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Harve Bennett, who returned to Trekdespite his misgivings, clearly had a diametrically opposed vision to William Shatner’s, and the two reportedly fought on nearly every point. It was too dark, not enough like Trek, and focused more on big ideas (which didn’t work in Star Trek: The Motion Picture) and less on character (which worked in all the others).
Everyone aside from Shatner despised the idea. To say Paramount hated the idea was an understatement. The God they find is actually Satan (the real Satan), who drags Kirk, Spock, and McCoy into Hell itself, from where they must escape.Īs you can see, much of the original story found its way into the final film, but with less a focus on the religious extremism and the inherent hypocrisy of religious violence and more of a focus on action and slapstick. They travel to Eden, only to find it resembles Hell. The Enterprise encounters a hostage situation in the desert, engineered by a televangelist who believes God is speaking directly to him. His idea was dark, subversive, but literal. His storycrafting, too, was not at fault. Read more: The Star Trek Movies You Never Saw
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This film is full of interesting and occasionally brilliant shots, although it should be noted they sometimes work better as still images rather than in motion. He thoroughly knew the actors and characters and allowed them to get the best performance out of themselves, and he had quite the eye for set pieces.
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He was an accomplished TV director in his own right, if not quite the student of the art that Nimoy had been. Interestingly, he later invented multi-touch gesture interfaces, something which Samsung used as a defense against one of Apple’s myriad of lawsuits.įor anyone to pull together this mess would have been close to godliness, but I’m not sure William Shatner can be blamed for why the film, at least on the surface, turned out to be such a mishmash.
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The disaster killed Associates and Ferren (it was later acquired by Disney and repurposed for imagineering) and Ferren himself left the movie business. The climax had to be butchered to account for the million-dollar rockman suit simply not working at all. The effects that did remain were either of exceedingly poor quality (motion control work was shot at a reduced frame rate to save time), reused from previous films, or redone by others. That Shatner demanded previews of the effects before commissioning them only added to the workload, and ultimately most of what they made was unusable. Read more: Star Trek II – IV are an Overlooked Movie Trilogy Shatner was taken in by a practical yet ultimately mundane display of reflected lights in a cloud chamber and immediately hired Ferren, only for Associates and Ferren to collapse under the difficulty of such a big production. Without much budget, he sought out unknown artists and was wowed by Bran Ferren’s company, which had previously been Oscar nominated for the visual effects work in Little Shop Of Horrors. ILM reportedly demanded an extortionate amount of money, and Shatner was forced to look elsewhere. The special effects problems were notorious. If you like your sci-fi to shine a light on the real world, to engage your brain and challenge your preconceptions, there is the argument to be made that Star Trek Vis not only a worthy film, it is one of the most interesting science fiction films ever made. When watched in the light that it was intended, it ceases to be a muddling and bizarre action/adventure film and instead transcends those boundaries. Star Trek V: The Final Frontier is a scathing commentary on radicalization, and the rise of Islamic terrorism. This is one worth seeing for what it is, what it was meant to be, or at least what it has become. This is not a film where the Enterprise literally goes looking for God. This is not the film you were warned about. But now, in the modern world, Star Trek V finally makes sense. What started out as an exploration of televangelism mutated into something else via the notoriously troubled production, and some of the allegory was lost.
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