Layers. Star Trek II has a lot of layers. I couldn’t decide if, as a sequel, it had the time to work so many layers in (it runs two hours). It’s the human heart, in conflict with itself, others, and its environment. There’s so much going on and some of it is purely cinematic. The Star Trek films, for a while anyway, were the only “science fiction” films to show space with any sense of wonderment, post-2001. Star Trek II‘s layers are incredibly aided by the audience’s pre-existing knowledge of the situation. But the audience doesn’t need to know too much, only the general specifics one would get if he or she asked another person about the TV show. And the other person wouldn’t have needed to see it, maybe only heard of it. Star Trek II establishes itself very quickly.
I’ve been seeing a lot of Shatner lately, not just on “Boston Legal,” but in the fan-edit of Star Trek V last week, and it’s incredible how good he is in this film. Not incredible because he’s bad today, but incredible because it’s such a good performance. Star Trek and Shatner have both been devalued in modernity–Shatner because he lets himself be and Star Trek because of the new TV shows. Star Trek II would be best appreciated by someone unconcerned with a grand sense of “continuity,” because watching or reading with such a concern immediately makes the reader totally full of it. The toilet is overflowing in fact. Star Trek II is about what it does to you in two hours and it does a lot. It propels you through a range of emotions–I’ve seen the film six or seven times since I was six and it effected me more this time, when I was watching it most critically, than ever before. Nicholas Meyer directs a tight film. He doesn’t have a lot of sets, but all of them make a lasting impression. Besides the set design and the cinematography–you can watch Star Trek: The Motion Picture to see how else the same sets can be shot–there’s James Horner’s music. It’s as effective as the pieces Kubrick picked for 2001, it really is….
I read somewhere, a few months ago, that most people identify themselves as–generally–Star Trek fans. I imagine it’s that the geeks have taken over popular culture (Lord of the Rings), leaving intelligent folks almost nothing in the mainstream… since, what, 2000? Being a fan of something in no way means it’s good–quality doesn’t enter into it, since “fans” frequently argue that art is subjective. Well, Star Trek II is sort of an innocent victim in all this hubbub. It is, objectively, excellent (I think 1982 is probably the only year three “sci-fi” movies, Star Trek II, Blade Runner, and The Thing are in the top ten). Unfortunately, its excellence is assumed to be subjective (remember, the even number Star Trek films are the good ones?), doing the film an incredible disservice. It’s an achievement in filmic storytelling, nothing else.
Directed by Nicholas Meyer; screenplay by Jack B. Sowards, based on a story by Harve Bennett and Sowards and the television show created by Gene Roddenberry; director of photography, Gayne Rescher; edited by William P. Dornisch; music by James Horner; production designer, Joseph R. Jennings; produced by Robert Sallin; released by Paramount Pictures.
Starring William Shatner (Admiral James T. Kirk), Ricardo Montalban (Khan Noonien Singh), Leonard Nimoy (Captain Spock), DeForest Kelley (Dr. Leonard “Bones” McCoy), James Doohan (Cmdr. Montgomery “Scotty” Scott), Walter Koenig (Pavel Chekov), George Takei (Hikaru Sulu), Nichelle Nichols (Cmdr. Uhura), Bibi Besch (Dr. Carol Marcus), Merritt Butrick (Dr. David Marcus), Judson Earney Scott (Joachim Weiss), Paul Winfield (Capt. Clark Terrell), Kirstie Alley (Lt. Saavik), Ike Eisenmann (Midshipman Peter Preston), John Vargas (Jedda) and John Winston (Cmdr. Kyle).