries to snooker the V’ger probe into complying with his terms by stating, “if V'Ger destroys the Enterprise, the information that V'Ger requires will also be destroyed!” Unable to conceive the illogicality of withholding the information it requires, the V’ger probe very nearly pleads when it asks Kirk, “Why do you not disclose information?…..V'Ger needs the information.”
V'Ger quickly learns the rules of the game of move and counter-move when it declares that “V’ger will comply, if the carbon units will disclose the information.” Spock points out to Kirk that “V'Ger, obviously operates from a central brain complex” and if so, “the orbiting devices would be controlled from that point.”
With the aim of avoiding impending disaster for earth, Kirk proposes to the V’ger probe that “the carbon unit's information cannot be disclosed to V'Ger's probe, but only to V'Ger directly.” So Captain, what's the next move?
The next move begins with Kirk’s bluff being called as the Ilia probe stands momentarily in silent communication, apparently with V’ger followed by the appearance of an opening and the forward motion of the Enterprise itself. The starship is being pulled by an invisible tractor beam through the opening toward the next chamber.
With twenty-seven minutes until the devices around the planet reach their final position, the Enterprise passes into a chamber that is active with energy discharges as if reflecting the heightened anticipation of V’ger as it awaits the required information.
As the destination nears, the energy discharges subside to be replaced by a more subdued luminescence. The Enterprise has arrived at a hemispheric chamber at the centre of which is suspended a small area of what appears to be solid material.
Slowing, the Enterprise approaches the edge of the island of ‘matter.’ Indicating the main viewer, the Ilia probe points and declares – “V’ger!” As forward motion comes to a halt, readings indicate “an oxygen-gravity envelope forming outside the Enterprise” along with the source of V'ger's radio signal lying directly ahead.
The leading edge of the starship’s saucer section holds position at the edge of the island of matter. On the bridge, the Ilia probe demands that “the carbon units will now provide V'ger the required information.” In addition, it is required that the information be given to V’ger in person.
Kirk starts for the elevator with Spock and McCoy accompanying him. When he orders Decker to take the conn, his Commander and First Officer requests that he also accompanies them. Instinctively, Kirk realises Decker’s value in this particular situation along with perhaps recognising something of himself in this young man.
As has been the case many times before, it is Mr Sulu who now has the conn.
The Ilia probe, Kirk, Decker, Spock and McCoy exit an airlock on the top of the saucer section and walk along a surface consisting of small geometric stepping stones that lead to a concave structure. At the centre can be seen what looks like an antenna dish attached to an ancient space probe. Upon reaching the object, Kirk rubs away the accumulated grime that covers much of the identification nameplate which initially contains the letters "V***G E R". As kirk continues to rub away at the plate the craft is identified as being Voyager 6.
The landing party realise that the craft before them was launched by NASA more than 300 years previously and had been part of the Voyager series, “designed to collect data and transmit it back to Earth.” Voyager 6, however disappeared into a black hole and “emerged on the far side of the galaxy and fell into the machine planet's gravitational field.” Even though primitive, “the machine inhabitants found it to be one of their own kind.” It’s simple programming required the small craft to "collect all data possible, learn all that is learnable" and “return that information to its Creator.” The machines interpreted this programming literally and built an entire vessel in order for Voyager to fulfil its programming.
As the probe journeyed back to its Creator “it amassed so much knowledge, it achieved consciousness itself” and became a living thing.
The Ilia probe informs Kirk that V'ger awaits the information. Kirk contacts Uhura and tells her to locate any information on the probe, in particular the NASA code signal, which will enable the probe to transmit its data. Despite Voyager 6 being ready to transmit all of its data, there is no one on Earth who will be able to recognise the obsolete signal which is why the Creator does not answer by sending a response.
Kirk calls out to V'ger and declares that they are the Creator. The Ilia probe says that is not logical as carbon units are not true lifeforms. Kirk responds by telling it that they will prove it by enabling V'ger to complete its programming and that “only the Creator could accomplish that.” Uhura then contacts Kirk to inform him that she has retrieved the code. Kirk tells her to set the Enterprise transmitter to the appropriate code frequency and to transmit the signal code in order to trigger Voyager's transmitter. Decker reads the numerical code on his tricorder and just as he is about to read the final sequence, V'ger burns out its own antenna leads to prevent reception.
With ten minutes remaining, the Ilia probe which has fixed a longing gaze at Decker announces that the Creator must join with V'ger, and turns toward Decker. Decker deduces that V'ger intended to bring the Creator here and transmit the code in person.
Spock tells Kirk that V'ger's knowledge has reached the limits of our universe and it must evolve beyond it into other higher dimensions. V'Ger, however is incapable of believing in them, “the existence of which cannot be proven logically.” In order to do so V'ger requires a human quality, “our capacity to leap beyond logic” in order to evolve and this can only be achieved by joining with the Creator.
Armed with this knowledge, his feelings for Ilia and having a sense of purpose and need, Decker moves over to the damaged circuitry and repairs the wires so he can manually enter the rest of the code through the ground test computer. When Kirk tries to stop him, the Ilia probe effortlessly tosses him aside. With emotional force, Decker tells Kirk that he wants this as much as Kirk wanted the Enterprise. There can be little argument that this is the path Decker’s journey must take.
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The ears for Nimoy’s character were made of latex and other ingredients blended together in a kitchen mixer, before being baked for six hours. Nimoy's ears had grown in the intervening decade and new moulds had to be created. Three pairs of ears a day had to be made for Nimoy during filming. The Vulcan eyebrows needed to be applied hair by hair for proper detail, and it took Nimoy more than two hours to prepare for filming - twice as long as it took for television.
Khambatta's lovely head was freshly shaved each day, then given an application of makeup to reduce glare from the hot set lights. She also received a daily scalp treatment routine of cleansers and lotion for up to two hours each day.
Design; sets; props & models
The first new sets were originally intended for Star Trek: Phase II. When the television series was cancelled and plans for the film went ahead, new sets were needed for the large 70 mm film format.
The bridge set contained monitors displaying looping animations. Each oval monitor was a rear-projection screen on which super 8 mm and 16 mm film sequences looped for each special effect.
The Enterprise engine room was redesigned to give the illusion of being vast. To create the illusion of depth and long visible distances, designs were worked that would utilize forced perspective. The result on film was that the engine room appeared to be hundreds of feet long, whereas the set was in reality only 40 feet (12 metres) in length. To achieve the required look, the floor slanted upward and narrowed, with small stature actors used as extras to give the appearance of being far from the camera. For down shots of the engineering complex, floor paintings created the illusion of a warp core several stories in length.
The Enterprise corridors were redesigned to give them a new, bent and angular appearance. Instead of the usual overhead lighting, lighting would radiate upward from the floor.
The V'ger set was designed and fabricated in four and a half weeks, and was filmable from all angles. Parts of the set were designed to pull away for better camera access at the centre.
Most of the models were created by Magicam, a Paramount subsidiary. The main Enterprise model was eight feet long, to a scale of 1/120th scale size, (1 inch / 2.5 cm to 10 feet / 3.0 m). It took 14 months and $150,000 to build. Instead of standard fiberglass used for older models, the new Enterprise was constructed with lightweight plastics, weighing 85 pounds (39 kg). A second, 20-inch (51 cm) model of the ship was used for long shots. The hull surface was treated with a special paint finish that made it appear iridescent in certain light.
The orbital dry dock for the Enterprise measured 4 ft × 10 ft × 6 ft (1.2 m × 3.0 m × 1.8 m). It had 56 neon panels that required 168,000 volts of electricity to operate. The price tag for dock set-up: $200,000.
The final model of V’ger was 68 feet (21 m) long and was built out of a variety of materials, including wood, foam, macramé, styrofoam cups and incandescent, neon and strobe lights.
Roughly 350 props were fabricated for the film, such as phasers and handheld communicators. The only prop that remained from the original television series was Uhura's wireless earpiece. The communicators were unlike the beloved flip phone-style devices used in the original series. Instead, a wrist-band design was employed with a hefty $3500 for the top models, used for close-ups of the device in action.
Three models were created to stand in for the Epsilon IX station: A 6-by-3.5-foot (1.8 by 1.1 m) model was used for distance shots; an isolated 5-by-6-foot (1.5 by 1.8 m) panel for closer shots; The station control tower replicated with rear-projection screens to add station personnel inside. A two foot model spaceman was used for both the drydock sequence and Spock's EVA.
Filming; special effects;
Fifteen takes were needed for the scene involving the chaos aboard the Enterprise bridge as the crew fanatically prepares the starship for space travel until Wise was content with the scene.
The setting for the planet Vulcan was created using a combination of on-location photography at Minerva Hot Springs in Yellowstone National Park and set recreation. Miniatures in the foreground were used to create the Vulcan temples and were combined with the real hot springs in the background. In the film, the bottom third of the frames were composed of miniature stairs, rocks, bits of red glass and a Vulcan statue. The center of the frame contained Nimoy's shots and the park setting, while the final third of the frame was filled with a matte painting. The Vulcan sequence took three days to shoot.
Parts of Yellowstone were recreated in a large "B tank", (110 by 150 feet / 34 by 46 m) long. The tank was designed to be flooded with millions of gallons of water to represent large bodies of water. Miniatures were set up on the tank's floor before construction. The effects filmed at Yellowstone were matched by using dry ice and steam machines. The swirling eddies of water in the real Yellowstone were recreated by means of a combination of evaporated milk, white poster paint, and water being poured into the set's pools. The pressure of the steam channeled into the pools through hidden tubing would caused enough movement in the whirlpools to duplicate the location footage.
The computer console explosion that caused the transporter malfunction was created by means of steel wool Brillo Pads concealed inside the console and attached to an arc welder. The welder was designed to create a spark instead of actually welding, causing the steel wool to burn and make sparks.
The illusion of anti gravity suspension of canisters and containers was achieved by means of a circular track with the same shape as the corridor suspending the antigravity prop on four small wires that connected to the track. The wires were treated with an acid that oxidized and tarnished the metal turning the wires to a dull gray that would not show up in the deep blue corridor lighting.
For the climactic scene featuring the fusing of Decker and V'Ger, Collins was covered in tiny dabs of cotton glued to his jacket. These highlights were used to create a body halo effect. Helicopter lights, 4,000-watt lamps and wind machines were used to create the effect of Decker's fusion with the living machine. Initially, the extreme lighting caused invisible dust particles in the air to be illuminated, making it seem as if the actors were caught in a blizzard. During the retakes the crew mopped and dusted the set constantly, and later technical work was resorted to in order eliminate the dust in the final print.
The photon torpedo effects for the Enterprise were simulated by shooting a laser through a piece of crystal mounted on a rotating rod while V'Ger's destruction of the Klingon ships was created using scanning lasers, with the multiple laser passes composited onto the moving model to create the final effect.
Music & Sound Effects
Jerry Goldsmith began a long association with Star Trek by scoring Star Trek:The Motion Picture. Goldsmith scored the film over a period of three to four months. Wise considered his work with Goldsmith one of the best relationships he ever had with a composer. Star Trek: The Motion Picture is the only Star Trek film to have a true overture. The film’s music score led to Goldsmith being nominated for the Oscars, Golden Globe and Saturn awards. It was one of the American Film Institute's 250 nominated scores for their top 25 American film scores.
Much of the recording equipment used to create the movie's sound effects was back in 1979 quite cutting-edge. These included the ADS (Advanced Digital Synthesizer) 11, manufactured by Pasadena, California custom synthesizer manufacturer Con Brio, Inc.; the Blaster Beam, an electronic instrument 12 to 15 feet (3.7 to 4.6 m) long which had steel wires connected to amplifiers fitted to the main piece of aluminum and was played with an artillery shell; several state-of-the-art synthesizers used as musical instruments. The sound effects coinciding with V’ger’s approach and presence served well to illustrate its power and sense of menace.
