I became a Star Trek fan at the age of 6. I started grade one and all the kids on the playground were talking about how cool Star Trek was. This would have been in September 1975, and Star Trek had just started being shown locally in syndication five days a week in the late afternoon — perfect for kids to absorb after school and before dinner. I was an instant fan. My mother told me she and my father used to watch Star Trek when it first came on the air, and would make sure they were home the nights it was broadcast.
The show's syndication success made possible a good amount of merchandise for the day.
The Star Trek Exploration Set model kit box. It looks like it's not too difficult to land one of these.
First, it was model kits of the USS Enterprise, the bridge and the "Exploration Set," which included a phaser, communicator and Tricorder. Each one came with an order form for iron-on transfers, and I sent away for as many as I could. I remember having to wait an unusually long time for one set to arrive as Canada Post was on strike and no mail was being delivered. There was one set that included the Starfleet symbols for Kirk, Spock, McCoy and Scotty, and my mom would put them on the correct colored turtlenecks I seemed to wear a lot. I'm wearing my Kirk yellows in my Grade 1 school photo. (Side note: A few years back I was seated at a press event across from William Shatner and showed him this photo. His response: "That's wonderful!")
The offer for the iron-on transfers. I believe I ordered than one set of these.
There also was the Dinky die-cast USS Enterprise, for which I lost the shuttlecraft one day and was crushed never to recover it; toy utility belts and various cheap "ray guns" that came in Trek packaging despite looking like nothing on the show; some cool walkie-talkies; and the Mego dolls, or "action figures" as they would soon be called. I remember having quite a few of those, including a few hard-to-get ones (at least in Canada) that my parents brought back from a trip to the U.S. And I was lucky enough to get the Enterprise bridge playset with the cool transporter function for Christmas.
Die-cast USS Enterprise vehicle with shuttlecraft. It also had disks you put in the saucer and when you turned the bridge they'd fire out the front.
The USS Enterprise bridge playset from Mego was made of printed heavy cardboard with a vinyl coating on it. The chair and helm were very cheap. But the real attraction was the transporter. You'd put a figure in on side, spin the top and then press the right button to stop it on the other side and it emulated the look of the show! They used the same thing for the tornado in the Wizard of Oz set my sister had.
The Mego Star Trek Walkie Talkies were pretty cool. They were much bigger than the ones on the show, but they did work reasonably well.
These cheap utility belt toy sets were common in the 1970s, though this was easily the best, with accurate looking versions of the phaser, communicator and tricorder.
But time moves on, and a cooler space show came along the next year: Space: 1999. That was what my friends and I were all into in 1976-77, with season two episodes airing weekly on the CBC on Saturday afternoons, to be followed by a couple of curling matches and, hopefully, a good cartoon from the NFB before Hockey Night in Canada came on at 6 p.m. I was wearing my Space: 1999 costume, in fact, the night my parents shoveled us all in the car at the end of the school year to go to the drive-in and see a new movie called Star Wars. (That's a whole other story.)
Back cover ad that appeared on August 1979 issues of Marvel comics. Note the shared screenplay credit for Gene Roddenberry and Harold Livingston. This scan was from a copy of X-Men #124. This would have appeared on newsstands in April or May of 1979.
I was primarily aware of Star Trek: The Motion Picture from the ads that appeared on the backs of comic books in the year or so leading up to its release. I saw the movie the day after it opened, on Saturday, Dec. 8, 1979, at the Paramount Theater in Edmonton as part of a friend's birthday party. I liked it a lot while I was watching it. What's not to like? It's space! It's Star Trek! It looks cool! But the memory of the movie faded really fast. By Christmas, you would have had to remind me that I'd seen it.
Not anymore. I previously owned two copies on VHS: one the letterboxed theatrical cut and the other the home video extended cut. I have the Director’s Cut on DVD (more on that later). And now I have on Blu-ray the original theatrical cut, which I popped in the other night to run through one … more … time.
Note: This is a post I meant to write about six or seven months ago, to coincide with the 40th anniversary of the release of Star Trek: The Motion Picture. Stuff happened, but I still have a lot to say on this topic. So here’s a belated tribute to the movie’s anniversary, told in three parts.
Star Trek: The Motion Picture is one of the most divisive entries in the decades-long canon of Star Trek.
