Archive for Star Trek: The Motion Picture

Boldly Gone

Posted in FILM with tags , , , , on December 4, 2020 by dcairns

So, I’m working on this really exciting project, and it’s going well, but it has become a nocturnal project, which is wrecking my brain slightly. And as a result The Late Show: The Late Films Blogathon just hasn’t happened. It hasn’t happened even more than it usually doesn’t happen (because I don’t chase contributors in a personal and assiduous way). BUT!

Peter Winkler has sent a lovely piece — a vintage review he wrote in 1979 for STAR TREK: THE MOTION PICTURE (late Robert Wise, last Gene Roddenberry, more or less), bracketed by his contemporary observations. It brought back my memories of seeing the film with my mum at the time (and liking it, though she suggested it might be a wee bit long, a judgement I would now support).

Hope you enjoy.

Star Trek: The Motion Picture (1979)

Produced by Gene Roddenberry. Written by Harold Livingston (and Roddenberry without credit)., based on the story “Robot’s Return” by Alan Dean Foster. Directed by Robert Wise. Cast: William Shatner, Leonard Nimoy, DeForest Kelley, Stephen Collins and Persis Khambatta. 132 minutes. Released by Paramount Pictures on December 7, 1979.

Originally Reviewed by Peter L. Winkler in December 1979 for CineFan Magazine.

I wrote this and several other reviews of sf films released at the end of 1979 while on my Christmas break from law school. I had no expectation that I would end up writing two books and numerous articles decades later. I wanted to see my name in print. At the time, I was still avidly interested in print sf, Star Trek, and sf films. I thought CineFan was worth writing for, and that the editorial barrier to entry was probably fairly easy to overcome.

Star Trek : The Motion Picture succumbs to the disease endemic to the major sf. films of the 70s: a poor story. A strong story can be about a mystery being resolved, a goal being achieved, or diverse characters in conflict. ST: TMP has little of this.

The film is structured as a mystery. Something incredibly powerful has devastated a flotilla of Klingon battle cruisers, and a Federation starbase, and is headed toward Earth. The only available starship is the Enterprise, still undergoing refitting in drydock and not yet finished. With it’s crew reunited, it sets out to meet the impending threat. Unfortunately, the mystery of the alien entity is not worth the two hours it takes to encounter and resolve.

The plot of the film is essentially that of the television series episode “The Changeling.” It’s disappointing enough to see a television episode recycled for the big screen, but if one had to choose a Star Trek tv episode on which to base a major motion picture, “The Changeling” would most certainly not be the one.

ST: TMP’s story, by Alan Dean Foster, is inexcusable. It borrows the plot of the old tv episode whole, amplifies its weaknesses, and pads it to feature length. If you’ve seen “The Changeling” and can figure out what “V ‘GER” is a contraction for, you’ll be able to decipher the feeble plot of ST:TMP in nothing flat. But even if you don’t, the story simply is not interesting or exciting enough to hold you for the time it takes to unfold.

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Alas, ST: TMP also lacks what was one of the strong suits of the best of the television episodes: character conflict. The very manner in which ST:TMP begins, reuniting the old crew, as well as introducing two new characters, is an open invitation for human drama. Some promising starts are made—between Kirk and McCoy, Spock and the crew, and between Kirk and Decker (Stephen Collins) (which short-lived conflict is lifted whole from director Robert Wise’s Run Silent, Run Deep [1958])—but are just as quickly abandoned.

If the film lacks substance, its execution is spotty as well. The special effects are hardly state of the art. While the miniatures are impressive, the optical effects are frequently obvious. Almost uniformly disappointing are the interior sets, hand props, and costumes. Though they have a slick, updated look, they lack the invention of their predecessors.

Despite its poor story and uneven production values, ST:TMP is not entirely without merit. The first half hour has a sustained sense of wonder which is rare in recent sf films. William Shatner, for the first time, gives a controlled performance that helps give the film some dramatic weight. Robert Wise, given a difficult task, gives coherency to an obviously thrown together film. The greatest praise should be reserved for Jerry Goldsmith. His score is simply superb, It saves much of the film, but can stand alone as one of the finest scores for an sf  film, or any film, that I’ve had the pleasure of hearing.

Though not a groaner, ST: TMP is at best a pleasant, sentimental reunion. It could, and should, have been more than that.