Assessments
Many critics who have expressed disappointment with the film and its portrayal of the characters have missed the point of ‘change’ as being part and parcel of life. During the interval between the original series ending and the filming of the motion picture, the actors playing the characters had themselves changed as individuals and such change would also inevitably be reflected in the roles they played. Yes, we the audience longed for a reunion of characters we all knew so well and hoped that they would hug each other, hold hands and sing Kumbaya as if nothing had changed in a decade. We also may have wondered what ever happened to those bright primary colours that festooned the Enterprise interior and Starfleet uniforms and why they were replaced by neutral colour schemes. Well, guess what? Everything including people change and if there’s no change and people choose to Klingon, sorry cling on to the past, and wallow in nostalgia then there’s only stagnation to look forward to.
Much has also been made about actor dissatisfaction with the scrip; frequent script re-writes by the actors themselves; delays and more delays; issues with characterisation; on and off-screen lack of chemistry; unfamiliarity with and departure from the true spirit of Star Trek and on and on. Well, often the creative process can take a rather circuitous route and need not result from a process of complete harmony and synchronicity. Sometimes friction, conflict and moments of torture can produce wonderful examples of creativity.
Although director Wise was unfamiliar with the background intricacies and in-and-outs of Star Trek that lay behind and formed the context of the film, he did rely on the actors, especially William Shatner, to ensure consistency in terms of dialogue and characterization.
Some critics have whined about the film’s pacing and complained about long stretches without apparent action or dialogue. Take for instance, the first close view of the Enterprise as Scotty and Kirk view it on approach in the pod. In our modern 21st century attention deficit disordered society it might be difficult for audiences to handle an absence of rapid quick cutting shots, meaningless babbling incomprehensible and inaudible dialogue, stuff constantly happening and so on. The slow approach toward the starship and the time given to taking in its whole exterior is designed to evoke what Kirk must have felt upon seeing his beloved Enterprise after so long a time. It’s called savouring a moment when you just have to shut up and let your senses take it all in.
There has over the years been a plethora of mixed reviews for Star Trek: The Motion Picture, many emanating from self-important opinionated critics, self-appointed Star Trek aficionados and a range of Star Trek Fan-atics. In answer to the mumblings of many of these celluloid nit-pickers, let’s check out the results of the end product:
When the film opened in the United States and Canada it set a box office record for the highest opening weekend gross, making $11,926,421 in its first weekend. The film went on to earn $17 million within a week and was the fifth-highest-grossing film of 1979 in the US. Overall, the film grossed $139 million worldwide. Star Trek:The Motion Picture was nominated for three Academy Awards: Best Art Direction, Best Visual Effects and Best Original Score.
In the United States, the film sold the most tickets of any film in the franchise until Star Trek (2009), and it remains the highest-grossing film of the franchise worldwide adjusted for inflation. The film’s budget of $44 million, including the costs incurred during Phase II production, was the largest for any film made within the United States up to that time.
Had the film been unsuccessful, there’s every chance that the franchise would not have continued. It reminds me of the Dr Who series which resumed after a hiatus and began with Christopher Eccleston’s portrayal of the Doctor. Here we had a very different representation of a beloved character. Had that not been successful, the series might have ended there and then. I have to admit that I stopped watching Doctor Who after Matt Smith finished as the Doctor, while I stopped avidly watching Star Trek after the Voyager & Deep Space 9 series finished - both for similar reasons which I felt involved complete travesties with what followed thereafter! But that’s a story for another day.
You may have noticed that there are similarities between Star Ttrek: The Motion Picture and the excellent original series episode "The Changeling" which featured the probe, Nomad. Here is a note on Star Trek: The Changeling episode kindly contributed by none other than Chatbot gpt:
"The Changeling" is an episode from the original "Star Trek" series, specifically from the second season. It originally aired on September 29, 1967. The episode is the third of the second season and is the eighth episode overall.
In "The Changeling," the starship USS Enterprise encounters a powerful and highly advanced space probe known as Nomad. The probe, initially created by Earth scientists centuries ago to explore new life forms, has merged with an alien probe, becoming a highly efficient and destructive entity.
Nomad's mission is to seek out and sterilize any imperfections it finds in its path. Unfortunately, it mistakenly identifies Captain Kirk as its creator, Dr. Jackson Roykirk, due to a malfunction in its memory core. As a result, Nomad believes Kirk is its "creator" and follows his orders without question.
The situation becomes increasingly dangerous as Nomad interprets its mission to sterilize imperfections in the most extreme way, posing a severe threat to the Enterprise crew and potentially to all life in the galaxy. Kirk must find a way to communicate with and reason with the machine in order to avert disaster.
The episode explores themes of artificial intelligence, the consequences of creating powerful technology without proper safeguards, and the potential dangers of unchecked ambition in scientific endeavours. It is a classic example of "Star Trek's" ability to use science fiction to address philosophical and ethical questions.”
(Chat gpt)
For almost five decades, we have been acquainted with the Voyagers 1 & 2 space probes that have departed our own solar system and ventured out into interstellar space. They have served to extend humanity’s exploration of the solar system beyond the neighbourhood of the outer planets to the outer limits of the Sun's sphere of influence, and beyond. But what if one day (as will happen) we no longer receive any more signals from Voyager and contact is lost? What if humanity is no longer around to receive any message from Voyager should any signals reach us after hundreds or even thousands of years? Would the little probes become the only remaining physical evidence that the species of homo sapiens had ever existed? What would an extra-terrestrial species make of the beings that created the probes? Would they care enough to seek out their…..creator?
Are you there, Voyager?
We lost your signal long ago through Time’s curse
Yet you still send greetings on behalf of humanity,
Who stepped out of our solar system into the universe
Before succumbing to a final calamity.
You say we seek only peace and friendship,
And to teach if we are called upon.
Then why did we continue causing hardship
And teach our children who to prey on?
You say we hope to be taught if we are fortunate
And with humility and hope we took this step.
We? from History’s lessons failed to appreciate
Hubris’ marking the marching beat of a goose-step!
You’re a present from a small, distant world,
But one with a need to feed and seed.
A whole cosmos to be unwrapped and unfurled,
A resource to be laid bare and ravished by greed.
You’re a token of our sounds and our science.
Then hear the screams of an infant without legs,
Blown off by weapons forged without conscience,
And God! The mother’s wail as she pleads and begs!
You’re a token of our images and our music,
Then see a father lost in a land of dust and rubble,
And what’s left of his family, pausing just to be sick
To the doleful song of sirens and a life of struggle.
You’re a token of our thoughts and our feelings.
What then did we think as we stood by and watched
The next genocide; deaf, blind and dumb to pleadings,
Appealing to feelings in the hearts of those untouched.
You say we are trying to survive our time
So we may live into the time of the Unknowns.
But no, only you survive to tell of our climb
And testify scarred and pitted to the place of our bones.
So power down and sleep eternal Voyager,
For your journey there are none left to hear or care;
Burnt off, drowned and blown away – the Destroyer
Of Worlds has paid for being a god who would dare.
The poem above incorporates some of the sentiments and messages contained on the Voyager probe from the United Nations General Secretary at the time as well as from former US President Jimmy Carter.
Hopefully, we can as individuals and as a species at least attempt to live up to the positive sentiments that are being conveyed aboard our tiny ambassador space craft as they journey beyond our solar system to…….
Note: If you wish to find out more about Robert Wise, the director of Star Trek: The Motion Picture, then I would like to recommend a book by Joe Jordan, titled, Robert Wise: The Motion Pictures, Contributors: Gavin MacLeod, Douglas E. Wise, Illustrated, BearManor Media, 2020
The book, “ Robert Wise: The Motion Pictures,” by Joe Jordan (published 5 April 2017) is a product of meticulous research by the author, covering a period of over fifty years. It contains detailed plot synopses and commentary of many of Robert Wise’s memorable and important films.
Joe Jordan's book includes over twenty interviews, as well as presenting a comprehensive analysis of Robert Wise’s work. I am sure that after reading this fascinating tribute, you’ll come away with an even greater appreciation of this two-time winner of the Academy Award for Best Director – the legendary Robert Wise.
Title: Robert Wise: The Motion Pictures
Author: Joe Jordan
Contributors: Gavin MacLeod, Douglas E. Wise
Edition: illustrated
Publisher: Joseph R. Jordan, 2017
ISBN 0692854479, 9780692854471
Length: 550 pages
Robert Wise In Brief
Wise began his film career at RKO as a sound and music editor. He later became more involved in editing film content and went to work for RKO film editor William "Billy" Hamilton. At RKO, Wise worked with Orson Welles on “Citizen Kane” (1941) and was nominated for the Academy Award for Film Editing.
In his role as producer and director, Wise aimed for establishing a connection to the viewer and had a reputation for a strong work ethic, attention to detail, budgetary thrift and well-researched preparation for a film
Also of relevance to this blog is Robert Wise’s film “The Day the Earth Stood Still”, a classic science fiction masterpiece that warned about the dangers of atomic warfare.
Other films of Robert Wise that have stayed in my mind over the years are;
“I Want To Live” (1958)
“Run Silent, Run Deep” (1958)
“The Haunting” (1963)
“The Andromeda Strain” (1971)
And of course,
“Startrek The Motion Picture” (1979
At this time of year I like to wish everyone a very happy Christmas and all the very best for the New year. I still do, of course but more than that I would like everyone to spare some time thinking about our fellow human beings who are right now at the time of writing being put through hell in Gaza, Sudan and Ukraine. We can at least try and do our bit to effect change by putting constant pressure on our political leaders; protesting in the streets; using the power of social media; prodding mainstream media to do its job to unearth the truth; continuously contacting embassies about the activities of the countries they represent; shunning politicians, corporations, groups and organisations who are actively complicit in the murder and genocide of innocent defenceless people – anything but silence and apathy!
Full Movie Link
©Chris Christopoulos 2023
“Who are they fighting?”
“Unknown, sir.”
A cloud-like ominous entity moves through deep space, having long traversed its bejewelled beauty festooned with supernova, nebulae and innumerable star systems. This mysterious luminescence is of a size that can barely be comprehended by human or extraterrestrial intelligence. It seems to defy all known concepts of size and distance.
On the Klingon bridge, the tactical grid displays the three torpedoes heading directly toward the Cloud and then suddenly and unexpectedly winking out of existence before reaching their intended target.
An external shot reveals the same course of action with the same result as the other ships launch their torpedoes toward the cloud. This time, however, there is a response in the form of an orb of power emanating from within the luminescence and heading directly toward the Klingon ships.
Despite evasive maneuvers, the orb strikes one of the cruisers with a bolt of energy which engulfs the vessel causing it to dematerialize. Raising defensive shields, executing evasive turns and discharging rear torpedoes at the approaching energy orbs do nothing to forestall the fate of the remaining two cruisers. The Klingons achieve an honourable death - their passage and entrance to Sto'Vo'Kor' assured.
“Sir, it's on a precise heading for Earth!”
Meanwhile at Starfleet Monitoring Station Epsilon IX, from the outside there appears to be an air of sedate almost complacent serenity surrounding this small outpost as astronaut workers lazily and quietly waft about servicing the station’s equipment. This atmosphere is about to be shattered within the installation where a report of the battle scene has come through to the monitor room.
A text translation of the Klingon commander’s voice appears on a monitor screen:
“Intruder unidentified.
Believe luminescent cloud to be enormous
Power field surrounding alien vessel.