Much like the return of Star Wars twenty years later, Star Trek: The Motion Picture faced high expectations from a fan base that had patiently waited a decade for a continuation of the beloved series. Weighed down by behind-the-scenes production problems that have become legendary in their own right, the movie upon release was heavily criticized for its languid pacing, meandering direction and lack of action. Coming just two years after Star Wars had sparked a sci-fi and visual-effects boom, the movie was not-unfairly dubbed Star Trek: The Motionless Picture and Spockalypse Now by fans and critics upon its release Dec. 7, 1979.
Despite its many flaws, Star Trek: The Motion Picture was an unlikely hit. It failed to generate toy sales and licensing revenue along the lines of Star Wars, but Trek fans tenaciously indulged in enough repeat viewings to deliver an impressive domestic box-office take of $82 million and a worldwide gross around $175 million. That made it the No. 5 film of the year, ahead of Ridley Scott’s Alien and just behind Apocalypse Now, Rocky II and The Amityville Horror. Kramer vs. Kramer was the year’s top-grosser, with $106 million in domestic ticket sales.
Star Trek: The Motion Picture also ended up being a hit in the then-new secondary market of home video, becoming a top rental on videocassette and the short-lived videodisc format upon its release in 1981. And it was further boosted by its airing as an ABC Sunday Night Movie in 1983, which restored some 12 minutes of footage cut from the theatrical version. The restored scenes had a huge impact on the story, including as it does a scene where Spock comes to terms with his own internal conflicts and sheds a tear for V’ger. The extended edition was released on home video to become the definitive version for fans. And a director’s cut was released on DVD in 2000, with Robert Wise going back in to polish the edit and finish several sequences that fell victim to tight deadlines.
Star Trek: The Motion Picture had a long development history. Production on the original Star Trek series was never smooth, from the original 1964 pilot starring Jeffrey Hunter as Capt. Christopher Pike that NBC rejected, to the then-unheard-of second pilot with William Shatner as Capt. James T. Kirk, through the fight to save the show from cancelation and its eventual demise. Most accounts from people who were there portray an often-chaotic production.
After Trek ended its original TV run in 1969, Roddenberry tried to move on to other projects with little success. He wrote and produced the feature Pretty Maids All in a Row, a screwball romantic comedy which starred Rock Hudson, Angie Dickinson, Telly Savalas, Roddy McDowell and featured Trek veterans Jimmy Doohan and William Campbell. If you’ve never heard of it, you’re not alone. And his Trek-like attempts to do more sci-fi concepts on TV struggled to find an audience, with Genesis II, The Questor Tapes and Planet Earth all airing as TV movies but failing to make it to series.
Realizing Trek would likely be his one and only golden egg, Roddenberry moved back to the property in the early 1970s as Star Trek’s syndication success was skyrocketing. He succeeded in getting Trek back on the air as an animated series, but that was (unfairly, I think) dismissed by pretty much everyone as kids’ stuff, with the real goal being a live-action reunion of the original cast on the small screen or the big screen.
Entire books have been written about the back-and-forth between Roddenberry and Paramount on the issue of reviving Star Trek. Those plans were constantly in flux, taking the shape at various times of a low-budget feature series similar to Planet of the Apes, a series of 90-minute TV movies, a weekly hourlong TV series and, again, as a feature film of some kind. What eventually clicked was a return to the TV series format as Star Trek: Phase II, which would premiere in 1978 as the flagship show of Paramount’s planned fourth television network.
Most Trek fans know what follows: Roddenberry reworked the series, taking on suggestions most notably from the detailed and loving critique offered by “The Trouble With Tribbles” episode writer David Gerrold in his 1972 book (revised in 1984), The World of Star Trek. Among the changes: Kirk was too valuable as the captain of the Enterprise to go into dangerous situations each week, so an executive officer was created to handle that part of the job in Willard Decker. Decker also had some emotional baggage in his relationship with the ship’s new navigator, Lt. Ilia, who was from a planet where sexual relations was just how they got along. (This idea was never explained beyond the idea that Deltans just had sex with each other at the drop of a hat and it was normal for them. Being promiscuous is one thing, but the idea that you’d go into, say, a business meeting and do something sexual as a form of greeting is, well, strange and, frankly, sounds more than a little exhausting.) Chekov got promoted to chief security officer and Nurse Chapel, played by Roddenberry’s wife Majel Barrett, was promoted to doctor. When Leonard Nimoy refused to return to the daily makeup routine that Spock called for, Roddenberry created a replacement in Xon, a full-blooded Vulcan science officer who instead of trying to control his emotional side like Spock sought to discover that side of himself as a way to better work with and relate to his crew mates. (If any of this sounds familiar, just change the names of Decker, Ilia and Xon to Riker, Troi and Data, and you’ve got half the crew set for Star Trek: The Next Generation.)