In retrospect, I think I may have been a little too hard on Star Trek: The Motion Picture (1979). In his review, Roger Ebert wrote, ”There is, I suspect, a sense in which you can be too sophisticated for your own good when you see a movie like this.” With some exceptions, it’s slick, impressively executed in spots, moderately engaging and fairly intelligent, a hallmark of the original TV series. Unfortunately, it shares the same flaw as Apocalypse Now (1979): Both films begin with their most exciting scenes. Only Mr. Spock’s spacewalk to penetrate V’Ger’s interior, a sequence devised by some of the film’s effects team, gives the film some much-needed kinetic excitement late in the game. What ST: TMP isn’t is the human adventure the film’s end title promises; the sequel delivered on that adventure. On the other hand, I’m hard-pressed to retract any specific judgement I made in 1979, and a least one other critic, The Cleveland Press’s Tony Mastroiani hit some of the same points as I did. “For all of its length it has about as much plot as one of the original one-hour TV shows, maybe a little less than many of them had,” he wrote. “There isn’t much anybody can do about this except peer at the approaching cluster of light and vapor through TV monitors and cope with occasional malfunctions that threaten to destroy the ship. The film’s chief virtue for fans of the series is its reunion of the original cast after a decade, picking up the old relationships and rivalries, repeating lines of dialog that have become permanently associated with some of the characters.” (“Star Trek –– Motion Picture is bigger, not better,” Cleveland Press December 22, 1979.)
ST: TMP’s troubled production poses the question “What went wrong and who was to blame?” In 1969, NBC unceremoniously cancelled Star Trek. The series became a surprising success in syndication, especially in markets where it was shown in the after-school time slot, where it found its natural audience. Then the Star Trek conventions became a successful phenomenon. Paramount planned a moderately budgeted feature to be directed by Philip Kaufman, but it failed to go into production. Paramount decided to launch a fourth network of syndicated programming. The bait for local stations was to be Star Trek: Phase II, reviving the original series with the original cast. Scripts were commissioned while costumes and sets were being constructed. Then something phenomenal suddenly happened: Star Wars (1977) and Close Encounters of the Third Kind (1977) demonstrated that science fiction could be more than just moderately profitable, but shatter box office records.
Paramount quickly cancelled Star Trek: Phase II and announced a Star Trek feature to be directed by Robert Wise, who had a proven affinity for science fiction, having directed the classic The Day the Earth Stood Still (1951) and The Andromeda Strain (1971). What Paramount didn’t have was a screenplay but was committed to deliver the film to theaters in early December 1974. Gene Roddenberry’s screenplay was rejected. Harold Livingston, who had never written for the TV series and was not an sf writer, was hired to turn Alan Dean Foster’s Phase II teleplay “Robot’s Return” into a screenplay. Roddenberry couldn’t keep his hands off of Livingston’s screenplay and rewrote it on a daily, sometimes hourly basis.
Serious trouble arose when the original effects firm, responsible for some award-winning animated TV commercials, produced very little useful. Paramount had to scramble, assembling two parallel effects teams, one run by Douglas Trumbull, the other by John Dykstra. Robert Wise was editing until the last minute available. The prints shipped to theaters were barely dry. Wise was later invited to produce a director’s cut more to his liking. It added a few minutes of running time but simply feels distended. Wise made two more films after Star Trek before retiring.
ST: TMP cost 44 million dollars but proved profitable enough to justify a sequel. By giving himself a writing credit on the screenplay, producer Roddenberry triggered an automatic arbitration over credits conducted by the Writer’s Guild of America. Roddenberry rejected a story credit and received no screen credit. He was blamed for the film’s production difficulties and budget overruns. He was booted from his own brainchild when it came time to produce a sequel: he received an executive producer credit and an undisclosed sum to keep the fans happy. Paramount hired TV producer Harve Bennett to make Star Trek II: The Wrath of Khan (1982) more efficiently through Paramount’s television division. Nicholas Meyer, with no previous association with Star Trek, wrote and directed what would prove to be the best Star Trek film so far. George Lucas’ Industrial Light and Magic produced Star Trek II’s impressive effects.
Copyright 1979, 2020 by Peter L. Winkler.