Our sensor scans unable to penetrate.
Imperial Klingon Cruiser Amar, continuing to attack.”
The crew of Epsilon IX know that the battle has taken place “within Klingon boundaries” but not who or what the Klingon’s were fighting. After the shock of witnessing the complete annihilation of the Klingon vessel on the viewer, their minds now turn to the realisation that the cloud will pass into Federation Space fairly close to them “on a precise heading for Earth.”
Read on for more……..
“His answer lies elsewhere”
On a harsh alien planetary landscape that suitably reflects that planet’s name, we witness volcanic activity, vaporous clouds and harsh angular mountain peaks and rock formations. This landscape forms the barren region of the Vulcan Masters.
The familar featuresof Spock reflect the ordeal he has undergone as he has laboured through harsh discipline to achieve purification of mind in the ritual of Kolinahr, the final shedding of all emotion.
Spock, son of Sarek of Vulcan and of Amanda of Earth stands facing three Vulcan Masters. The elderly female Master holds an ancient pendant, a “symbol of total logic” and appears ready to place it around Spock's neck. Something else however sees to be reaching out to Spock and claiming hold of his consciousness. He appears to be troubled and waves the pendant away.
The elderly female Master then lays her hands on Spock’s temples in order to perform the Vulcan mind-meld. She realizes that there is a consciousness which calls to Spock and stirs his human half. She concludes that he has not achieved Kolinahr whereby his “human emotions are not fully extinguished” and that “his answer lies elsewhere.” In confirmation that his journey and what he is seeking lies elsewhere Spock, having raised his head and peered skyward and beyond into the very heavens, now contemplates the discarded symbol of his now discontinued inner search for self.
“They gave her back to me, Scotty”
Back on 23rd century Earth, San Francisco stretches out before the onlooker proudly proclaiming her modern technological raiment, while paying fleeting homage to its heritage in the form of monuments like the Golden Gate Bridge.
An anti-grav tram flies several feet above the ground before smoothly settling to the ground. The doors open disgorging both civilians and Starfleet personnel. Among the departing commuters is the former commanding officer of the Enterprise, James T. Kirk, who has since been promoted to Admiral, with two and a half years as Chief of Starfleet Operations.
The admiral’s features have a rather determined and grim set to them signifying the magnitude of whatever it is that besets his mind along with his purpose in being at Starfleet Headquarters right now.
As Kirk makes his way to Starfleet HQ, he is accosted by Vulcan, Lt Commander Sonak. Kirk had recommended him for the appointment as Enterprise Science Officer. The starship Enterprise is undergoing a major refit and is in final preparation to leave dock which according to Sonak “will require twenty more hours at minimum.” Kirk corrects the Vulcan commander by insisting that it will be done in twelve hours. Kirk intends to meet with Admiral Nogura for a total of three minutes before being present himself on the Enterprise. Kirk leaves in his self- confident and purposeful wake a perplexed Sonak who is instructed to report to him in one hour aboard the Enterprise.
Later in Earth orbit at the Orbital drydock offices, Kirk materializes before stepping off the transporter plat-form. His is enthusiastically greeted by his dependable stalwart old friend and starship Engineering Officer, Montgomery Scott who is somewhat surprised to see Kirk here.
Scott may have been hoping to see Kirk as both his former captain and in his capacity as Admiral to “get through to those thick heads in Starfleet.” However, Kirk’s grim determined manner and expression suggest that this is not going to be a bro-hugging reunion.
In response to Scott’s opinion that the newly refitted Enterprise requires a “shakedown,” Kirk interrupts him to explain the urgency of the matter namely, that “there's an alien object with unbelievable destructive power less than three days away from this planet” and that “the only Starship in interception range is the Enterprise!” Despite the ship’s condition, she has to launch in twelve hours.
Aboard the travel pod as it moves way from the orbital office complex, Scott launches into engineer mode by pointing out to Kirk that the crew hasn't had sufficient transition time with all the new equipment and that the engines haven’t even been tested at warp power. In addition, there’s the matter of “an untried Captain” to which Kirk replies, “but I wouldn't exactly consider myself untried.”
It finally dawns on Scott what Kirk means by that comment and assures him that the Enterprise will launch on time, and that “she'll be ready.”
At last the pod moves toward mating position, closes in and secures itself to the outer airlock in a procedure that is somewhat almost disturbingly metaphorical. This has indeed been a very satisfying moment for Kirk.
“He wanted her back; he got her!”
Upon entering the cargo deck of the Enterprise, Kirk is confronted by a cacophony of voices amidst bustling activity. While Kirk is being formally greeted by a nervous and harried ensign, Scott is soon quickly called away to deal with an emergency in Engineering. It seems as if Kirk has well and truly finally come home. In the turbo elevator, Kirk as commander issues his first order: “Kirk...Bridge!”
What awaits Kirk however, is a world that has undergone change and one that may not easily yield to his will or execute his commands. Gone are the brash bold youthfully hopeful and optimistic primary colours of yesteryear’s Starfleet. They have been replaced by the safe, efficient, functional and subdued neutral colours of a more settled, mature, uniform and somewhat self-satisfied and complacent society. (Consider our own society’s preference for boring unimaginative colours for cars – blue, black, grey, white. Or conformist uniform interior neutral colours in our homes!)
Despite the 23rd Century veneer of technological efficiency, what greats Kirk as he steps on to the bridge, is a whirlpool of disarray, disorganisation, desperation and confusion borne of extreme haste. In fact, scratch the surface of any seemingly efficient, organised and advanced society and you’ll find that somewhere somehow Captain Chaos reigns supreme.
At first no-one notices Kirk but as he moves forward toward the command center, everyone gradually becomes aware of his presence and reacts with awe and a touch of reverence. The familiar members of his old crew, Uhura, Sulu, and Chekov gather closer to him but it is straight down to business for Kirk as he instructs Uhura to keep a channel open to Epsilon IX which is “monitoring the intruder.” Due to the urgency of the situation, there is just no time for Kirk (or we the audience) to savour any kind of sentimental interlude of reunion. And of course, there is the impending matter of having to confront Captain Decker who has “been with the ship every minute of her refitting” and who has not been informed that he is being replaced by Kirk…..
Kirk next makes his way to the engineering section which is in the midst of a flurry of preparation in readiness for the ship’s departure. That is where he finds Willard Decker busily working with Scott on a malfunctioning device. Scott notices Kirk and his expression of embarrassment highlights the awkwardness of what is about to transpire.
A delighted Decker is under the impression that Kirk’s presence is part of “a top brass send off.” What he doesn’t know and is about to find out is that Kirk has used his authority to take command of the ship despite the fact that Captain Willard Decker has been overseeing the refit of the Enterprise as its new commanding officer. Decker is to “stay aboard as Executive Officer, a temporary grade reduction to Commander.”
An understandably shocked and angry Decker listens to Kirk as he explains his reasons for assuming command of the Enterprise: “My experience - five years out there dealing with unknowns like this - my familiarity with the Enterprise, this crew…” His explanation sounds reasonable, but does it merely amount to rationalisation for something else?
Decker seems to think so as he points out to Kirk that the Enterprise is virtually a new ship and he does not know her “a tenth” as well as Decker does. He goes on to suggest that Kirk is perhaps motivated by envy and that he has finally found a way to get a starship command again.
The stand-off between the two men is broken when Kirk reverts to chain of command authority and orders Deker, “report to the bridge, Commander. Immediately.”
As Decker leaves and as if on cue, Kirk’s command is about to be confronted by its first crisis which erupts from the transporter room. Two officers, including the newly appointed ship's Vulcan science officer Sonak, are killed by a malfunctioning transporter. Their grotesque partially materialised misshapen forms, along with their groans and screams of pain highlight the horror of the incident. It also brings home to Kirk what he knows all too well from experience – the nature of command and all that comes with it, including the heavy weight of responsibility. Also the fact that both space and the technology used to live work in it are inherently dangerous and can kill.
As Kirk ventures out into the tumult of the corridor, he appears to be absorbed by disturbing thoughts which we might well guess at: Could he have done something to prevent the transporter accident? Was he in some way responsible by insisting that the ship launch before it was ready? Has his judgement been clouded by his yearning for starship command again and pressuring Starfleet to give the Enterprise back to him?
Almost symbolically, Kirk looks up from his thoughts to discover that he has lost his way and needs to ask one of the ship’s crew where turbo-shaft eight is. Has Kirk become someone who is being left behind by the times – a rapidly by-passed figure of past glories in an ever changing world in which there is no real place or relevance for him?
Perhaps Decker thinks so as the two men suddenly come face-to-face. With the death of Sonak and no other Vulcan officer available “who’s fully rated on this design," Decker is informed that he’ll “have to double as Science Officer.”
“Our orders are to intercept, investigate and take whatever action is necessary and possible”
The crew of the Enterprise is assembled in the ship’s large recreation deck. They stand shocked and incredulous at the video viewer display of the destruction of the Klingon cruiser by the energy weapon discharged from the approaching mysterious cloud.
Kirk now appears as captain and the assembled crew fall silent. He informs them that the Enterprise is the only Federation starship that stands in the intruder’s way. This is really quite startling considering that it involves the defense of the home planet – Earth! It speaks volumes as to the apparent degree of complacency and lack of preparedness that has developed over time.
Kirk goes on to inform the largely youthful crew that it is assumed that “there is a vessel of some type at the heart of the cloud” and that their orders are to “intercept, investigate and take whatever action is necessary and possible.” Kirk concludes with the hope that the life form aboard the vessel reasons in the same way as they do. (Something for us to ponder when we establish contact with extraterrestrial intelligences! It may turn out to be a rather big hope and a rash assumption on our part)
Suddenly a priority signal from Epsilon IX comes over the intercom and is put up on the viewer for all to see and hear. The tension and urgency is evident on the faces and in the voices of the crew in the monitor room of Epsilon IX as they provide what information they can:
The Cloud is:
- A power-field of some kind
- Measures over an incredible 82 A.U.'s in diameter
- Must contain something incredible inside to generate such power
- Does not seem to respond to linguacode friendship messages on any frequencies
- Registers a null reading at the centre
- Reflects back all scans
- Reacts to scans with energy surge possibly mistaking scans as a hostile act
All is silence as the viewer goes blank. The stunned gathering turn their collective gaze toward Kirk, hoping and looking for…..? No words – not even from the captain – could add to or provide comfort or meaning for the sense of shock and grief being experienced by all who witnessed that senseless terrible scene of destruction. Perhaps those beings at the centre of the on-coming cloud do not reason in the same way as humans supposedly do.
As Starfleet personnel, the crew of the Enterprise do know one overriding thing – their duty - as they somberly respond to Kirk’s order: “Pre-launch countdown will commence in forty minutes.” Kirk then exits followed by the bridge crew and the remainder of the silent ship’s crew who head toward their duty stations.
With the transporter system fully repaired and functioning normally and the dock signals clear, the Enterprise is placed in a “holding position awaiting final crew replacements.”
The first of the replacement crew is the Navigator, Lieutenant Ilia, a Deltan whose species from which there “are no finer navigators in Starfleet.” The elevator doors open and a beautiful bald-headed young woman steps out on to the bridge. The effect of her presence is especially felt by the male crew members, a characteristic of her species. Lest this sensual effect of hers prove to be a potential disruption to the crew’s effectiveness, Ilia assures Kirk that her oath of celibacy is on record.
As can be surmised from their reaction to seeing each other, it also appears the there is history between Decker and Ilia as we learn that Decker had been “stationed on the lieutenant's home planet some years ago.” When Ilia questioningly refers to Decker’s rank, he somewhat bitterly and sarcastically responds, “Captain Kirk has the utmost confidence in me.”
