As said, only Nimoy and Kelley came off interestingly. I've been told that Nimoy wrote most of his own part but that in-depth sessions wound up—along with considerable footage of Koenig, Takei, Barrett and others—on the cutting room floor. But even before that stage of post-production, the Enterprise crew found their parts being whittled to nothing. During the course of shooting I had occasion to speak to three or four of the crew regulars who have remained my friends from the old series days. Each of them said, in almost exactly the same words and tone of voice, "Every day when I come in I find my lines a little shorter, my scenes a little more cut."
And to whom were those stolen moments given? To Shatner, Stephen Collins and Persis Khambatta.
Collins is a drone. His part could have been played by any rock-ribbed, lantern-jawed actor. He is totally unmemorable. I will pillory him no further. He did the best he could, and that's comment sufficiently pathetic for even John Simon.
Persis Khambatta. Oh dear.
After all the prerelease hype, one would have thought the emergence of a new Ingrid Bergman, or at very least a new Sigourney Weaver, was about to manifest itself.
Such is not the case.
This young woman is quite lovely to look at—but if shaving an esthetically-pleasing head is Makeup's idea of creating a "Vegan" alien then I fear Hal Clement will never work in films—and as for acting ability, well, the poor thing simply has none. I will pillory her no further. She did the best she could, and it is to Wise's credit that he turned her into a machine as quickly as possible, thereby permitting her to function at peak efficiency.
Which leaves us with William Shatner.
He dominates, as usual. Stuffy when he isn't being arch and coy; hamming and mugging when he isn't being lachrymose; playing Kirk as if he actually thinks he is Kirk, overbearing and pompous. Yet occasionally appealing, don't ask me why.
Perhaps it is that I remember Shatner from George C. Scott's production of The Andersonville Trial, in which he was no less than staggeringly brilliant. Perhaps it is that I wanted to like the new, resurgent Kirk. Perhaps it is that I am—despite the catalogue of horrors dealt with herein—hopeful that this film will not bury Star Trek.
Nonetheless, it is common knowledge that Shatner tried to dominate every segment of the series and that he has permitted his actor's ego to drag him down to the level of actually line-counting scenes in which another actor, even Nimoy, might have the limelight a trifle longer. I have no knowledge that such was the case with the film, though I've been told there were extensive "story-conferences" among Shatner, Wise and the scenarist; yet there is no mistaking Shatner's pushiness in the lead role. He is there, for better or worse, and if the pivotal scenes where emotionalism was necessary do not come off, the responsibility is surely his.
Nimoy remains a marvel, even in the truncated sections where he is permitted to flex his talent. His Spock is a character several degrees more interesting than when last we saw him in the series. Nimoy has aged, and so has Spock. There is compassion and a touching wistfulness just beneath the stoic surface. And in terms of advancement of the original Star Trek format, his is the only alteration. At the end of this movie we have seen the two new characters done away with (for sequel purposes) and we're left exactly where we were when the series was canceled. No change, no growth. But Spock has found there is a reason not to be ashamed of his humanity, his feelings; there is a positive note here—attributable to the sensibility of Nimoy, we must assume—that uplifts and enriches.
But for my money, it is DeForest Kelley who sparkles most wondrously. His Dr. McCoy is big, curmudgeonly, interesting and damned fine. Of all the people in this film, McCoy is the only one I'd care to spend an evening with. I will praise him no further. He did better than his previous best and that's praise of a high order in consideration of a film where almost everyone else is ponderously portentous, hammy or overblown, added like raisin afterthoughts to a soggy plot pudding in which the most startling aspect is an almost hysterical series of costume changes more numerous than those to be found in the most overclothed Ross Hunter tearjerker.
Bringing me, at last, and with trembling, to the script.
(This part is difficult. For years there was rancor between Gene Roddenberry and me. Now, for years, there has been amiability. The conclusions I will now draw about the quality of the film deal with Gene's talent as a writer, and with Gene as a human being involved in a project that has dominated nearly twenty years of his life. He cannot love me for these observations; nonetheless I am compelled to be candid and critically honest. I can do no other. Gene knows I'm thus trapped by my love of writing. Enthusiasts of Star Trek and of the film may suspect otherwise. I ask those who proceed with the reading of this essay to accept my assurance that I write what follows with difficulty, but with "clean hands and composure." There is no meanness in me.)
The mark of Gene Roddenberry's limits as a creator of stories is heavily, indelibly, inescapably on this production. No matter whose name is on the screenplay, no matter who is credited onscreen for the basic story, this is the work of Gene Roddenberry. Yes, I know that in the years between 1975 and 1979 there was a parade of writers through Paramount's gates whose abilities were sought for a Star Trek film. Yes, I know, because twice I was one of them. Yes, I know that runs were made at the screen treatment or script by John D. F. Black, Robert Silverberg, John Povill, Chris Bryant and Allen Scott, by director Phil Kaufman, by Alan Dean Foster, and by Gene himself. Yes, I know that Gene's name was removed from screen credit five times, and finally he was taken to Writers Guild arbitration by Harold Livingston, who wound up with the credit. Yes, I know all of that; nonetheless, this is Gene Roddenberry's story. And he has to be the one pinned to the wall.