 

Halloween Film Club: Sick Building Syndrome

Posted in FILM, literature, MUSIC with tags , , , , , , , , , , , , , , , , , , , , , , on October 28, 2009 by dcairns

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The revelation in watching THE HAUNTING for me this time was that while Robert Wise’s filmmaking still holds up, and there’s a lot to say about that, the things that popped out most in the screenplay were the tin-eared blunders. Nelson Gidding (THE MAN WITH THE GOLDEN ARM) has done a good job compressing the incidents and realigning the characters from Shirley Jackson’s uncanny classic The Haunting of Hill House (wherein, for instance, Eleanor is attracted not to the investigating doctor but to the spoiled heir), on a structural level, but he really doesn’t have anything like the prose style or ear for dialogue he needs. Here’s Jackson’s opening —

No live organism can continue for long to exist sanely under conditions of absolute reality; even larks and katydids are supposed, by some, to dream. Hill House, not sane, stood by itself against its hills, holding darkness within; it had stood so for eighty years and might stand for eighty more. Within, walls continued upright, bricks met neatly, floors were firm, and doors were sensibly shut; silence lay steadily against the wood and stone of Hill House, and whatever walked there, walked alone.

Feel the goosebumps? Gidding has given the job of transferring Jackson’s intro and history lesson into the voice of Dr. Markway (Richard Johnson), which means jettisoning some of the flourishes and sometimes injecting an unwelcome note of jocularity which is one of Markway’s least appealing traits ~

An evil old house, the kind some people call haunted, is like an undiscovered country waiting to be explored. Hill House had stood for 90 years and might stand for 90 more. Silence lay steadily against the wood and stone of Hill House, and whatever walked there… walked alone.

That first sentence, I think, does little but deaden the overall effect, whereas Jackson’s abrupt change of direction between sentence 1 and 2 is deliciously jolting. After the credits (simple sans-serif font, with a big spooky production number for the main title — why?) Then the narration continues, with Wise providing spectacular visual accompaniment — absolutely gorgeous cinematography by Davis Boulton, whose career seems otherwise quaintly undistinguished: I like CHILDREN OF THE DAMNED, but IT! and SONG OF NORWAY?

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Bad stuff in the VO: there’s no equivalent in Jackson’s book for the awful phrase “big tree,” which sounds comically awkward even with Richard Johnson’s manly tones behind it, although Jackson is responsible for the equally uncomfortable “ah, lifeless, I believe is the phrase they use,” and she also gave us the name of the builder of Hill House — Hugh Crain. Sounds like Ukraine, not good. Gidding changed many of the character names, aimlessly (Vance becomes Lance, Montague becomes Markway) but saw fit to leave that one. And we learned he “died in a drowning accident,” a horrendously clunky phrase.

Great stuff in the visuals: the slow lap dissolve transformation from childhood to senescence:

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And all those ANGLES. Wise asked Panavision if they had a good wide-angle lens. They said they were working on one, but had rejected all their prototypes so far because they caused too much distortion. “Perfect!” said Wise, “That’s just what I want.” “No no no,” advised Panavision, “We really think these are a bit more distorted than you’d like.” “I assure you that’s impossible,” stressed Wise. Panavision were insistent. They were really embarrassed by these warped bottle-bottom things. In the end, Wise had to sign lots of documents promising he wouldn’t sue Panavision for sending him funhouse lenses.

vlcsnap-797819The convex mirror is one of Wise’s little jokes about his unconventional lens kit.

Emerging from this sensational, moody tape-slide presentation opening, we get Fay Compton (Emilia in Welles’ OTHELLO), one of my favourite old ladies, although she does say “Ho ho ho!” once too often in this scene. And here we meet Richard Johnson, a bluff, plummy actor who can do solemn without getting sepulchral. An actor friend of Fiona’s attests that Mr Johnson, who is still extant, greets old acquaintances with a loud cry of “Who’re you fucking?” It’s a lovely image.

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Johnson, as anthropologist Markway, is off on a ghost-hunting jaunt, and is forced to take Compton’s delinquent young nephew along — Russ Tamblyn, imported by Wise from WEST SIDE STORY. Tamblyn’s legendary physical prowess will come in handy on a couple of occasions: a very intelligent actor who thinks with his body.