“Damn it, Bones. I need you”
With the last last six crew members ready to beam up, Kirk is informed that “one of them is refusing to step into the transporter.” We don’t need two guesses to know who that would be! Someone who detests having his molecules scrambled all over the universe, no doubt.
Kirk hurries off to the transporter room to “see to it that he beams up.” It isn’t long before an irascible bearded Leonard “Bones” McCoy materialises in the transporter chamber and proceeds to grumble and complain about having been drafted back into Starfleet by means of a “seldom used reserve activation clause.”
“Captain's Log, stardate 7412.6
With all flight positions manned and ready, Kirk gives the order for maneuvering thrusters. Upon his order of “thrusters ahead,” the Enterprise begins to move majestically from the drydock. As the ship’s great throbbing engines draw ever increasing amounts of power, Kirk in his captain’s chair briefly hesitates before issuing the command: “Impulse power, Mr Sulu. Ahead Warp point-five…..Take us out” For Kirk this very instant amounts to a kind of orgasmic moment for him – one he has waited too long for.
As the Enterprise begins to head out of the solar system, Kirk enters the following into the Captain’s log:
“ ... in order to intercept the Intruder at the earliest possible time, we must now risk engaging Warp drive while still within the solar system...”.
Before the decision is made to engage Warp drive, Decker recommends “further simulation study.” Kirk, however abruptly and impatiently responds that “every minute brings that object nearer Earth” and that the urgency of the situation demands Warp speed immediately.
McCoy quickly realises that Kirk is pushing too hard and reminds him that his crew “know their jobs.” Despite his gentle advice and Scott’s warnings, Kirk orders “Ahead Warp One, Mr Sulu.” It is as if he were powering the Enterprise with the force of his own will alone.
“Collision alert...!
Collision alert...!”
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With 12 seconds to impact, Kirk orders stand-by on phasers but Decker quickly belays the order to fire and instead orders Chekov to arm photon torpedoes.
With barely five seconds until impact, Decker gives the order to fire the torpedoes. As the object grows closer and ever larger, the photon torpedoes hit their target and succeed in disintegrating the asteroid into a myriad of fragments.
The Enterprise successfully exits the wormhole effect and travels at warp point eight, with helm control and communications back to normal. But what of the captain? For a while there he seemed to be stunned and rendered somewhat at a loss. Regaining his composure he orders, “warp drive as soon as possible.” Scott, however, reminds him that it was the anti-matter imbalance that created the wormhole in the first place and that it will happen again if they don't correct it. Shouldn’t Kirk be aware of this?
Once again Kirk seems to draw on sheer will and determination and points to the imperative of having to intercept the oncoming intruder “ while it still is out there!” He seems to come across as the motivating force, the power that makes things happen while he depends and relies on his crew to make it so. Isn’t that how he has always operated? Perhaps with the passage of time there is something else now at play that lies behind his conduct as captain?
“Mr. Decker, I'd like to see you in my quarters”
After handing over the conn to Mr Sulu, Kirk exits the bridge with Decker along with McCoy who senses the captain’s reactions and demeanour and decides that he also ought accompany the two men to Kirk’s quarters for the anticipated showdown.
Once in Kirk’s quarters, the captain quickly asks Decker for an explanation as to why his phaser orders were countermanded. Decker provides the captain with a straightforward and reasonable technical explanation related to the Enterprise’s redesign. The point being that Kirk should have known this information but didn’t and is therefore out of touch. This realisation is reflected in Kirk’s body language.
After acknowledging the appropriateness of Decker’s actions, Decker provides a further dig at Kirk by apologising for having embarrassed him and agreeing that he had indeed “saved the ship.” This is tantamount to holding a red rag to a bull and Kirk responds accordingly by telling Decker to stop competing with him. It is almost as if Kirk were competing with something of his younger self.
After receiving permission to speak freely, Decker points out to Kirk that the captain hasn’t logged a single star hour in two and half years and that his unfamiliarity with the ship’s design seriously jeopardises the mission.
In a rather sarcastic and patronising manner, Kirk dismisses Decker with a parting shot in which he says, “I trust you will nursemaid me through these difficulties, mister?”
Of course, the entire interaction has been observed by McCoy – that essentially pragmatic and human side of Kirk’s psyche – that will naturally demand some kind of opinion from him…….But first……
Out In the corridor, Decker meets Ilia where we learn that Decker had left her home planet, Delta IV without even saying goodbye. If Decker had seen her, he believes he would not have been able to say goodbye to her. As Ilia enters her quarters, Decker is left with memories and regrets about the journey and direction their relationship has taken.
Back in Kirk’s quarters, McCoy gets down to the point by telling him that it is he who is competing and that his obsession to get the Enterprise back is what has been driving him. The emergency involving the approaching cloud is merely an excuse or a means to an end.
McCoy’s concern is that Kirk’s obsession will blind him “to far more immediate and critical responsibilities” and that his reaction to Decker is an example of this. Has McCoy in fact touched a nerve? Could Kirk himself have been unaware of his true motivations and the dangers involved? As the doctor soon notes, what happens from here on will depend entirely on Kirk himself.
“Mr Spock? Welcome aboard”
In the meantime, Kirk has received word that a Federation-registered long-range shuttle wishes to come alongside and lock on to the Enterprise. A security scan shows that it has a Grade 1 priority and is non-belligerent.
We see the almost choreographed movements of the small shuttle as its fuselage detaches from the warp drive nacelles before moving slowly and unerringly toward the starship's airlock.
Standing ready to greet the newcomer is Chekov. The entry hatch soon slides open to reveal……SPOCK! Chekov nearly wets himself with surprise and delight while the collective hearts of the audience skip a beat at the sight of the all too familiar face of the Vulcan finally aboard the Enterprise.
Bur wait! What’s this? Standing before Chekov is a totally impassive Vulcan, who after having been granted permission to come aboard immediately departs the pod entry area oblivious to any sign of recognition, acknowledgement or friendship from his former crew-mate.
Spock soon makes an appearance on the bridge where those present are gobsmacked and disbelieving upon seeing the Vulcan. For Kirk it appears that the other essential part of his being has arrived to complete what makes up the whole person that is James T Kirk. The one who has been, is and always will be his friend has come home….Or so it is hoped.
Despite Kirk’s exclamations of surprise and show of greeting, welcome and friendship, Spock instead immediately turns aside and moves toward the science console where Decker sits. As he takes over the console, Kirk stares at him with a mixture of bewilderment and disappointment.
Spock declares that he will offer his services as science officer – his former role which then pleases Kirk no end as he instructs Chekov to “log Mr Spock's Starfleet commission reactivated” and to “list him as science officer, both effective immediately.” However, it may not amount to reverting back to how things were in the past because despite how pleased everyone (including the audience) may feel to see Spock, the science officer is intent only on discussing his fuel equations with “the engineer” (Mr Scott). The crew’s feelings apparently are not reciprocated as the Vulcan seems to have worked hard at eliminating his human half while on his personal journey on his home planet.
As much as may like to, we can seldom successfully recreate the past after the passage of time. So much of what we recall can be tinged with sentimentality and viewed through rose-coloured glasses. Some things may seem to remain the same as we remember them but many other things change irrevocably as we and other people grow older, have different experiences and undertake our individual journeys in life. Time marches on and we either learn to move with it or risk being mired in the past and left behind.
Whatever the situation is with Spock and the difficulties the captain has had settling into his command, Kirkr’s mood is somewhat more buoyant as he makes his log entry:
“Captain's Log, Stardate 7413.4.
Thanks to Mr Spock's timely arrival, and assistance, we have the engines rebalanced into full warp capacity. Repair time, less than three hours, which means we will now be able to intercept intruder while still more than a day from Earth.”
Meanwhile the Enterprise in a tense moment accelerates toward the speed which had earlier thrown them into the wormhole effect. As Sulu marks off “Warp point eight... point nine..” the starship leaps into warp drive and continues to accelerate without a hitch to warp seven.
“We need him. I need him”
Later in the officers’ lounge, Kirk and McCoy await the arrival of Spock. When he does arrive, his bearing and presence exude coldness and aloofness underscored by his reluctance to sit down when invited to do so by Kirk. His manner is almost studied in its execution and defiant in his intent to convey his abandonment of all things human.
McCoy’s observation that Spock hasn’t “changed a bit’ is somewhat ironic as we all know that he has at least on the surface changed considerably by almost becoming more Vulcan than the Vulcan’s themselves. Despite all his experiences and contact with human beings, Spock seems to have reverted to type.
The sarcastic bantering between Spock and McCoy is by contrast very familiar with McCoy observing that Spock is “just as warm and sociable as ever” while Spock retorts that neither has the doctor changed with his “continued predilection for irrelevancy.” I guess there are some things that just don’t change all that much!
Kirk eventually has to order Spock to sit down and he complies but adopts a formal, rigid and straight-backed sitting position antithetical to all notions of informality, comfort and relaxation.
The discussion moves on to Spock’s having gone to Vulcan, apparently to stay, while “undergoing the Kolinahr discipline…...the Vulcan ritual that's supposed to purge all remaining emotions.” However, Spock broke the ritual to join the Enterprise when he began to sense a consciousness emanating from a source – the intruder - more powerful than he had ever encountered.
\\
Spock’s journey has now taken a new direction - one on which he may finally find the answers he has been searching for in his quest for perfect logic and one that is on a joint path of “mutual advantage” shared between himself, Kirk and the Enterprise itself.
Despite the aloofness and rigidity of Spock’s manner, Kirk now feels whole again with both the Vulcan and Bones by his side, on a vessel that itself expresses the essence of his own being and on a journey that gives meaning and purpose to his life. It is no exaggeration when he tells Bonse that he “needs” Spock. The history he has with Spock and their friendship cannot permit Kirk to believe that his friend would put his own interests ahead of the ship's as McCoy suggested as being a possibility.
“The intruder has been attempting to communicate”
Spock reports that the Enterprise is being scanned and Kirk wisely orders not to return scan as “it may be misinterpreted as hostility.” Spock further reports that the scans emanate from the exact cloud centre and that they constitute an unknown form of energy.
With no response to the friendship messages, Kirk decides against ordering battle stations or taking any kind of provocative action, including as suggested by Decker, defensive measures such as raising screens and shields which “could also be misinterpreted as hostile.” We are witnessing something of the old Captain Kirk beginning to re-emerge.
Of particular shock to the bridge crew is the revelation that the cloud composition consists of an unbelievable twelve power energy field! In addition, Spock reports that he suspects that there’s an object at the heart of the cloud.
Decker advises that every possible defensive measure and precaution ought to be taken which adds a moment of tension to an already tense scene foreshadowing another impending showdown between the Captain and his Executive Officer. However, when Decker points out to Kirk that as his Exec., it is his duty “to point out alternatives,” Kirk quite rightly concurs, stows away his ego and states that he stands corrected.
As the Enterprise approaches the cloud boundary, Kirk orders a flight path parallel to whatever they might find within the cloud. Even at this early stage of contact with the cloud, it soon becomes apparent just how puny and insignificant they are in the face of an entity of unimaginable dimensions and possessing power of a magnitude that thousands of starships could not hope to generate.
Spock, however seems to be absorbed by something he senses, something akin to a form of communication which only he is attuned to. He informs the others on the bridge that the entity has been trying to communicate with them but he can sense puzzlement over why they haven’t replied.
All of a sudden the ship’s alarm clamours for attention indicating “Incoming fire - Ahead. Zero, mark, zero.” On the main viewer can be seen a rapidly approaching energy bolt completely contemptuous of any force-fields, deflectors or evasive maneuvers that may be taken to counter its deadly effects!
