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Posts Tagged ‘Laurence Luckinbill’

As you grow older and wiser, you kind of reach a point where you believe that you will never find yourself intentionally sitting down to watch Star Trek V: The Final Frontier ever again. But clearly this moment has not quite yet arrived. Look at that, two sentences in and I’m already putting the boot into the movie – but then few movies seem to be quite as eminently bootable as Star Trek V. Certainly, the first time you see it, it doesn’t just come across as a bad film, it seems almost bafflingly, inexplicably bad.

I remember my own first contact with Star Trek V. It was the Earth Year 1989 and this was the first Trek film I went to see with friends rather than family. It was the Monday afternoon showing on the first day of the Autumn half-term break. Three or four months had gone by since the film’s US release (believe it or not, this was extremely common at the time, young ones), and yet I seem to recall very few plot details had crossed the Atlantic – I don’t even recall having seen a trailer. So we settled down in the cinema, only marginally distracted by the presence some seats along and a row back of a girl I had been trying to impress for some weeks (the smallest member of our party was despatched to offer popcorn and other sweeties as propitiatory gifts until she told us to stop it). Well, the movie rolled, our excitement fizzled away, and at the end, subdued, we separated and wandered off into the rush-hour traffic in search of our buses. Possibly my most vivid memory of the whole afternoon is of something that happened at the bus stop: a somewhat frazzled-looking father was there with his bemused young son (telltale signs, I now realise, of recent exposure to Star Trek V). My ears pricked up as I heard their conversation.

(Plaintive incomprehension.) ‘Daddy, I don’t understand. I thought God was supposed to be a goodie?’

(A terrible weariness.) ‘Well, yes, but that wasn’t God, was it? Because God wouldn’t have tried to kill Captain Kirk.’

There are obviously things wrong with Star Trek V, but it is perhaps its contribution to the field of theology which makes it such a problematic film. Certainly its start is, well, not too bad. We open on the wasteland planet of Nimbus III, in the Neutral Zone between the major space powers, where everyone seems to be having a fairly miserable time. Fertile soil for interstellar cult leader, Vulcan revolutionary, and previously unmentioned long-lost brother Sybok (Laurence Luckinbill) to gather a following, then. Sybok takes over Nimbus III and captures the ambassadors posted there.

Well, for once it isn’t quite the case that Starfleet doesn’t have any other ships in the area, but the admiralty reach the conclusion that a fully-functional ship with an experienced crew is not what the situation requires. A ship which is falling to bits, crewed by new and untested personnel, is a much better bet, just as long as the ship is commanded by James T Kirk! (You can tell that William Shatner wrote the story for this film himself, can’t you?) Shore leave is cancelled and the Enterprise warps off to Nimbus III in an attempt to get there ahead of some angry Klingons.

Well, Sybok proves a tricky fish to land, and succeeds in swaying the Enterprise crew to his cause. He reveals his true intent – he has had a vision of the fabled planet of Seanconnery (well, not quite, but the in-joke becomes blatant once you’re aware of it), at the heart of the galaxy, where resides the infinite wisdom of the Almighty and perhaps even God Himself…

The problems with Star Trek V surely started with the lawyers, back in the 1960s. William Shatner and Leonard Nimoy struck a deal where they had a ‘favoured nation’ clause inserted into their Star Trek contracts, basically meaning that whenever Shatner got a pay rise or a bigger trailer, Nimoy automatically got one as well, and vice versa. So, when Nimoy was given the opportunity to direct a Star Trek movie, the producers were legally obligated to give Shatner a go, too, regardless of whether they thought it was in any way a good idea or not. It is safe to say that not everyone on the production was overjoyed at the news – George Takei’s response, on hearing the tidings, was a cry of ‘Oh, God! What are we going to do?!?’ (although to be fair he apparently found the experience of being directed by the Shat less gruelling than expected).

A lot of what’s wrong with Star Trek V boils down to Shatner’s original vision of the Enterprise going in search of God and having various encounters with spiritual beings – it seems like everyone he spoke to about this told him in no uncertain terms that this was a terrible premise for a movie, hence its slight modification in the final version (Shatner still seems pretty insistent that if he’d been permitted to make his original idea, rather than a film compromised by studio demands, budget requirements, fractious co-stars, and so on, it would have been much better – you have to admire the guy’s cojones, if nothing else).

So we can blame Shatner for the flawed central premise of the movie (and also for the casting the great David Warner and then giving him virtually nothing to do), but in the interests of fairness we should also consider the fact that culpability also lies with other people. If you look at the history of the Star Trek film franchise, it’s hard not to come away with the impression that Paramount Pictures viewed the series solely in terms of its money-making potential, with most of their decisions intended to maximise box office while reducing costs.

That policy really starts to bite here – this is a notably cheap-looking film with flat cinematography, and painfully primitive special effects – ILM were booked up doing Indiana Jones and the Last Crusade and Ghostbusters II that year, forcing the production to engage a cheaper effects house. The climax had to be completely reshot when the initial monster suit just didn’t work. And, perhaps more insidiously, Paramount concluded that the huge take of Star Trek IV was down to it being full of jokes, with the result that this film is, too, regardless of whether they’re tonally appropriate or in character – hence the utter, wince-inducing wrongness of those scenes where Scotty knocks himself out by walking into a bulkhead, Sulu and Chekov get lost on a hiking trip, and Uhura does a fan dance (the main troika emerge more or less unscathed, and director Shatner ensures actor Shatner’s gravitas remains uncompromised throughout).

But, what the hell, it’s not as if Shatner gets everything wrong – for one thing, he hires Jerry Goldsmith to do the soundtrack, so that’s pretty good. There’s a new take on the Klingon music, and the main theme from The Motion Picture returns (although this may have been a branding decision, given The Next Generation had been running for a year or two when this film came out). And, the character scenes with Kirk, Spock, and McCoy together do work – much better than most of those in The Motion Picture, if we’re honest.

Nevertheless, few films are as actively loathed as this one – never mind the movie’s impressive haul at the Golden Raspberry Awards, Gene Roddenberry himself announced parts of it had to be considered ‘apocryphal’, and at least one officially-licensed book has announced these events never actually happened (what we are seeing is an in-universe film made by aliens from the Roman planet in Bread and Circuses, which is why the characterisations are a bit off, not to mention some of the laws of physics). Perhaps it just reflects our somewhat ambiguous attitude towards Shatner himself these days.

Given the combination of 1989’s heavyweight summer release schedule (Batman, Indiana Jones and the Last Crusade, Ghostbusters II, License to Kill, Lethal Weapon 2, amongst others) and the fact that Star Trek was back on TV, Star Trek V would have to have been something pretty special in order to cut through and achieve the same kind of success as previous entries. If it is special, then that’s not in a good way, but you can’t lay all the blame on William Shatner. A good-sized chunk of it, maybe. But not all of it.

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