Now comes the plunge into despair as we meet Eleanor (Julie Harris), the deeply unhappy protagonist who is the key element in this film that could not exist without Shirley Jackson’s imagination. In researching haunted houses, Jackson tells us that she discovered a book by some parapsychologists investigating an old house, and the accounts of spookiness they recorded were unmistakably, to her modern mind, the products of their own neuroses. Eleanor is Jackson’s tool for unleashing the horrors of Hill House — if we take this little behind-the-scenes tale at face value we have to accept that there are no ghosts, only the demons that haunt Eleanor, manifesting through her latent telekinesis.

Eleanor’s horrible home life is sketched in economically, but still feels unbelievably oppressive, which may be a result of all that damn internal monologuing she does. Not my favourite movie device, but it works well here, draping a curtain of gloom over the events and reminding us of the story’s interior nature.

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This movie always seems to get away with being shot in Britain, dragged up as America, rather lightly. The street scenes are less than fully convincing, and then the housekeepers, Valentine Dyall with his ludicrous attempt at a New England accent by way of Kentucky, and Rosalie Crutchley who’s just English. Hill House itself is English, and now a hotel, real name Ettrington Park (anybody stayed there?).

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Hill House — the exteriors are mainly shot on infra-red stock, so the sky is black and clouds are white, giving the whole image a strange feeling. As Jackson puts it ~

No human eye can isolate the unhappy coincidence of line and place which suggests evil in the face of a house, and yet somehow a maniac juxtaposition, a badly turned angle, some chance meeting of roof and sky, turned Hill House into a place of despair, more frightening because the face of Hill House seemed awake, with a watchfulness from the blank windows and a touch of glee in the eyebrow of a cornice. Almost any house, caught unexpectedly or at an odd angle, can turn a deeply humorous look on a watching person; even a mischievous little chimney, or a dormer like a dimple, can catch up a beholder with a sense of fellowship; but a house arrogant and hating, never off guard, can only be evil. This house, which seemed somehow to have formed itself, flying together into its own powerful pattern under the hands of its builders, fitting itself into its own construction of lines and angles, reared its great head back against the sky without concession to humanity.

Wise’s chief tool to create an equivalent in images to Jackson’s anthropomorphism is his editing, and to facilitate the work of invocation he has furnished himself with many many angles. Wise was an editor (CAT PEOPLE and CITIZEN KANE of course, but also THE DEVIL AND DANIEL WEBSTER, our first Film Club film) before he was a director, and the trait that lifts his best work out of the journeyman class, it seems to me, is his mastery of visual rhythm. The gunshot at the end of WEST SIDE STORY is a great example. Here, although Eleanor’s VO cues a lot of the eerie sensations, it’s the multiple shots of watching windows and statuary that confirms to us her impression that the house is alive and maleficent.

Fiona points out that as soon as Eleanor enters, we see her reflected in the floorboards (a beautiful shot) and in a decaying mirror, “as if she’s already being absorbed into the house.”

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Theo! The last of our adventurers. Claire Bloom adds to the insistent Englishness of the thing, but her character is so enticingly exotic that her country of origin counts for naught. A mindreader AND a lesbian, as she keeps frantically signalling to us, Theo is not so much a telepath as an empath, like Persis Khambatta in Wise’s later plunge into turgidity, STAR TREK: THE MOTION PICTURE. And she uses her powers for evil: what IS it with Theo? She’s constantly noising up poor Eleanor, then running after her to make friends. Needy bitch. It’s as if Gidding has decided that lesbians are inherently alien and nothing they do makes sense, so he can just have her blow hot and cold at random and call it characterisation. Bloom doesn’t seem to have any particular interpretation in mind, she just plays it dead casual and chic in her Mary Quant (pre-mini-skirt) costumes. One can’t help but enjoy her.

(At the wonderfully obsessive eleanor-lance.com, the theory is put forward that Theo has a crush on Eleanor, and so her bitchy reactions would be triggered any time she sees Eleanor getting too cosy with Markway. I guess I always discounted this because the chic Theo doesn’t have much cause to be enticed by this dowdy spinster type, but I suspect it’s the correct interpretation.)

The remainder of the film, now that we’re in situ, can be divided into set-pieces and pontification, held together by Eleanor’s slow decline into madness. Julie Harris is Hollywood’s idea of a plain jane, and she’s quite affecting. She has that pale mole along from the corner of her mouth that always looks like a teardrop. And she gets that terrifying line about sleeping on her side to wear her heart out quicker. If Gidding invented that then I forgive him everything and prostrate myself at his feet.