When the inescapable energy bolt strikes, a flaring curtain of charged death seems to cling to and spread over the shielded body of the starship sending its systems into disarray.
Meanwhile, the energy discharge has enveloped the entire vessel and like a malevolent predator it seeks some point of access into its hapless victim. Fortunately, after clinging on for a moment or two longer, the shroud of energy begins to fade before dissipating entirely. The starship’s new screens have managed to hold.
Also as in just about every episode of the original series, chief engineer Scott’s familiar insistent and cautionary brogue emanates from the intercom warning that they ‘canna’ hold full power on the force-fields and that deflector power is down seventy percent.
Spock realises that “the intruder has been attempting to communicate” but that their “previous transmission mode was too primitive to be received.” He then programs the ship’s computer to transmit linguacode at the cloud entity’s frequency and rate of speed.
With the immense cloud ever closer to and completely dwarfing the Enterprise, yet another energy bolt is sent hurtling toward the vessel to the accompaniment of warning alarms emanating from the ship’s overworked computer.
As the energy bolt inexorably heads toward the Enterprise, the tension mounts as the countdown to impact proceeds. A harried Scott reports that the shields ‘canna’ handle another attack and with twenty seconds remaining Kirk frantically appeals to Spock to transmit the linguacode immediately. Finally, with barely five seconds remaining it appears that the “friendship messages have been received and understood.”
With communication having been established and annihilation averted, Kirk orders the Enterprise to be held in its present position. The question now arises as to what their next course of action should be.
Mr Spock recommends that they proceed while Decker advises caution on the basis that the ship cannot withstand another attack, that they know nothing about the entity yet and that they don’t know what it will do. In short, according to Decker, “moving into that cloud at this time is an unwarranted gamble.”
Kirk responds by asking Decker, how he would define "unwarranted"? It is precisely this that sets the two men apart as starship captains. It signifies the kind of quality that is not necessarily dependent on technical competence, rank, training, education, experience, personal ambition or even ego. It is something indefinable and forms part of a person’s character and informs those in command when and how to act. You either have it or you don’t.
“Navigator, maintain course. Helmsman, steady as she goes”
The Enterprise is about to enter a domain in which all known and accepted laws of physics are smashed into irrelevance by something as yet unknown that “could generate a power field of this magnitude,” that can produce unrecognisable patterns and that can effortlessly reflect back transmissions from the Enterprise to Starfleet.
The now truly diminutive Enterprise has stood as a symbol of pride of what its creators would consider a technologically advanced and enlightened human civilisation. That very civilisation may very well over the course of time have become somewhat smug, complacent and self-satisfied, almost to the point pf being unable to conceive how it might appear to be insignificant when viewed from the perspective of such an intelligence that is contained within the luminescent cloud they are about to enter. Nor might such an advanced intelligence be able to comprehend the likely motives, desires or purpose of the tiny object that now seeks contact with it. Its own purpose and function may be motivated solely by what Spock seems to sense and has long searched for: pure logic.
Images of spiraling fields of energy in a choreographed ever-changing dance of changing shapes and colour mesmerize the incredulous spectators…..until…the centre region of the cloud is reached wherein lies the object they have been seeking.
This region seems to be composed of a combination of matter and energy far beyond the scientific comprehension of Earth's supposedly advanced science. Its incredible dimensions beggar belief and the power it can generate would rival that of a star. How foolish human-kind appears in the face such god-like power! Rather ironic considering what is yet to transpire.
Seemingly so close as to be able to touch this “god” that fills the entire view and yet is still so far away, what will you decide to do Captain James T. Kirk? Move in closer or deem that to be an “unwarranted” gamble and withdraw?
The die is cast and the order is given to move in to one hundred kilometres distance. As the Enterprise angles in closer and closer and their objective looms larger and larger, the starship unnervingly seems to grow smaller and smaller. What kind of strange new world is Kirk sending his Starship and its crew into in which energy and matter and sub-atomic particles seem to come alive to form constantly shifting and rearranging crystalline patterns? This is truly a place where no man has gone before. That is what makes the gamble warranted.
“Who is V'Ger?”
The “intruder alert” warning blares out yet again as the blinding light of an energy probe flares momentarily before fading and being replaced by a humming charged column of energy that seems to be almost like a living entity. The energy column intensifies and writhes its way across the bridge sending out electric snake-like tendrils across various consoles in a quest to gain information.
Spock manages to determine that the entity is a probe from the intruder’s vessel, and consists of a plasma energy combination. Meanwhile the probe checks out Chekov who amazingly for once resists the urge to scream. It is apparent that it is intent on probing the starship’s functions, in particular the science console where it has managed to gain access to and control of the ship’s computer.
The probe’s actions constitute a security breech whereby gaining access to the ship’s records will enable it to ascertain Starfleet strength and Earth defenses.
The probe then abruptly vanishes in a blinding flash of light along with Ilia herself. Her tricorder in the process of falling from a station seat before clattering to the deck, being the only physical evidence of her existence.
In bitter and helpless fury, Decker says to Kirk, “This is how I define unwarranted!”
After Ilia’s disappearance, the ship’s computer urgently announces, “Emergency Alert! Negative control at helm!” The Enterprise has been seized by a tractor beam and is unable to break free, not having the necessary power to do so. Going to full emergency power and with seconds until the starship burns up, Kirk orders all main drive systems disengaged.
The Enterprise is now at the mercy of the irresistible force pulling it inexorably toward a menacing-looking iris opening into what looks like a dark interior illuminated by strange energy patterns.
Decker cuts through the atmosphere of awe and apprehension on the bridge by suggesting a maximum phaser strike at the tractor beam to weaken it just enough for them to break free.
Spock immediately interjects and asks Decker, “break free to where?” before adding that “any show of resistance would be futile.” Spock’s reaction and demeanour raises a degree of suspicion as to his motives and loyalty. Decker even asks Spock why he is opposed to trying.
Before the matter can be pursued further, the Enterprise is pulled through the iris into the interior void consisting of a vast chamber lit by energy field displays. The question now arises as to why bring the Enterprise inside as it is obvious that it is not in order to destroy them as the intruder could have easily done so already. Spock senses that the reason is due to “insatiable curiosity.”
It isn’t long before the “vessel is floating free” with “no forward momentum.” Kirk then orders manoeuvring thrusters, ahead one third along with full sensor scan.
The reality behind McCoy’s wry humorous observation, “now that we've got them just where they want us” is confirmed when it is noticed that all their scans are being reflected back and that their sensors are useless.
With yet another slap in the face of their faith in their own technological prowess and ability to control situations, all that can be done to assuage the crew’s disappointment is the certainty that they are dealing with a level of technological sophistication that cannot be comprehended, let alone explained.
The ship’s computer has more pressing problems of its own as it frenetically proclaims yet another alert this time in the vicinity of the the Officers’ quarters, more specifically, a sonic shower.
Had Kirk and the others known what sight will greet their eyes within the sonic shower cubicle, they may have picked up even greater speed. Upon entering, they find themselves confronted by the surprising but not too unwelcome sight of a naked Ilia.
Kirk asks the apparent Ilia who V’Ger is, to which she replies, “V'Ger is that which programmed me.” Meanwhile it is brought to his attention that the figure before them is a “mechanism - a probe” and that its sole adornment is “a sensor-transceiver combination recording everything (they) say and do.” As for the real Lieutenant Ilia? - “That unit no longer functions.”
This android has been given Ilia’s appearance in order to more easily “communicate with the carbon-based units infesting Enterprise.” An interesting concept to consider from another perspective - human beings as amounting to little more than an infestation of vermin. Another slap in the face to anthropocentric notions of human superiority.
Kirk moves on to V’Ger’s purpose, namely why it is travelling to Earth. The android answers, “to find the Creator.”As to what it wants with the Creator, the reply is, “to join with him” whereby “V'Ger and the Creator will become one.” The interrogation about the nature of the mysterious V’Ger then proceeds through a circuitous loop of logic that one might expect would frustratingly be produced by a machine intelligence:
Question: And who is the Creator?
Answer: The Creator is that which created V'Ger.
Question: Who is V'Ger?
Answer: “V'Ger is that which seeks the Creator.”
In accordance with its programming to observe and record normal functioning of the carbon-based units infesting Enterprise, the Ilia duplicate abruptly announces that it is ready to commence its observations.
A suggestion is made that a thorough examination of the Ilia probe might provide some clues as to who manufactured it and how to deal with them. In response to its immovable reluctance to be directed to sickbay, Kirk assures it that the examination is part of a normal function it is programmed to observe.
In due course, the Ilia probe is lying atop a full body medical scanner. The results of the examination reveal, “micro-miniature hydraulics, sensors and molecule-sized multi-processor chips” as well as the fact that “even the smallest body functions are exactly duplicated.”
It is concluded that the Ilia probe is a programmed mechanism whose body duplicates the human navigator in precise detail. Spock, after having observed a flicker of recognition from the Ilia probe upon sighting Decker, postulates that “beneath its programming, the real Lila’s memory patterns are duplicated with equal precision” and that having a pattern to follow “they may have followed it too precisely.” If so, “Ilia’s memory, her feelings of loyalty, obedience, friendship might all be there.”
A plan is beginning to take shape that will capitalise on Decker’s relationship with Lieutenant Ilia. Should Decker be repulsed by the idea, Kirk points out that the probe in another form had killed Ilia. In addition, there is the urgency of the situation whereby they are “locked in an alien vessel, six hours from Earth orbit” and that their only contact with their captor is that probe. It is imperative, therefore that they try to “control it, persuade it, use it.”
Suddenly without regard for human niceties and etiquette, the ilia probe bursts through the adjoining wall from the medical bay into the room where the plan is being hatched. Almost incongruously, the Ilia probe emerges through the wall neither angry nor bent on some kind of retribution. It merely impassively announces that it has finished recording in the medical lab. Possibly needing to change his underwear, Kirk then quickly and cleverly proposes that the”Decker-unit” will assist it with much greater efficiency.
“ I am uneasy with that being our only hope of more information”
“Captain's Log, Stardate 7414.1.
Our best estimates place us some four hours from Earth.
No significant progress thus far reviving Ilia memory patterns within the alien probe. This remains our only means of contact with our captor.”
Meanwhile Spock has his own ideas about establishing contact and gaining information as we see him stealthily approach a tech crew-man from behind and apply a Vulcan nerve pinch.
The Ilia probe asks Decker why the Enterprise requires the presence of carbon units to which he replies, “Enterprise would be unable to function without carbon units.”
The Ilia probe then blandly states that “more data concerning this functioning is necessary, before carbon units can be patterned for data storage.” The chilling explanation of this statement involves all carbon units (human crew) being “reduced to data patterns” upon the probe’s completion of its examination.
There is no evil intent or menace on the probe’s part. Is is just a part of what it views as its normal functioning or programming.
Decker thinks fast in a similar manner that a captain like Kirk would by hitting upon a course of action that requires something much more personal and has an emotional tie to it to stimulate the probe’s memory patterns. He suggests to the probe that by reviving the memory patterns of the real Ilia, it would better understand the functions of the carbon units. This appeals to the probe’s sense of logic and it agrees to proceed.
In the real Ilia’s quarters, Dr Chapel draws the probe’s attention to a Deltan headband that Ilia used to wear, the one she wore when she and Decker met.
Not knowing quite what to do with the headband, Chapel assists the probe with putting it on. Looking at its image in the mirror, recognition gradually breaks through the mask of impassivity. The ‘it’ momentarily transforms into a ‘she’ as memories of Chapel and Decker surface.