This script has all the same dumb flaws that were perpetuated in the series . . . with bigger, prettier pictures.
It is a synthesis of at least four segments of the Star Trek series: "The Corbomite Maneuver," "The Changeling," "The Immunity Syndrome," and Norman Spinrad's "The Doomsday Machine."
The ending—what one of the Star Trek novelists has called "a $44 million f—k"—is a direct ripoff of the ending from the film The Last Days of Man on Earth, a strange translation to the screen of Michael Moorcock's The Final Programme.
The characterizations are monodimensional with the ghastly addition of endless winking, eyebrow-arching, nudging and mugging on the part of almost every player, so that at moments in the film we feel we're watching a parody of the Monty Python routine—"Nudge nudge, wink wink, say no more, say no more."
The basic story, for all its "latest state of the art" and its tricked-up trekkiness, is Gene's standard idea, done so often in the series: we go into space, we find God, and God is (pick one) malevolent, crazy, or a child. Not a bad idea, once or twice. Used it myself from time to time.
But even though Alan Dean Foster is given screen credit for the story, he was handed the basic story outline by Gene. It was a treatment intended as a segment of Genesis II back in 1973 when that Roddenberry film-for-tv was being considered as a continuing series. The title of the segment was "Robots' Return."
Thus it is ironic and no doubt painful to Gene that the realized dream is blighted by his name being absent from the writing credits. Because more than as creator, producer or guiding spirit of this project, Gene wanted to be known as the writer. And thus it was that he wrote the novel based on the screenplay. Salvation in print.
Notwithstanding the nobility of Gene's hunger for final recognition as a serious writer, it is clearly his heavy hand on the shoulders of all those who tried to beat this script that crushes any hope of originality. The critical assessment is this: for all his uncommon abilities as producer and developer of science fictional ideas for television, Gene Roddenberry is not a very good writer. And he should have accepted that knowledge, and left the writers alone.
Because Star Trek—TMP throws together weary and simplistic concepts that are ultimately boring because they are banal.
I will offer only one example. But not even the most rabid Star Trek fan can ignore it.
We are presented with an alien machine intelligence so vast and omniscient and powerful that it can wipe out entire worlds. It is clever enough to build for itself a ship that makes Arthur C. Clarke's Rama look like a Tinker Toy. Yet it isn't smart enough to wipe the dirt off a probe from Earth so that it knows the name is VOYAGER, not VGER.
This is the quality of cheat that obtains in television, but cannot be condoned in a forty-four million dollar epic.
The script . . .
No. I'd rather not go on. This has become too personal, and too painful. I had meant at the outset only to say a film of acceptable mediocrity had been produced. But as the writing emerged I found myself pulled on farther and farther into more damning criticism. I did not want that to happen.
I wanted to end on an upbeat note, to say that one aspect of this film gladdened me. The unswerveable dedication to the concept that the youthful human race is intrinsically noble and capable of living with equanimity in the universe. It is an important thought, and one that is denied in both Star Wars and Close Encounters. Unlike these previously adored "sci-fi" simplicities, Star Trek—TMP does not tell us that we are too base, too dull and too venal to save ourselves and to prevail in an uncaring universe without the help of some kind of bogus Jesus-Saves "Force" or a Pillsbury Doughboy in a galactic chandelier. It says we are the children of Creation and if we are courageous, ethical and steadfast we can achieve our place in the light of many suns.
I take that to be a worthy message.
And that message, in plenty, is here, in this film.
I wanted to say I was delighted that Gene employed the proper authorities who watched the physics and who kept the filmmakers from acceding to studio and dumb audience desires to hear explosions in the vacuum of space. I wanted to say that I was glad the film finally got made.
And I suppose I've said all that. But this, too, must be said: Though the film has reportedly already started doing land-office business, one cannot judge these superspectacular money-eaters from their takeoff, DC-10s do crash. King Kong and Superman and Alien all took off impressively. They have not earned back their costs. While I wish it well, for personal if not artistic reasons, I hope Star Trek—TMP succeeds beyond anyone's wildest dreams. But I think the cost of the film makes it a no-win situation. And that means Paramount will have to recoup.
A series would be foolishness. But the final moment of the film, in which we are shown a black frame with the words THE HUMAN ADVENTURE IS JUST BEGINNING, points a direction for Paramount, for Gene Roddenberry, and for all those who truly respect the idea of what Star Trek might be.
An annual Star Trek film, enabling the studio to amortize the cost of the construction of those sets. An annual film almost like the James Bond thrillers (but one hopes with greater intelligence behind them). An annual festival of Star Trek that would permit the actors to practice their craft at decent wages, that would dare to do the stories television and the fears attendant on this film put beyond consideration, that would finally live up to the vision Gene Roddenberry had at the outset.
