Posted in Movies

Rob Watches Star Trek: So Much to Do, So Little Time

TITLE: Star Trek III: The Search For Spock
STARRING: William Shatner, Christopher Lloyd, DeForest Kelley, James Doohan, George Takei
DIRECTOR: Leonard Nimoy
WRITER: Harve Bennett
STUDIOS: Paramount Pictures
RATED: PG
RUN-TIME: 105 min
RELEASED: June 1, 1984

By Rob Siebert
Fanboy Wonder

I’m in awe that Leonard Nimoy directed not only this movie, but the next one as well. Can you imagine that kind of thing happening today? Say they put Mark Hamill in the director’s chair for a Star Wars movie. Or Tobey Maguire in charge of a Spider-Man flick. They’d be hounded by toxic fans to the point of never wanting to touch the franchise ever again.

Fresh off the events of Star Trek II, Star Trek III brings us the revelation that Spock’s “living spirit” is in limbo, and has found a home in the mind of Bones. Thus, Kirk and the crew set out for Genesis to reunite Spock’s spirit with his body. But they do so against the will of the Federation, and must steal the now decommissioned Enterprise. All the while, the Genesis project has caught the attention of the Klingons, who want its power as their own.

A lot happens in Star Trek III. Like, a lot. Even when you set aside the fact that they’re trying to friggin’ resurrect the dead. Kirk’s son dies. The Enterprise blows up. We have all these big emotional moments between characters as they risk their lives and careers to save Spock. On paper, this movie is just as epic and impactful as The Wrath of Khan. If not more so.

So why is it strictly okay? Why doesn’t it hold up as a successor to The Wrath of Khan?

For my money, it’s the old “10 pounds of stuff in a five pound bag” metaphor. There’s so much going on that these big moments don’t necessarily have the impact they need and deserve. Chief among them is what happens to Kirk’s son David, who we met in The Wrath of Khan. The villain kills him off during the second half of the movie. Naturally, Kirk is grief-stricken. The Search For Spock does it’s best to give it proper weight. But in trying to wrap up all the film’s plot threads, there isn’t enough time. Yes, Kirk is distraught about his son. But this is the death of his child. He should be absolutely destroyed to the point that he needs the entire movie to bring himself to suit back up.

Furthermore, Star Trek III robs the premise of Kirk having a long-lost son of any story potential it may have had. How do father and son adjust to this new connection? What role do they play in each other’s lives? Does David become a liability for Kirk in the field? Granted, David wasn’t the most compelling character in the world. But Star Trek III removes the opportunity to make him compelling.

David’s death might have been more impactful had it come at the hands of a more interesting villain. Kruge, the lead Klingon, comes off as a hollow mustache-twirler. Yes, Christopher Lloyd is fun. But he’s also campy. That’s not what you want to follow The Wrath of Khan with.

Still, the movie isn’t without its fun elements. I love that Spock’s living spirit ended up with Bones. If anything, that should have been explored more. Actually, in hindsight, that should have been an episode of the series. It’s a fantastic way to not only contrast Spock and Bones, but give them insight into one another.

Star Trek III also continues something started in Star Trek II that I find very important: It emphasizes that these people are friends. Not just Kirk, Spock, and Bones, but the entire crew. That’s why they’re willing to risk their careers to steal the Enterprise and go after Spock.

I wish they could have had more fun with the stealing of the Enterprise. Sort of like a mini heist movie within the movie. Have Kirk, Spock, and Chekov do the grunt work while Scotty and Uhura work remotely. A Star Trek heist movie could have been fun, and a good way to make this story a very different animal from The Wrath of Khan.

But alas, Star Trek III feels like a younger sibling trying to live up to an older sibling’s achievements. It pales in comparison, of course. In hindsight, I wish Nimoy had been given a better script for his directorial debut. Thankfully he’d get another chance with Star Trek IV

Email Rob at primaryignition@yahoo.com, or check us out on Twitter.

Posted in Television

Rob Watches Star Trek Archive

The following represents the full archives of “Rob Watches <i>Star Trek</i>,” thus far, presented in the order the episodes originally aired….