This whole process has been almost overwhelming for Decker and not surprisingly emotions now begin to rise to the surface. He has to be reminded that what is standing before him is a “mechanism” despite appearances and the feelings and memories being evoked.
Decker regains his sense of duty and responsibility and urgently asks the probe to help them make contact with V’ger. The probe replies that it cannot and does not know what the Creator that V’ger is looking for is.
“That's Spock. Damn him!”
Meanwhile outside the Enterprise, a tiny figure clad in a thruster spacesuit floats in space facing a repeatedly opening and closing orifice. It is a grim-faced and determined Spock and he now activates his suit’s transmitter which he’ll use to record a message detailing his attempt to contact the alien intelligence:
His expression of deep concentration does indeed suggest that he is intent on accurate calculation and timing of the orifice’s opening and closing. At a precise moment, he engages the suit’s thruster controls and begins to accelerate toward the entrance to……...
In the meantime, contact has been established with Starfleet who report that the intruder is decelerating and that the cloud has begun to dissipate. Of more immediate concern is the fact that the Intruder is on a course into Earth orbit.
Kirk is also informed that one of the airlocks has been opened and that a thruster suit has been reported as missing. Kirk does not need three guesses to know who is responsible.
Spock’s report:
“I have successfully penetrated the next chamber of the alien's interior, and I'm witnessing some sort of dimensional image, which I believe to be a representation of V'Ger's home planet.
“I'm passing through a connecting tunnel. Apparently, a kind of plasma energy conduit, possibly a field coil for a gigantic imaging system.
“Curious. I'm seeing images of planets, moons, stars, whole galaxies, all stored here, recorded. It could be a representation of V'Ger's entire journey. But who or what are we dealing with? The Epsilon IX station, stored here with every detail.
“Captain, I am now quite convinced that all of this is V'Ger - That we are inside a living machine.
“Ilia!
“The sensor must contain some special meaning. I must try to mind-meld with it.”
Wesoon see another space-suited figure floating outside the Enterprise. This one awaits the return of his friend. His patience is rewarded as Spock is seemingly spat out of the orifice toward the waiting arms of James T Kirk. Spock looks more dead than alive as Kirk grabs hold of him and manoeuvres him back into the Starship.
When Spock finally awakens, an incongruous exchange takes place between him and Kirk in which the Vulcan unexpectedly bursts out in laughter, struggles to focus and speak and suddenly grasps Kirk's hand in friend-ship and desperate need.
Spock struggles to tell Kirk that V’ger itself is a like-form, “a conscious, living entity” that “considers the Enterprise a living machine.” Spock goes on to convey to the others that he saw V’ger’s planet: “a planet populated by living machines.”
The irony of what Spock witnessed and learned about V’ger “with all its pure logic,” its “unbelievable technology” and that it “has knowledge that spans this universe,” lies with the fact that despite this V'Ger is barren and cold and devoid of feeling, mystery and beauty.
Of significance to Spock and his own journey or quest, the goal of which V’ger seemed to stand as a symbolic pinnacle, is what he should have known all along but failed to understand – until now. Spock simply demonstrates what he means by grasping Kirk’s hand: a simple human gesture of emotion and feeling that is “beyond V'Ger's comprehension” without which there is “no meaning, no hope”..... and “no answers.”
V’ger as any intelligent life-form might be expected to do is “asking questions,” the eternal age-old important universal questions:
"Is this all that I am?"
"Is there nothing more?"
With minutes remaining until the Intruder arrives in Earth orbit looking for its creator, Kirk is summoned to the bridge. There he learns that V'Ger is transmitting a signal to its creator, unexpectedly employing “a simple binary code transmitted by carrier wave signal….Radio.”
“Your child is having a tantrum, Mr. Spock”
Spock has deduced that V’ger, despite its almost omnipotent power, is little more than a child and as such should be treated like one. Like any intelligent sentient life form it is “evolving, learning, searching, instinctively needing” and knowing “only that it needs….(but that like) like so many of us, it does not know what.”
Kirk tries to employ a game of verbal poker with the V’ger probe by stating that “The carbon units know why the Creator has not responded” but that he wont disclose the information until V'Ger withdraws the devices orbiting the third planet.”He then obstinately persists with his defiant ultimatum until the V’ger probe almost has what amounts to an emotional outburst. As Kirk orders the bridge cleared, the Enterprise is buffeted by powerful energy forces and discharges within V'ger. The child is indeed having a tantrum.
V'Ger quickly learns the rules of the game of move and counter-move when it declares that “V’ger will comply, if the carbon units will disclose the information.” Spock points out to Kirk that “V'Ger, obviously operates from a central brain complex” and if so, “the orbiting devices would be controlled from that point.”
With the aim of avoiding impending disaster for earth, Kirk proposes to the V’ger probe that “the carbon unit's information cannot be disclosed to V'Ger's probe, but only to V'Ger directly.” So Captain, what's the next move?
The next move begins with Kirk’s bluff being called as the Ilia probe stands momentarily in silent communication, apparently with V’ger followed by the appearance of an opening and the forward motion of the Enterprise itself. The starship is being pulled by an invisible tractor beam through the opening toward the next chamber.
With twenty-seven minutes until the devices around the planet reach their final position, the Enterprise passes into a chamber that is active with energy discharges as if reflecting the heightened anticipation of V’ger as it awaits the required information.
As the destination nears, the energy discharges subside to be replaced by a more subdued luminescence. The Enterprise has arrived at a hemispheric chamber at the centre of which is suspended a small area of what appears to be solid material.
Slowing, the Enterprise approaches the edge of the island of ‘matter.’ Indicating the main viewer, the Ilia probe points and declares – “V’ger!” As forward motion comes to a halt, readings indicate “an oxygen-gravity envelope forming outside the Enterprise” along with the source of V'ger's radio signal lying directly ahead.
The leading edge of the starship’s saucer section holds position at the edge of the island of matter. On the bridge, the Ilia probe demands that “the carbon units will now provide V'ger the required information.” In addition, it is required that the information be given to V’ger in person.
Kirk starts for the elevator with Spock and McCoy accompanying him. When he orders Decker to take the conn, his Commander and First Officer requests that he also accompanies them. Instinctively, Kirk realises Decker’s value in this particular situation along with perhaps recognising something of himself in this young man.
As has been the case many times before, it is Mr Sulu who now has the conn.
“V'Ger awaits the information”
The landing party realise that the craft before them was launched by NASA more than 300 years previously and had been part of the Voyager series, “designed to collect data and transmit it back to Earth.” Voyager 6, however disappeared into a black hole and “emerged on the far side of the galaxy and fell into the machine planet's gravitational field.” Even though primitive, “the machine inhabitants found it to be one of their own kind.” It’s simple programming required the small craft to "collect all data possible, learn all that is learnable" and “return that information to its Creator.” The machines interpreted this programming literally and built an entire vessel in order for Voyager to fulfil its programming.
As the probe journeyed back to its Creator “it amassed so much knowledge, it achieved consciousness itself” and became a living thing.
The Ilia probe informs Kirk that V'ger awaits the information. Kirk contacts Uhura and tells her to locate any information on the probe, in particular the NASA code signal, which will enable the probe to transmit its data. Despite Voyager 6 being ready to transmit all of its data, there is no one on Earth who will be able to recognise the obsolete signal which is why the Creator does not answer by sending a response.
Kirk calls out to V'ger and declares that they are the Creator. The Ilia probe says that is not logical as carbon units are not true lifeforms. Kirk responds by telling it that they will prove it by enabling V'ger to complete its programming and that “only the Creator could accomplish that.” Uhura then contacts Kirk to inform him that she has retrieved the code. Kirk tells her to set the Enterprise transmitter to the appropriate code frequency and to transmit the signal code in order to trigger Voyager's transmitter. Decker reads the numerical code on his tricorder and just as he is about to read the final sequence, V'ger burns out its own antenna leads to prevent reception.
“The Creator must join with V'Ger”
With ten minutes remaining, the Ilia probe which has fixed a longing gaze at Decker announces that the Creator must join with V'ger, and turns toward Decker. Decker deduces that V'ger intended to bring the Creator here and transmit the code in person.
Spock tells Kirk that V'ger's knowledge has reached the limits of our universe and it must evolve beyond it into other higher dimensions. V'Ger, however is incapable of believing in them, “the existence of which cannot be proven logically.” In order to do so V'ger requires a human quality, “our capacity to leap beyond logic” in order to evolve and this can only be achieved by joining with the Creator.
Armed with this knowledge, his feelings for Ilia and having a sense of purpose and need, Decker moves over to the damaged circuitry and repairs the wires so he can manually enter the rest of the code through the ground test computer. When Kirk tries to stop him, the Ilia probe effortlessly tosses him aside. With emotional force, Decker tells Kirk that he wants this as much as Kirk wanted the Enterprise. There can be little argument that this is the path Decker’s journey must take.
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A bright column of light forms around Decker's body and as Ilia moves over to him, the shaft of light encompasses them both. When Ilia and Decker’s bodies merge they disappear. The light then expands throughout the area forcing Kirk, Spock, and McCoy to retreat back to the Enterprise. In a brilliant explosive discharge of energy V'ger disappears leaving an unscathed Enterprise suspended above the Earth.
Back on the bridge, Kirk wonders if they have just seen the beginning of a new lifeform. Spock agrees and suggests that it is possibly the next step in their evolution. McCoy quips that it's been a while since he's delivered a baby and hopes that they got this one off to a good start. It seems they may have done so by giving it the “ability to create its own sense of purpose out of our own human weaknesses and the drive that compels us to overcome.” McCoy immediately senses that this is awfully close to home for his Vulcan sparring partner.
When Starflee requests the vessel’s damage and injury reports and ship’s status, Kirk orders that the report will read that there were only two casualties: Lieutenant Ilia and Captain Decker. He then changes their status to "missing." With the Enterprise deemed to be fully operational, Scott agrees that it's time to give the starship a proper shakedown. When Scott offers to have Spock back on Vulcan in four days, Spock says that's unnecessary, as his task on Vulcan is completed. That he now knows is not where he was to find the answers to his own questions.
The Enterprise is then set on a course ahead at warp one on a heading of - "Out there, that-away" With that, the Enterprise engages warp drive on a journey to a destination where no man has gone before…..
Issues & Themes
Star Trek The Motion Picture raises some of the so-called eternal big questions for humanity as a whole and for individuals (to the extent that anyone really bothers to consider such questions): 'Why am I here?' 'What was I meant to be?' ‘Is this all there is?’ ‘Is there nothing more?’ As a sentient life-form, V'ger hopes to touch and join with its Creator to find its own answers. Considering the murderous and inhumane cavalcade of human history, one can’t help but wonder if there might be any truth to McCoy’s bitter observation that V'Ger's liable to be in for one hell of a disappointment. Perhaps if we stop to ponder such big questions and look up from picking fluff out of our navels, we’d be less inclined as a species to slaughter our fellow human beings or stand back and watch while innocent people are being mown down and dispossessed by brutal, self-justifying and opportunistic State, sectarian and political entities.
Star Trek: The Motion Picture is very much a film about individual characters on their own voyages of self discovery. The question being raised for each character: Is their concept of fulfilment sufficient? In the end, is this all there is and Is there no more? The answer may lie in our feelings for our fellow human beings and in the relationships we form.
Another important issue that is raised concerns humanity’s ultimate destiny and the role that our technology may play. Could it be possible that our own evolution may involve a melding or joining of our biology with our technology and that eventually our technology will supersede human beings entirely? Will an entirely new species evolve combining elements of humanity (emotions, thought processes) and artificial machine intelligence? Could this new life-form then reach out into the cosmos or traverse dimensions and establish contact with similar entities?