The success of Star Wars lit a fire under Paramount, which invested a lot in developing Star Trek: Phase II. What’s especially interesting is that the show never had a chance. Announced in the summer of 1977, it was clear by early August that Paramount’s fourth network didn’t have the support to ever get off the ground. In the book Star Trek: Phase II — The Lost Series, the Reeves-Stevens write that Paramount’s then chief Michael Eisner decided in a meeting Aug. 3 that the pitch for the pilot “In Thy Image” was feature worthy and in that moment the series was dead. But it was a secret kept in that meeting for four long months, during which time scripts were written that would never be produced and sets half-built while behind-the-scenes machinations progressed on the real project, which was the feature. The great expense was apparently justified by the idea that if Paramount decided a year after the feature to return to TV, they’d have a dozen scripts already in the can and ready to go.
Meanwhile, the production cast Stephen Collins as Decker, Persis Khambatta as Ilia and David Gautreax as Xon. Coming on as director was Robert Wise, a true Hollywood legend who started as an editor on Citizen Kane before directing such classics as The Day the Earth Stood Still, The Sound of Music and West Side Story. Heck, even Leonard Nimoy agreed to come back, demoting Gautreaux to a cameo as the commander of the Epsilon 9 station in the final movie.
It looked at this point like a feature would be smooth sailing, but the production was anything but. The script, first and foremost, needed to be updated to work as a feature. Veteran TV writer Harold Livingston was brought on board and began running afoul of Roddenberry, who constantly interfered in the scripting process by poorly rewriting pages that didn’t need it and setting everything back with substandard work. Livingston quit and was re-hired several times by Eisner and Jeffrey Katzenberg. Roddenberry, it seems, was trying to earn a screenplay credit by any means necessary, with his rewrites providing evidence he could submit to the WGA to earn that credit — and the money that came with it. (Roddenberry pulled a similar stunt with original series composer Alexander Courage, writing lyrics to the show’s theme song that were never meant to be used as a way to earn half the writing credit and therefore half the royalties from the tune. Courage never again worked on Star Trek.) Final writing credits went to Foster for story and Livingston for screenplay. You can read one version of the script here.
So production began without a finished script, which is never a good idea. With the movie shot almost exclusively on sound stages, production proceeded largely in story order. That explains why the movie’s plot is so vague for so long, treading water with lengthy re-introductions of the crew members and the USS Enterprise. DeForest Kelley’s Dr. Leonard “Bones” McCoy, as usual, point out the idiocy of this with one of the movie’s best lines: “Why is any object we don’t understand always called a thing?”
At some point, clauses in the contracts of Shatner and Nimoy kicked in to give them story approval, so production slowed down again as everyone tried to figure out an ending to the movie. There were reportedly days where scenes were written in the morning for the cast and crew to shoot later that day.
The ending they did come up with is actually pretty good, though the middle of the movie is a serious slog. The alien object is revealed to be Earth’s primitive Voyager 6 probe, given the ability by an advanced race of alien machines to complete it mission of gathering all data possible and returning it to its creator. Along the way, it amassed so much data it became sentient. But it lacks the emotional side it needs to move to the next level. So V’ger seeks to merge with its creator, which it does with Decker, and moves into the next realms.
Having finished principal photography, Star Trek: The Motion Picture moved into its next disastrous phase: creating the visual effects. Again, Star Wars and Close Encounters of the Third Kindhad pushed visual effects to a new level and shown their storytelling potential. And in the wake of Luke Skywalker’s rush down the Death Star trench, there was no way effects like those used on the original Star Trek series or on more recent efforts like 2001: A Space Odysseyor Space: 1999 were going to cut it. But George Lucas and his team at ILM, which created those effects and innovated those techniques, were working on The Empire Strikes Back. That meant Star Trek: The Motion Picture had to go elsewhere to find work that lived up to that level — a very tall order.
By all accounts, the original effects team, Robert Abel & Associates, spent somewhere north of a million dollars and had produced almost no usable footage. Adding to the pressure, Paramount pre-sold the movie to exhibitors, who had forked over significant advances for the right to screen the finished movie on Dec. 7, 1979. That money had helped Paramount finance the movie, but it also meant the release date couldn’t budge. It was a mad scramble to finish the movie and several important shots and major sequences got lost in the shuffle.