Star Trek, Season One
Series Pilot: “The Cage”
“The Man Trap”
“Where No Man Has Gone Before”
“The Naked Time”
“Dagger of the Mind”
“The Menagerie”
“Balance of Terror”
“The Galileo Seven”
“Arena”
“Return of the Archons”
“Space Seed”
“Errand of Mercy”
“The Alternative Factor”
“The City on the Edge of Forever”

Star Trek, Season Two
“Amok Time”
“Mirror, Mirror”
“Journey to Babel”
“Friday’s Child”
“The Trouble With Tribbles”
“Private Little War”
“Bread and Circuses”
“Assignment: Earth”

Star Trek, Season Three
“Spock’s Brain”
“The Enterprise Incident”
“Day of the Dove”
“The Tholian Web”
“Plato’s Stepchildren”
“Let That Be Your Last Battlefield”
“All Our Yesterdays”

Star Trek Movies:
Star Trek The Motion Picture
Star Trek II: The Wrath of Khan
Star Trek III: The Search For Spock
Star Trek IV: The Voyage Home
Star Trek V: The Final Frontier
Star Trek VI: The Undiscovered Country

Star Trek: The Next Generation, Season One
“Encounter at Farpoint”
“The Naked Now”
“Lonely Among Us”

“Hide and Q”
“Datalore” 
“Too Short A Season”
“Coming of Age”

Star Trek: Lower Decks, Season One
“Second Contact”

Email Rob at primaryignition@yahoo.com, or check us out on Twitter.

Posted in Uncategorized

Rob Watches Star Trek: Klingons and Gene L. Coon

***What happens when I, a 30-something-year-old fanboy, decide to look at the Star Trek franchise for the first time with an open heart? You get “Rob Watches Star Trek.”***

SERIES: Star Trek

EPISODE: S1.E26 “Errand of Mercy”
STARRING: William Shatner, Leonard Nimoy
GUEST-STARRING: John Colicos, John Abbott

WRITER: Gene L. Coon
DIRECTOR: John Newland
ORIGINAL AIR DATE: March 23, 1967
SYNOPSIS: Kirk and Spock work to convince a peaceful world to fight back against occupation by the war-hungry Klingons.

By Rob Siebert
Trekkie-in-Training

There’s a beautifully hysterical moment in “Errand of Mercy” where the lead Klingon asks Kirk about the Federation Starfleet. Kirk, with the most sarcastically pleasant expression you’ve ever seen, simply says, “Go climb a tree.” (It’s at 29:14 on the Netflix version.)

You just know they wanted to write something like, “Go f#$k yourself.” It’s even got the same number of syllables. But somehow, William Shatner makes “Go climb a tree” work. You might call him a bad actor. But in that moment he was a goddamn genius in my book.

In this episode we meet the Klingons, whose presence in the Star Trek Universe has allowed them to transcend the show and gain a place in the collective pop cultural consciousness. Not bad, considering they started out as dudes covered in bronzer with vaguely racist facial hair. What’s more, based on wardrobe, it looks like they opted to invade a planet that looks a little bit like a Renaissance Fair on Ugg Boot Appreciation Day. But who am I to judge?

When I watched this episode, I noticed a name that’s continued to pop up over the course of “Rob Watches Star Trek”: Gene L. Coon, who has also been known by the pseudonym Lee Cronin. Thus far, we’ve seen him involved in the writing on episodes that brought us the Prime Directive, the famous episode about racism, Khan, the epic piece of camp glory that is the Gorn, and now the Klingons. These are all elements indelibly woven into the fabric of Star Trek. So while Gene Roddenberry may have created the show, Coon played a pivotal role in making it great. Much like an Irvin Kershner or Lawrence Kasdan did for the Star Wars universe.

As it turns out, Coon wasn’t just a writer on the show. He served as the showrunner for the first season and much of the second. He would ultimately leave the show over the direction of an episode called “Bread and Circuses,” which we’ll get to at the end of season two.

As for the Klingons themselves, they were conveniently created as a war-hungry authoritarian culture. One doesn’t need to jump through a lot of plot hoops to put them against Kirk and the Enterprise. I confess it’s somewhat unsettling to see them with, as Coon called them, “oriental” features, i.e. their facial hair. Supposedly they were a metaphor for the Japanese during World War II. Though I don’t think we can discount that the Vietnam War was happening at this time…

There’s a bit of deliciously twisted irony toward the end of this episode. Obviously “Errand of Mercy” is all about violence and war. We’ve got the peaceful Organians who are impossibly placid and neutral, caught in the middle of this war between the Federation and the Klingons.

Though they’re bound and determined to destroy one another, the two sides do end up coming together for a common cause: When the Organians use mysticism to prevent them from fighting, Kirk and the Klingon Governor Kor both insist they have the right to wage war on each other. Think about that. They’re standing up for their right to kill each other.

C’mon, Kirk. I’d have expected that from a Klingon. But you? Captain, I’m surprised at you. You’re better than that.

Email Rob at primaryignition@yahoo.com, or check us out on Twitter.