Cast & Characters
Due to dissatisfaction over unpaid royalties from Star Trek, it seemed as if there would be no Spock in the film version which would have been unthinkable. After a lot of pleading and a cheque to make up for his lost royalties, Nimoy attended the March 1978 press conference with the rest of the returning cast. There it was announced that Academy Award-winning director Robert Wise would direct a film adaptation of the television series titled Star Trek:The Motion Picture. There was also an agreement that the final script would need Nimoy's approval.
Cast by director Robert Wise, Stephen Collins who plays Willard Decker, the new captain of the Enterprise has been referred to as being something of an outsider, not being part of the Star Trek franchise and that this came across on film. That may be true, but as his first brief stint as captain, it seemed as if he was doing a remarkable job working with his crew preparing the Enterprise for space flight and as his role as executive officer when Kirk took over. If anything it was Kirk who became the outsider due to his lack of flight time, suspect motives and perceived obsolescence. Even his beloved starship had become somewhat of a stranger to Kirk who initially struggled to get his bearings.
Script
In Thy Image was the pilot episode script for the abortive development of the television series Star Trek: Phase II. The episode went unproduced, and the script was heavily rewritten to become Star Trek: The Motion Picture. The writers had issue with the story, deeming it to be unworkable. The problem lay with having such an advanced and omnipotent antagonist that it would be impossible for puny humans to deal with it. The question arose as to what to with the ending in terms of what to do with the intruder and who the hero of the story could be?
Studio executives and Roddenberry clashed over the script's ending, particularly with the concept of a living machine being deemed too far-fetched. The executives consulted Asimov who liked the ending and felt that the existence of a sentient machine was plausible.
The last third of the script received constant input from the actors and producers and by March 1979, fewer than 20 pages from the original 150 in the screenplay had been retained.
Costumes and makeup
In keeping with the changing of the times, the brightly bold colored Starfleet uniforms were revised: To the chagrin of many viewers, gone were the miniskirts worn by women in the original series. Instead, rather staid, boring and uniform neutral shades of conformity would now be the order of the day. Sound familiar?
"Spock… did we just see the beginning of a new lifeform?"
"Yes, captain. We witnessed a birth."
Back on the bridge, Kirk wonders if they have just seen the beginning of a new lifeform. Spock agrees and suggests that it is possibly the next step in their evolution. McCoy quips that it's been a while since he's delivered a baby and hopes that they got this one off to a good start. It seems they may have done so by giving it the “ability to create its own sense of purpose out of our own human weaknesses and the drive that compels us to overcome.” McCoy immediately senses that this is awfully close to home for his Vulcan sparring partner.
When Starflee requests the vessel’s damage and injury reports and ship’s status, Kirk orders that the report will read that there were only two casualties: Lieutenant Ilia and Captain Decker. He then changes their status to "missing." With the Enterprise deemed to be fully operational, Scott agrees that it's time to give the starship a proper shakedown. When Scott offers to have Spock back on Vulcan in four days, Spock says that's unnecessary, as his task on Vulcan is completed. That he now knows is not where he was to find the answers to his own questions.
The Enterprise is then set on a course ahead at warp one on a heading of - "Out there, that-away" With that, the Enterprise engages warp drive on a journey to a destination where no man has gone before…..
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Points of Interest
Issues & Themes
Star Trek The Motion Picture raises some of the so-called eternal big questions for humanity as a whole and for individuals (to the extent that anyone really bothers to consider such questions): 'Why am I here?' 'What was I meant to be?' ‘Is this all there is?’ ‘Is there nothing more?’ As a sentient life-form, V'ger hopes to touch and join with its Creator to find its own answers. Considering the murderous and inhumane cavalcade of human history, one can’t help but wonder if there might be any truth to McCoy’s bitter observation that V'Ger's liable to be in for one hell of a disappointment. Perhaps if we stop to ponder such big questions and look up from picking fluff out of our navels, we’d be less inclined as a species to slaughter our fellow human beings or stand back and watch while innocent people are being mown down and dispossessed by brutal, self-justifying and opportunistic State, sectarian and political entities.
Star Trek: The Motion Picture is very much a film about individual characters on their own voyages of self discovery. The question being raised for each character: Is their concept of fulfilment sufficient? In the end, is this all there is and Is there no more? The answer may lie in our feelings for our fellow human beings and in the relationships we form.
Another important issue that is raised concerns humanity’s ultimate destiny and the role that our technology may play. Could it be possible that our own evolution may involve a melding or joining of our biology with our technology and that eventually our technology will supersede human beings entirely? Will an entirely new species evolve combining elements of humanity (emotions, thought processes) and artificial machine intelligence? Could this new life-form then reach out into the cosmos or traverse dimensions and establish contact with similar entities?
Cast & Characters
Due to dissatisfaction over unpaid royalties from Star Trek, it seemed as if there would be no Spock in the film version which would have been unthinkable. After a lot of pleading and a cheque to make up for his lost royalties, Nimoy attended the March 1978 press conference with the rest of the returning cast. There it was announced that Academy Award-winning director Robert Wise would direct a film adaptation of the television series titled Star Trek:The Motion Picture. There was also an agreement that the final script would need Nimoy's approval.
Cast by director Robert Wise, Stephen Collins who plays Willard Decker, the new captain of the Enterprise has been referred to as being something of an outsider, not being part of the Star Trek franchise and that this came across on film. That may be true, but as his first brief stint as captain, it seemed as if he was doing a remarkable job working with his crew preparing the Enterprise for space flight and as his role as executive officer when Kirk took over. If anything it was Kirk who became the outsider due to his lack of flight time, suspect motives and perceived obsolescence. Even his beloved starship had become somewhat of a stranger to Kirk who initially struggled to get his bearings.
Script
In Thy Image was the pilot episode script for the abortive development of the television series Star Trek: Phase II. The episode went unproduced, and the script was heavily rewritten to become Star Trek: The Motion Picture. The writers had issue with the story, deeming it to be unworkable. The problem lay with having such an advanced and omnipotent antagonist that it would be impossible for puny humans to deal with it. The question arose as to what to with the ending in terms of what to do with the intruder and who the hero of the story could be?
Studio executives and Roddenberry clashed over the script's ending, particularly with the concept of a living machine being deemed too far-fetched. The executives consulted Asimov who liked the ending and felt that the existence of a sentient machine was plausible.
The last third of the script received constant input from the actors and producers and by March 1979, fewer than 20 pages from the original 150 in the screenplay had been retained.
Costumes and makeup
In keeping with the changing of the times, the brightly bold colored Starfleet uniforms were revised: To the chagrin of many viewers, gone were the miniskirts worn by women in the original series. Instead, rather staid, boring and uniform neutral shades of conformity would now be the order of the day. Sound familiar?
The ears for Nimoy’s character were made of latex and other ingredients blended together in a kitchen mixer, before being baked for six hours. Nimoy's ears had grown in the intervening decade and new moulds had to be created. Three pairs of ears a day had to be made for Nimoy during filming. The Vulcan eyebrows needed to be applied hair by hair for proper detail, and it took Nimoy more than two hours to prepare for filming - twice as long as it took for television.
Khambatta's lovely head was freshly shaved each day, then given an application of makeup to reduce glare from the hot set lights. She also received a daily scalp treatment routine of cleansers and lotion for up to two hours each day.
Design; sets; props & models
The first new sets were originally intended for Star Trek: Phase II. When the television series was cancelled and plans for the film went ahead, new sets were needed for the large 70 mm film format.
The bridge set contained monitors displaying looping animations. Each oval monitor was a rear-projection screen on which super 8 mm and 16 mm film sequences looped for each special effect.
The Enterprise engine room was redesigned to give the illusion of being vast. To create the illusion of depth and long visible distances, designs were worked that would utilize forced perspective. The result on film was that the engine room appeared to be hundreds of feet long, whereas the set was in reality only 40 feet (12 metres) in length. To achieve the required look, the floor slanted upward and narrowed, with small stature actors used as extras to give the appearance of being far from the camera. For down shots of the engineering complex, floor paintings created the illusion of a warp core several stories in length.
The Enterprise corridors were redesigned to give them a new, bent and angular appearance. Instead of the usual overhead lighting, lighting would radiate upward from the floor.
The V'ger set was designed and fabricated in four and a half weeks, and was filmable from all angles. Parts of the set were designed to pull away for better camera access at the centre.
Most of the models were created by Magicam, a Paramount subsidiary. The main Enterprise model was eight feet long, to a scale of 1/120th scale size, (1 inch / 2.5 cm to 10 feet / 3.0 m). It took 14 months and $150,000 to build. Instead of standard fiberglass used for older models, the new Enterprise was constructed with lightweight plastics, weighing 85 pounds (39 kg). A second, 20-inch (51 cm) model of the ship was used for long shots. The hull surface was treated with a special paint finish that made it appear iridescent in certain light.
The orbital dry dock for the Enterprise measured 4 ft × 10 ft × 6 ft (1.2 m × 3.0 m × 1.8 m). It had 56 neon panels that required 168,000 volts of electricity to operate. The price tag for dock set-up: $200,000.
The final model of V’ger was 68 feet (21 m) long and was built out of a variety of materials, including wood, foam, macramé, styrofoam cups and incandescent, neon and strobe lights.
Roughly 350 props were fabricated for the film, such as phasers and handheld communicators. The only prop that remained from the original television series was Uhura's wireless earpiece. The communicators were unlike the beloved flip phone-style devices used in the original series. Instead, a wrist-band design was employed with a hefty $3500 for the top models, used for close-ups of the device in action.
Three models were created to stand in for the Epsilon IX station: A 6-by-3.5-foot (1.8 by 1.1 m) model was used for distance shots; an isolated 5-by-6-foot (1.5 by 1.8 m) panel for closer shots; The station control tower replicated with rear-projection screens to add station personnel inside. A two foot model spaceman was used for both the drydock sequence and Spock's EVA.
Filming; special effects;
Fifteen takes were needed for the scene involving the chaos aboard the Enterprise bridge as the crew fanatically prepares the starship for space travel until Wise was content with the scene.
The setting for the planet Vulcan was created using a combination of on-location photography at Minerva Hot Springs in Yellowstone National Park and set recreation. Miniatures in the foreground were used to create the Vulcan temples and were combined with the real hot springs in the background. In the film, the bottom third of the frames were composed of miniature stairs, rocks, bits of red glass and a Vulcan statue. The center of the frame contained Nimoy's shots and the park setting, while the final third of the frame was filled with a matte painting. The Vulcan sequence took three days to shoot.
Parts of Yellowstone were recreated in a large "B tank", (110 by 150 feet / 34 by 46 m) long. The tank was designed to be flooded with millions of gallons of water to represent large bodies of water. Miniatures were set up on the tank's floor before construction. The effects filmed at Yellowstone were matched by using dry ice and steam machines. The swirling eddies of water in the real Yellowstone were recreated by means of a combination of evaporated milk, white poster paint, and water being poured into the set's pools. The pressure of the steam channeled into the pools through hidden tubing would caused enough movement in the whirlpools to duplicate the location footage.
The computer console explosion that caused the transporter malfunction was created by means of steel wool Brillo Pads concealed inside the console and attached to an arc welder. The welder was designed to create a spark instead of actually welding, causing the steel wool to burn and make sparks.
The illusion of anti gravity suspension of canisters and containers was achieved by means of a circular track with the same shape as the corridor suspending the antigravity prop on four small wires that connected to the track. The wires were treated with an acid that oxidized and tarnished the metal turning the wires to a dull gray that would not show up in the deep blue corridor lighting.