Wise also was battling the studio over the final cut of the film, with the studio pushing a version that featured more of the expensive VFX it was paying for while Wise was trying to balance the story. The mad race to finish the movie left Wise without a chance to test screen the movie with an audience, which he said for years afterward would have helped improve the balance of VFX spectacle and story.
Standing out as a triumph amid this scramble is the iconic score composed by Jerry Goldsmith. Reportedly, Goldsmith’s original score was found lacking by Roddenberry, Wise and the Paramount brass. They wanted a triumphant theme along the lines of John Williams’ score for — you guessed it — Star Wars. Goldsmith came up with a theme on the spot that satisfied everyone and went on to become an iconic part of Trek’s musical history, returning in subsequent features and as the theme for Star Trek: The Next Generation.
Finishing the film truly came down to the wire. Final effects sequences were cut by hand into each individual print of the movie on a Paramount soundstage occupied by hundreds of film canisters waiting to be shipped out. Wise himself carried the print shown at the Washington, D.C., premiere with him on his flight out of Los Angeles.
Fan reaction could be summed up as disappointed but grateful for the movie’s existence. The box office results were not in Star Wars territory, but they did reveal an audience existed for Star Trek. And the movie turned a profit despite the studio calculating a then-record production budget of $44 million that — fair or not — included all the development costs of Star Trek: Phase II and likely all the way back to the early 1970s.
That success opened the door for more Star Trek, albeit versions that were much less extravagant.
With interest in Star Wars at one of its peaks thanks to the release of Rise of Skywalker and the success of the Disney Plus series The Mandalorian, it was only a matter of time before a humble blogger like myself dug up the long-forgotten tale of Fenn Shysa.
Who’s Fenn Shysa, you ask? Well, Mr. Shysa is one of 212 warriors whose mission of protecting the planet Mandalore got sidetracked when the Emperor commandeered those warriors to fight on his side in the Clone Wars. Only three survived, with the most senior officer, named Boba Fett, disenchanted with fighting for a cause, went into the bounty hunting business. That left the other two, Fenn Shysa and Tobbi Dala, heading back to Mandalore and fighting the slavers who had infested it.
They eventually ran into Princess Leia in Marvel Comics’ Star Wars #68-69 (Feb.-March 1983), who was searching for clues to whereabouts of Fett and Han Solo. The roguish Shysa was not an unappealing man, with his Irish brogue and handsome features, and he helped Leia find a clue to Solo’s location while defeating the slavers and setting back the Empire on Mandalore. It was not without its costs, however, as Tobbi Dala sacrificed himself for the cause.
Shysa later returned in the comic series post-Return of the Jedi as a member of the Alliance of Free Planets and Han Solo’s semi-serious romantic rival for Leia’s affections.
These comics are a bit pricey when it comes to originals, but interesting not just for the story, by comics veteran David Michelenie, but the art by Gene Day and Tom Palmer. Day’s breakdowns on 68 and pencils on 69 in particular were excellent and brought some real visual energy to the story.
Obviously, Shysa’s backstory for the origin of Boba Fett now clearly falls into the non-canonical Legends category, but he remains one of those memorable characters from that old Marvel run who wouldn’t be out of place getting a revamped or revival of some kind.
The Report is a good movie facing an uphill battle to find a wide audience and awards glory. The latter is pretty unlikely for anyone except for Adam Driver, who’ll be recognized far and wide for his role in Marriage Story before The Report. The former is a shame, because writer and director Scott Z. Burns does a solid job of turning pretty difficult material into a compelling narrative.
The Report dramatizes the Senate Intelligence Committee’s investigation into the CIA’s use of what it called enhanced interrogation procedures and came to be more correctly labeled as torture. Driver is, as usual, terrific as lead investigator Daniel J. Jones, while Annette Bening pulls off a believable Sen. Dianne Feinstein. The cast also features a who’s who of top TV talent from the past five to ten years, including Jon Hamm, Matthew Rhys, Jennifer Morrison, Michael C. Hall, Corey Stoll and Maura Tierney. I really liked the casting of Ted Levine (best known as serial killer Buffalo Bill in The Silence of the Lambs) as CIA director John Brennan.