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Something at the door! A symphony of sound effects, and the starting-point for Polanski’s great REPULSION. I have a hard job choosing a favourite between the Wise and the Polanski, both of which seem heavily flawed in ways that don’t matter, and deeply great in ways that do.

Again, Wise covers the scene with a zillion angles, trying his damnedest to always pop out of a different door and surprise us, hardly ever repeating a  shot. His crew must have thought him crazy. If he was shooting this for Lewton he’d have to do it in about eight set-ups. Compared with anything in CURSE OF THE CAT PEOPLE or THE BODY SNATCHER, THE HAUNTING has big-movie gigantism alright, but the guiding intelligence is so shrewd that the lumber of epic bloat is dispelled: it’s a graceful colossus.

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“Whose hand was I holding?” Another great set-piece, with astonishing sound and the world’s most sinister wallpaper. What are the great wallpaper movies? Anybody want to try a Top Ten?

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Then Miss Moneypenny turns up. Lois Maxwell was one of these Americans who came to live in England and scooped up tons of work whenever an accent was required. Like William Sylvester in a skirt. Inserting a new character at this point, one whose existence has been established but not revealed to Eleanor, adds new energy, dashes Eleanor’s romantic dreams, and accelerates us into the climax, with Mrs Markway vanishing and Eleanor starting to act very strangely indeed. The balancing act required here is prodigious: if Eleanor goes utterly irrational, no amount of VO will help us stay with her, and if she stays rational, there’s no movie. And if the other characters become too distant and unsympathetic, that will hurt the plausibility, but they must seem a bit distant if we’re to feel Eleanor’s alienation. I think the movie manages this well.

The drama of the swaying spiral staircase is pretty tense, and I wonder if Wise has been looking at THE RED SHOES — those fast tracks of Julie Harris’ feet running, and the spiralling journey up the stairs… plus the idea of a heroine pulled along by forces beyond her control.

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Fiona is very anxious I should talk about THE SOUND. Uncredited electronics wiz Desmond Briscoe seems to be a key name here. A founder of the legendary BBC Radiophonic Workshop, Briscoe is no doubt responsible for the very odd resonant poundings, and maybe some of those other, less identifiable noises. I seriously dig the weird mumbling prayers, with their mis-stressed phrases, that perfectly catch the sense of hearing something without being able to hear it — a psychological phenomenon that’s very hard to reproduce in a movie soundtrack, where something is either audible or not. Interestingly, THE LEGEND OF HELL HOUSE, an inferior but nonetheless enjoyable spook-house melodrama which is majorly indebted to this one, features a score by Delia Derbyshire, another Radiophonic alumnus (who wove the electronic tonalities of the classic Dr Who theme tune).

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In cinema, which exploits only two of our five (or is it more?) senses, anything which is not visible must be audible — unless it’s implied by what happens when you’re not looking. In Hill House, where doors close unaided, but only when unobserved, the unseen presence is constantly evoked by the restless camera and the shifting of camera angles, which prevents us getting orientated. Apart from big features like staircases, we never have any sense of the shape of a room, and even size seems unreliable. While Alexander Mackendrick built a house for THE LADYKILLERS (scored by yet another Radiophonics man, Tristram Carey) without a single right angle or true vertical, Wise and his designers creates more a sense of vast space, populated by a bewildering variety of animate mirrors, statues, and pictures. Accelerating the pace of cutting when we least expect it, he keeps us on our toes by forcing us to reorient ourselves with each fresh angle. One shot, an ECU on the eye of a cooked fish (a pun on those warped lenses?) always throws me completely.

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The End. The idea of Eleanor joining the spirits in the house seems like a big influence on THE SHINING, while the other idea, that the house was not actually haunted until now, is bleaker. Rephrasing the VO from the beginning and giving it to Eleanor (making this another entry in the series of films, beginning with SUNSET BOULEVARD and continuing through THE SEVENTH CROSS to AMERICAN BEAUTY, to be narrated by the dead) is a lovely idea, although once again the screenplay fumbles the correct sense of things — “and we who walk here, walk alone.” The pluralisation makes nonsense of the aloneness. As Joel McCrea protests in SULLIVAN’S TRAVELS, “How can I be alone if you’re with me?”