Doom and gloom is nothing new for Star Trek. The franchises has ended what feels like a billion times before Youtube told us Kurtzman was fired every few months. But even with a lead character dead and their body shot into space, Trek finds a way.
Revived for the big screen ten years after being cancelled, Star Trek found a new lease of life following a surge in popularity through the 70’s. With the success of 1979’s Motion Picture came a complete retool of everything with the hugely popular Wrath of Khan three years later; a film that saw an older Admiral Kirk take command of his old ship to face one of his greatest enemies. AN enemy he could only defeat thanks to his former first officer Spock giving his life to save the crew.
The Wrath of Khan was the end of the road, or so many thought. So killing off Spock was a way to close that chapter of their lives and move on to other projects. But of course, the second outing was also a success, but director Nick Meyer had a feeling it would be and put in a caveat. Before his death, Spock mind melded with Dr McCoy and told him to remember…
Limping back home following the defeat of Khan Noonien Singh, the death of Spock is weighing heavy on Admiral Kirk’s mind. Everyone’s going home to be reassigned and the old and battered Enterprise is being put to pasture. Scotty’s got anew job lined up on the fancy new Excelsior, McCoy’s dealing with some emotional distress thanks to Spock and Kirk settled back into his desk job life only to end up on a personal mission thanks to Spock’s old man, Sarek.
Spocks body may have died, but his ‘soul’ was still alive. Vulcans of great importance aren’t supposed to have their bodies shot into space. They’ve brought home, their consciousness and memories removed and stuffed into a big archive. Spock knew he was dying, so he transferred his consciousness to McCoy before melting inside a reactor room. With Kirk now well aware he made a whoopsie, and why Bones has goner weird on him, the plans set: Get McCoy, get a ship, and then go retrieve Spock’s body to put everything back together and warp off to Vulcan before Sarek throws a show at him.
It’s one of the tightest openings of the series. Everything’s laid out quickly. The film starts with a replay of Spocks death and doesn’t waste time. Sure, it doesn’t feel swift with everyone in mourning. But it’s all laid out quick and simple as it needs to be.
When it comes to Star Trek films, it’s generally accepted that the odd numbered ones are the worst. The Search for Spock kind of started that reputation, though it’s a little unfair. Even at this stage, Star Trek carried some baggage. The first film tried to reinvent the 60’s camp style for a more cold and serious sci fi style. It was a hit, but so vastly odd in comparison to what people liked, it narratively and thematically not drowned out by the more intimate and charismatic sequel which, in itself, carried baggage of dragging a baddie of the week into the main plot.
Khan succeeded as it was easy to give the background in a few lines. We just had to know Khan hates Kirk and wants revenge. For TSFS things get a little more complicated. First off, Spocks deader than a can of spam so even with his name in the title, you’ve lost one of the main aspects of what made Star Trek famous. Secondly,it’s such a direct continuation of the story that it comes with a lot of baggage.
To it’s credit, the film does try and keep things self contained by replaying Spocks death over again before the credits and doesn’t waste time in explaining why following Sarek’s wishes is a problem despite focusing on mourning. Not just of Spock, but of the end of an era for them all while giving a peek behind the curtain of Federation politics; something that never got this close to home before in the series. It does feel a little bit clunky as the whole first act isn’t just following up from the end of the second, but giving a chunk more set up.
Basically: Kirk needs to get Spocks body and re-merge it with McCoy. But the Genesis Planet is the heart of a political poop storm. Kirk’s been barred from going so being the mature Admiral he’s become, he steals the Enterprise with his old crew and does what he wants anyway. Meanwhile that poop storm has attracted some rogue Klingons who also decide to go to Genesis believing it could be turned into a weapon; meanwhile Saavik and David Marcus find Spocks coffin. But Spocks body isn’t inside…
The joys of story telling means that some weird stuff happen in the first part of the film. Kirk stealing the Enterprise is a very Kirk idea, especially if you go in with a bit of history to these characters. Though knocking out the Excelsior and getting away does add to the “only ship in range” trope as it seems no other ship is in range to chase the Enterprise. Also Uhura getting their exit plan together just to sit out the rest of the film is a bit of a weird choice.
But it all works with the whole escape from Spacedock being quick and fun. In contrast, Saavika nd David on Genesis slows things down but in a more interesting way than it should be. Their part is slow, oohing and awwing at the weird DIY planet before finding Spocks body reborn, rapidly ageing from child to adult scene by scene. The Klingons joining in, stranding the scientists and creating a hostage situation also gives it a bit of tension.
It’s when it all combined that the Klingon part kicks off though. Christopher Lloyd is a fun antagonist as Kruge. It also brings a real threat: putting Kirk on the back heel with the Enterprise barely functional, the Klingons ready to strike and hostages on the ground. Though it’s when Kruge’s men kill David in a struggle that the tension rises. Crushed by the loss of a son he’s only just started to know, and facing defeat, Kirk hands over the Enterprise. With a caveat. As he beams over the Klingons, beams his own crew to Genesis and leaves his enemy to face the ships self destruct.
The death of the Enterprise is one of the most memorable moments form the film. Sure, the end of a Starship may not be as shocking now, but seeing the iconic Enterprise come to an end was a fairly big deal. Though as memorable as that moment was, it often overshadows Shatner playing Kirk’s reaction to Davids death; one of his best moments in the film era of his tenure.
If the film ended there, it would likely rank a lot higher. Unfortunately the tension bubble is well and truly burst when Kirk and Kruge meet. Whether it’s the obviously dodgy sets or the ridiculously horrible fight sequence – which includes a comically fake leg – once the Enterprise is gone things just drag out. There’s no real excitement in the confrontation,, on taking the Klingons ship or even in getting the revived – and by this point conveniently aged – Spock back to Vulcan to restore his consciousness and essentially cheat death with little fanfare.
In some ways it felt like there was something missing by the end. It’s a bit of a mixed bag of a film. There’s a lot to enjoy, in reality and some really good sequences. From the tension before the Enterprise blows to Sarek’s plea to Kirk. Even the conversation between Kirk and the Fleet Admiral – “The answer is no.” – makes for good viewing. Combined through it does feel like something missing. Maybe it was the clearly cut budget. Maybe it just needed a revised ending so it felt like the build and tension paid off.
Overall, it’s not a bad film. But as it stands, it’s just not a great film either. But luck would be on their side in hindsight. As it turns out, killing Spock wasn’t the end. And neither was killing the Enterprise. A fourth last chance would come making TSFS the middle movie in an accidental trilogy. As a one of movie it was good but forgettable.
Becoming the cool down episode sandwiched between two of Star Trek’s most popular films? It fares better than other films in the odd numbered curse and at the very least, delivered some brilliant moments that rank high for the original line up.
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