In short, and finally, this dollar-guzzling mediocrity should be a first step, and a bitter lesson. And let those who caused this tiresome thing to be born take heed to their own words. If there is a sequel, or many sequels . . . finally and at last . . . let the human adventure begin.
Starlog / April 1980
HARLAN ELLISON'S WATCHING [SECOND SERIES, 1984–]
INSTALLMENT 1:
In Which We Begin Our Journey
It was well-met for Charles Foster Kane, and no less salutary for me; and so I begin this initial installment of these monthly ruminations-on-movies with a Declaration of Principles.
I will, first and always, try to entertain. I will judge film both as Art and as Craft. I will never praise a bad film simply because it has spectacular special effects. I will never allow my own film work to impede the honest discussion, favorable or otherwise, of films made by my friends or employers, current or potential. I will not excuse dishonest filmmaking just because it is good sf; I will not excuse good filmmaking if it is bad sf. I will not review sf films as if they were exempt from the highest standards of any art-form . . . to do so would be to apologize for them as if I believed—as many condescending critics do—that they are lame, or trash, and so do not have to measure up to the rigors of High Art. I will use big words from time to time, the meanings of which I may only vaguely perceive, in hopes such cupidity will send you scampering to your dictionary: I will call such behavior "public service."
Greystoke: The Legend of Tarzan, Lord of the Apes (Warner Bros.) is, conceptually, not only a disaster, but a shameful example of directorial auteurism. It is a film that sells itself as the first authentic rendition of Burroughs's classic high-trash adventure novel of 1914, and is, in truth, as skewed a vision as the horrendous Bo-John Derek version.
What we have been given—and there is a story behind the story that could serve as the classic paradigm for the way the film industry treats its writers—is more Dr. Jekyll and Mr. Hyde than the Lord of the Apes. It is Chimps of Fire by Hugh Hudson, director of that movie about running on the beach to Vangelis music. It is not the Greystoke on which scenarist Robert Towne lavished years and miles of visceral material to shepherd toward production, only to have it taken from his control and given over to another with a Visigoth's respect for the primacy of interest of the creator.
It is Jekyll and Hyde. It is a schizophrenic film. It is half fowl and half foul.
That it has drawn enthusiastic comment from such film critics as Jay Cocks in Newsweek and Vincent Canby (who fair wets himself with naive enthusiasm) in the New York Times is more saddening than anomalous. They seem to have swallowed whole the hype that this is the variorum Tarzan text. It is not. When Robert Towne (of whom more in a moment) began transferring his admiration and affection for the book to screenplay form, he understood with a fine writer's clarity of vision that the reason Tarzan has become one of the few universal literary icons is that old Edgar Rice knew precisely what he was doing. Canby seems startled to find resonances of the "wild child" fable as previously best-interpreted in the François Truffaut film of 1970. Of course! It's there; in the book; Burroughs drew on the familiar trope to provide a subtextual archetype. He was—in the best sense of the word—a consummate hack. (It is not by chance that there are only five literary creations known throughout the world. Children in Zaire who have never heard of Hamlet or Jay Gatsby or Emma Bovary or Raskolnikov know these five: Tarzan, Superman, Mickey Mouse, Robin Hood and Sherlock Holmes. They know them because they are free-floating universal images.)
And were parvenus like Canby and Cocks not above familiarizing themselves with the original novel, they would not be trumpeting this hermaphroditic poseur as True Writ.
True Writ was the original screenplay by Robert Towne. He tried for twelve years to get Greystoke produced. Chances were good. Towne is one of the very few scenarists in Hollywood whose storytelling sense is the equal of a good novelist's. And the only parts of Greystoke that are worth the candle are those that Hudson shot scene-for-scene from the screenplay. How does one know that? Because Greystoke was a legend in Hollywood for more than a decade. Copies of the script were available. Many of us read it and marveled. We waited expectantly, hoping someone would have the sense to give Towne the seed money to begin preparations. More about that in a moment.
You may not know this story about Robert Towne: the screenplay for Chinatown (1974) was based on the historical case of the theft of the Owens Valley water and development of California's San Fernando Valley by machinations so scuzzy that they paralleled for infamous wheeling/dealing the Teapot Dome Scandal. The great Southern California robber barons—after whom streets and highways have been named—Mulholland, May, Doh
eny, to name a few—fleeced hundreds of thousands of people to effect their scheme. It is rumored that one of the men ruined in this skullduggery was Robert Towne's grandfather. So he wrote Chinatown to get even, to make some small gesture toward justice in the name of his family. The film was, of course, taken over by director Roman Polanski, who—like Hugh Hudson—had his own "vision" of what the film should be. And what went up on the screen bore only minimal resemblance to that which Towne had broken his butt to create.
Ten years later: Towne is a gentleman, and continues to resist the temptation to vilify Polanski. He will not speak of the perfidy, but the grinding of his teeth, even today, is like the settling of tectonic plates.
More sinned against than sinning, Towne has had to swallow the bitter vetch of another labor of love being wrenched from his sure hands and given over to an improbable replacement.
Harlan Ellison's Watching Page 21