Technically, it’s a very well done movie of the story everyone says they wish there were more of. It’s well-written, well-cast, well acted and effectively evokes both the grit and grime of anonymous black sites with both slick and merely functional bureaucratic settings. It lacks the melodramatic sweep that made, for example, Oliver Stone’s awesome JFK a riveting tale of investigation and government corruption, but it also sticks to a much more conventional version of the truth.
The movie covers material that ranges from recreations of some of the most egregious and offensive acts committed by American government officials in the name of protecting the nation from the next 9/11 to committee meetings and detailed and excited discussions in a sealed subterranean investigation room. This is Driver’s movie and he makes Jones a surprisingly likable bureaucratic protagonist fighting to get the story both correct and out to the public.
The real problem the movie has is a dramatic one. Yes, the material uncovered by the report is dramatic and shocking. But the report also came and went in real life, without making the impact on policy that it warrants. Which raises another problem in terms of seeking a wider audience as it plays so neatly into the extremely polarized political divisions of American society that there’s no way it could change anyone’s mind. Its portrayal of Democrats as the good guys and the Republicans as willingly and completely complicit is only countered by a few jabs at former President Obama and his desire to avoid extreme and impractical political battles. It ends up portraying Jones’ dive into the truth as impotent — in the end, it doesn’t matter that he’s right, that he’s documented horrible things. He never had a chance to spark change.
And The Report meets the same fate. Driver makes it worth a watch, and it is smart and intelligent — it’s just a question of how many people really want that.
I have strong memories of seeing this teaser trailer playing many times in late 1988 and early 1989 at the Gallagher Theater in the Student Union at the University of Arizona. It was the first time I recall hearing of people paying full admission to a theater just to see the trailer.
(Side note: When I was a kid, we called these previews, not trailers. I know why they're called trailers, as they used to run after the movie back in the old, old days. But why we still call them trailers when previews makes more sense eludes me. I can't even remember when the term trailer came back into fashion.)
I was not yet much of a DC or Batman reader at that time, and therefore only tangentially aware of the controversy around casting Michael Keaton. So this trailer was really the first look anyone had at this movie and it sold it completely and totally.
The importance this movie had at the time for comics is easy to underestimate in this day and age of the Marvel Cinematic Universe. But there was a time in the 1980s when comics fans knew the medium was full of storytelling gold while the general public still thought of comics as kid stuff and the Biff! Pow! Sock! of the Adam West series defined the idea of comic book adaptations. This was going to be the movie that got comics noticed! That proved to the world that they weren't just kid stuff! And then everyone would flock to comics shops to get in on the hobby, making all those collectible issues the die-hards had been hoarding for years worth a literal fortune!
Some of that came true, some of it didn't. But I still think this is one of the best uses of a teaser trailer in modern movie history.
Vice purports to tell the tale of how a largely unremarkable man from Wyoming rose to the heights of power in Washington, D.C., eventually expanding executive powers to unprecedented levels to wage war, pad the pockets of loyal supporters and undermine any attempts to expose those deeds to the people. Starring such reliable comic talents as Steve Carell and Sam Rockwell, along with the always-excellent Christian Bale as Dick Cheney and Amy Adams as Lynne Cheney, and Tyler Perry as Colin Powell (never thought I’d write that sentence) it’s not unreasonable to expect a mix of comedy, drama and satire along the lines of director Adam McKay’s rather-good previous film, The Big Short.
But despite a few good laughs about Cheney’s weak heart and a really fun faux finale about halfway through, Vice overall falls short as a comedy and a drama. Some of that comes from the subject matter, with the filmmakers admitting at the very start of the film that Cheney is famously secretive and little is publicly known about why he’s done the things he’s done. Personally, I found it odd to be watching a portrayal of events that I paid close attention to as they happened (I worked at various newspapers through the 1990s and continue to follow the news) and seeing little added to events by the film that would shock or surprise or change the perception of someone with even the most cursory understanding of those events.
Bale is, as always,
great. Yeah, there’s the great makeup that makes him look exactly like Cheney.
But it’s the mannerisms, the body language and the voice (remember, Bale’s
natural accent is Welsh) that really make the performance remarkable. It’s just
too bad he didn’t have more to do with it.
I’m sure McKay and his collaborators debated heavily the correct balance of comedy and drama for this project. The comic moments leave the biggest impact, so it’s a shame they didn’t just play up those points more to expose the Cheney’s career for the comedy of errors history has revealed much of it to be.