For the climactic scene featuring the fusing of Decker and V'Ger, Collins was covered in tiny dabs of cotton glued to his jacket. These highlights were used to create a body halo effect. Helicopter lights, 4,000-watt lamps and wind machines were used to create the effect of Decker's fusion with the living machine. Initially, the extreme lighting caused invisible dust particles in the air to be illuminated, making it seem as if the actors were caught in a blizzard. During the retakes the crew mopped and dusted the set constantly, and later technical work was resorted to in order eliminate the dust in the final print.
The photon torpedo effects for the Enterprise were simulated by shooting a laser through a piece of crystal mounted on a rotating rod while V'Ger's destruction of the Klingon ships was created using scanning lasers, with the multiple laser passes composited onto the moving model to create the final effect.
Music & Sound Effects
Jerry Goldsmith began a long association with Star Trek by scoring Star Trek:The Motion Picture. Goldsmith scored the film over a period of three to four months. Wise considered his work with Goldsmith one of the best relationships he ever had with a composer. Star Trek: The Motion Picture is the only Star Trek film to have a true overture. The film’s music score led to Goldsmith being nominated for the Oscars, Golden Globe and Saturn awards. It was one of the American Film Institute's 250 nominated scores for their top 25 American film scores.
Much of the recording equipment used to create the movie's sound effects was back in 1979 quite cutting-edge. These included the ADS (Advanced Digital Synthesizer) 11, manufactured by Pasadena, California custom synthesizer manufacturer Con Brio, Inc.; the Blaster Beam, an electronic instrument 12 to 15 feet (3.7 to 4.6 m) long which had steel wires connected to amplifiers fitted to the main piece of aluminum and was played with an artillery shell; several state-of-the-art synthesizers used as musical instruments. The sound effects coinciding with V’ger’s approach and presence served well to illustrate its power and sense of menace.
Assessments
Many critics who have expressed disappointment with the film and its portrayal of the characters have missed the point of ‘change’ as being part and parcel of life. During the interval between the original series ending and the filming of the motion picture, the actors playing the characters had themselves changed as individuals and such change would also inevitably be reflected in the roles they played. Yes, we the audience longed for a reunion of characters we all knew so well and hoped that they would hug each other, hold hands and sing Kumbaya as if nothing had changed in a decade. We also may have wondered what ever happened to those bright primary colours that festooned the Enterprise interior and Starfleet uniforms and why they were replaced by neutral colour schemes. Well, guess what? Everything including people change and if there’s no change and people choose to Klingon, sorry cling on to the past, and wallow in nostalgia then there’s only stagnation to look forward to.
Much has also been made about actor dissatisfaction with the scrip; frequent script re-writes by the actors themselves; delays and more delays; issues with characterisation; on and off-screen lack of chemistry; unfamiliarity with and departure from the true spirit of Star Trek and on and on. Well, often the creative process can take a rather circuitous route and need not result from a process of complete harmony and synchronicity. Sometimes friction, conflict and moments of torture can produce wonderful examples of creativity.
Although director Wise was unfamiliar with the background intricacies and in-and-outs of Star Trek that lay behind and formed the context of the film, he did rely on the actors, especially William Shatner, to ensure consistency in terms of dialogue and characterization.
Some critics have whined about the film’s pacing and complained about long stretches without apparent action or dialogue. Take for instance, the first close view of the Enterprise as Scotty and Kirk view it on approach in the pod. In our modern 21st century attention deficit disordered society it might be difficult for audiences to handle an absence of rapid quick cutting shots, meaningless babbling incomprehensible and inaudible dialogue, stuff constantly happening and so on. The slow approach toward the starship and the time given to taking in its whole exterior is designed to evoke what Kirk must have felt upon seeing his beloved Enterprise after so long a time. It’s called savouring a moment when you just have to shut up and let your senses take it all in.
There has over the years been a plethora of mixed reviews for Star Trek: The Motion Picture, many emanating from self-important opinionated critics, self-appointed Star Trek aficionados and a range of Star Trek Fan-atics. In answer to the mumblings of many of these celluloid nit-pickers, let’s check out the results of the end product:
When the film opened in the United States and Canada it set a box office record for the highest opening weekend gross, making $11,926,421 in its first weekend. The film went on to earn $17 million within a week and was the fifth-highest-grossing film of 1979 in the US. Overall, the film grossed $139 million worldwide. Star Trek:The Motion Picture was nominated for three Academy Awards: Best Art Direction, Best Visual Effects and Best Original Score.
In the United States, the film sold the most tickets of any film in the franchise until Star Trek (2009), and it remains the highest-grossing film of the franchise worldwide adjusted for inflation. The film’s budget of $44 million, including the costs incurred during Phase II production, was the largest for any film made within the United States up to that time.
Had the film been unsuccessful, there’s every chance that the franchise would not have continued. It reminds me of the Dr Who series which resumed after a hiatus and began with Christopher Eccleston’s portrayal of the Doctor. Here we had a very different representation of a beloved character. Had that not been successful, the series might have ended there and then. I have to admit that I stopped watching Doctor Who after Matt Smith finished as the Doctor, while I stopped avidly watching Star Trek after the Voyager & Deep Space 9 series finished - both for similar reasons which I felt involved complete travesties with what followed thereafter! But that’s a story for another day.
You may have noticed that there are similarities between Star Ttrek: The Motion Picture and the excellent original series episode "The Changeling" which featured the probe, Nomad. Here is a note on Star Trek: The Changeling episode kindly contributed by none other than Chatbot gpt:
"The Changeling" is an episode from the original "Star Trek" series, specifically from the second season. It originally aired on September 29, 1967. The episode is the third of the second season and is the eighth episode overall.
In "The Changeling," the starship USS Enterprise encounters a powerful and highly advanced space probe known as Nomad. The probe, initially created by Earth scientists centuries ago to explore new life forms, has merged with an alien probe, becoming a highly efficient and destructive entity.
Nomad's mission is to seek out and sterilize any imperfections it finds in its path. Unfortunately, it mistakenly identifies Captain Kirk as its creator, Dr. Jackson Roykirk, due to a malfunction in its memory core. As a result, Nomad believes Kirk is its "creator" and follows his orders without question.
The situation becomes increasingly dangerous as Nomad interprets its mission to sterilize imperfections in the most extreme way, posing a severe threat to the Enterprise crew and potentially to all life in the galaxy. Kirk must find a way to communicate with and reason with the machine in order to avert disaster.
The episode explores themes of artificial intelligence, the consequences of creating powerful technology without proper safeguards, and the potential dangers of unchecked ambition in scientific endeavours. It is a classic example of "Star Trek's" ability to use science fiction to address philosophical and ethical questions.”
(Chat gpt)
For almost five decades, we have been acquainted with the Voyagers 1 & 2 space probes that have departed our own solar system and ventured out into interstellar space. They have served to extend humanity’s exploration of the solar system beyond the neighbourhood of the outer planets to the outer limits of the Sun's sphere of influence, and beyond. But what if one day (as will happen) we no longer receive any more signals from Voyager and contact is lost? What if humanity is no longer around to receive any message from Voyager should any signals reach us after hundreds or even thousands of years? Would the little probes become the only remaining physical evidence that the species of homo sapiens had ever existed? What would an extra-terrestrial species make of the beings that created the probes? Would they care enough to seek out their…..creator?
Are you there, Voyager?
We lost your signal long ago through Time’s curse
Yet you still send greetings on behalf of humanity,
Who stepped out of our solar system into the universe
Before succumbing to a final calamity.
You say we seek only peace and friendship,
And to teach if we are called upon.
Then why did we continue causing hardship
And teach our children who to prey on?
You say we hope to be taught if we are fortunate
And with humility and hope we took this step.
We? from History’s lessons failed to appreciate
Hubris’ marking the marching beat of a goose-step!
You’re a present from a small, distant world,
But one with a need to feed and seed.
A whole cosmos to be unwrapped and unfurled,
A resource to be laid bare and ravished by greed.
You’re a token of our sounds and our science.
Then hear the screams of an infant without legs,
Blown off by weapons forged without conscience,
And God! The mother’s wail as she pleads and begs!
You’re a token of our images and our music,
Then see a father lost in a land of dust and rubble,
And what’s left of his family, pausing just to be sick
To the doleful song of sirens and a life of struggle.
You’re a token of our thoughts and our feelings.
What then did we think as we stood by and watched
The next genocide; deaf, blind and dumb to pleadings,
Appealing to feelings in the hearts of those untouched.
You say we are trying to survive our time
So we may live into the time of the Unknowns.
But no, only you survive to tell of our climb
And testify scarred and pitted to the place of our bones.
So power down and sleep eternal Voyager,
For your journey there are none left to hear or care;
Burnt off, drowned and blown away – the Destroyer
Of Worlds has paid for being a god who would dare.
The poem above incorporates some of the sentiments and messages contained on the Voyager probe from the United Nations General Secretary at the time as well as from former US President Jimmy Carter.
Hopefully, we can as individuals and as a species at least attempt to live up to the positive sentiments that are being conveyed aboard our tiny ambassador space craft as they journey beyond our solar system to…….
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Note: If you wish to find out more about Robert Wise, the director of Star Trek: The Motion Picture, then I would like to recommend a book by Joe Jordan, titled, Robert Wise: The Motion Pictures, Contributors: Gavin MacLeod, Douglas E. Wise, Illustrated, BearManor Media, 2020
The book, “ Robert Wise: The Motion Pictures,” by Joe Jordan (published 5 April 2017) is a product of meticulous research by the author, covering a period of over fifty years. It contains detailed plot synopses and commentary of many of Robert Wise’s memorable and important films.
Joe Jordan's book includes over twenty interviews, as well as presenting a comprehensive analysis of Robert Wise’s work. I am sure that after reading this fascinating tribute, you’ll come away with an even greater appreciation of this two-time winner of the Academy Award for Best Director – the legendary Robert Wise.
Title: Robert Wise: The Motion Pictures
Author: Joe Jordan
Contributors: Gavin MacLeod, Douglas E. Wise
Edition: illustrated
Publisher: Joseph R. Jordan, 2017
ISBN 0692854479, 9780692854471
Length: 550 pages
Robert Wise In Brief
Wise began his film career at RKO as a sound and music editor. He later became more involved in editing film content and went to work for RKO film editor William "Billy" Hamilton. At RKO, Wise worked with Orson Welles on “Citizen Kane” (1941) and was nominated for the Academy Award for Film Editing.
In his role as producer and director, Wise aimed for establishing a connection to the viewer and had a reputation for a strong work ethic, attention to detail, budgetary thrift and well-researched preparation for a film
Also of relevance to this blog is Robert Wise’s film “The Day the Earth Stood Still”, a classic science fiction masterpiece that warned about the dangers of atomic warfare.
Other films of Robert Wise that have stayed in my mind over the years are;
“I Want To Live” (1958)
“Run Silent, Run Deep” (1958)
“The Haunting” (1963)
“The Andromeda Strain” (1971)
And of course,
“Startrek The Motion Picture” (1979
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At this time of year I like to wish everyone a very happy Christmas and all the very best for the New year. I still do, of course but more than that I would like everyone to spare some time thinking about our fellow human beings who are right now at the time of writing being put through hell in Gaza, Sudan and Ukraine. We can at least try and do our bit to effect change by putting constant pressure on our political leaders; protesting in the streets; using the power of social media; prodding mainstream media to do its job to unearth the truth; continuously contacting embassies about the activities of the countries they represent; shunning politicians, corporations, groups and organisations who are actively complicit in the murder and genocide of innocent defenceless people – anything but silence and apathy!
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