Stardate: 5843.7
The
Enterprise is afflicted with a “raging epidemic” of Rigellian Fever, a disease
with effects similar to the Bubonic Plague. Three crewmen are already dead, and twenty three sick.
Dr.
McCoy (DeForest Kelley) needs to create an anti-toxin using Ryetelan, a
substance that must be mined on a planetary surface. Fortunately, a world is located that contains
this needed substance.
Upon beaming down to collect it, however, Captain Kirk
(William Shatner), Mr. Spock (Leonard Nimoy) and Dr. McCoy are attacked by a
hovering robot, M4, which is controlled by a less-than-friendly stranger who
claims to own the planet, Flint (James Daly).
After
being warned to leave the planet, Kirk describes the effects of Rigellian Fever, and Flint
allows the party to stay, assigning M4 the task of mining and refining the Ryetalan.
Meanwhile, the landing party is welcome at his palatial home. There, Spock is impressed by Flint’s
collection of antique items (including a rare Shakespeare first folio, and an
original waltz by Johannes Brahms).
Captain
Kirk, however, is more intrigued by Flint’s beautiful and highly-intelligent
young ward, Rayna (Louise Sorel). They
develop romantic feelings for one another, which was Flint’s plan all along.
As
is soon revealed, Flint is an immortal man, known in different times as
Solomon, Merlin, Da Vinci, and Brahms -- and Rayna is an android he has
constructed to be his mate through the ages. Kirk was to
be her teacher in matters of human emotions, and love. But Rayna cannot bear to hurt
either Kirk, or Flint, and a tragedy occurs…
“Requiem
for Methuselah” has shown up on more than one reader top 20 Star Trek lists, as I look at them in preparation for posting next week. I appreciate that many fans and critics see value in it.
I find "Requiem for Methuselah" a mediocre episode of Star Trek (1966-1969), but one
enlivened and even made bearable a beautiful, even poetic ending that brings
into clarity, again, the friendship between Kirk, Spock and McCoy. Before the beautiful (and emotional ending),
the episode depicts a thoroughly unbelievable love story for Kirk.
Kirk
has fallen in love before on the series, notably in “City on the Edge of
Forever,” and (while not quite himself), in “The Paradise Syndrome.” We can easily understand why he falls in love in both cases, and also how he remains the man
that he is: a leader and a figure of duty. In “City on the Edge of
Forever,” Kirk gives up his love, Edith, because of his strong sense of duty.
In “The Paradise Syndrome,” Kirk is restored to his senses after Miramanee is
fatally injured, and must say goodbye to her too.
In
neither case did Captain Kirk descend into self-pitying hysterics, or beg his
would-be-lover to come back to the Enterprise with him. Here, that’s exactly what he does. “Come with
me. I offer you happiness,” Kirk says.
There must be no part of the Kirk we know who thinks this arrangement could possibly work. This is not The Next Generation era with families aboard Starfleet vessels. Rayna can't go with him, except as a passenger bound for a starbase or colony. Is he contemplating resigning his command?
It’s a totally unbelievable, unrealistic moment for the character. As I said, we have seen Kirk in love, and he isn’t this guy. Kirk absolutely knows that as captain of the
Enterprise, he cannot afford such a distraction as Rayna. His words in “The Naked Time” made it clear
that the only woman that he has time for, as captain, is named Enterprise. Kirk may be lonely, but he acts here in a contrived way suitable only for, well, a Valentine's Day episode of Star Trek (see: the episode's original air date).
Now
he’s begging Rayna to come back to the Enterprise? So he can give up command (his first, best
destiny?)
It’s just not believable in
the slightest. Kirk never begged Edith to come back with him. (And had she tried, she might have lived, let's face it. She was functionally dead in that timeline. In the 23rd century, she could have had a life, if the Guardian permitted it.)
Worse,
William Shatner “acts” Kirk’s desperation and histrionics in a way strangely similar to
his performances in “The Enterprise Incident” (when he is pretending to be
mad), and “Turnabout Intruder” (when Kirk has been replaced by someone who is,
genuinely, mad). Because of this choice, the captain doesn’t seem like the captain we know at all,
but rather someone we can’t recognize as the man of duty and command. This fellow is unrealistic, impractical, and
self-pitying (“You used me! I can’t love her…but I do love her.”)
The
impressive coda, which I noted above, attempts to repair some of the damage wrought by the episode,
by Kirk’s notation that “we put on a pretty poor show.” But it’s not
enough.
Scotty didn’t act like Scotty
during his love affair in “The Lights of Zetar, and Kirk doesn’t really act
like Kirk in “Requiem for Methuselah.”
When Spock gets his turn at a love story in the third season, in “All
Our Yesterdays,” at least there is a reason that he acts out of character (he
is thrust to the distant past, and sympathetically acts like the Vulcans of
that time period; as a barbarian).
This
re-watch has proven to me that Star Trek in the third season is
much stronger than many fans, writers, and historians have suggested. However,
I will say that the preponderance of romantic stories (ostensibly to draw in
female viewers) does not serve the series particularly well. I would pick “Requiem for Methuselah” as the
worst of the bunch because the writing (and acting) is so out-of-character for
Kirk.
Other
aspects of the episode are confusing too.
I understand why McCoy should oversee
the refining of the Ryetalan on the planet, but certainly he isn’t needed to
mine it? A team of crew-people should have beam down with the tools necessary. All they need
to find the substance is a tricorder, right?
But then, when McCoy is actually needed, he doesn’t oversee the refining of the
Ryetalan, and precious time is lost.
Also,
I must confess that I find the scene in which Flint shrinks the Enterprise to
the size of an AMT model kit (!) and Kirk looks in through the view screen to
see the crew frozen, hopelessly campy by today’s standards. With a few notable exceptions, Star
Trek generally avoids this type of silliness.
Lastly, what exactly is Flint's plan? To have Kirk awaken Rayna's emotions and then take over, in his stead? This is an immortal man who must be well-acquainted with human nature. He should have taken an alternate strategy. Flint should have let Kirk and Rayna have a fling, and then let Kirk leave the planet, as he would have, in short order. He could then comfort Rayna, and eventually present himself as alternative.
In 6,000 years Flint has never learned a lick of patience?
Beyond these issues, however, I must clearly acknowledge the impact or influence this
episode has had on film and television. The concept of an android who feels
strong emotions, and then short-circuits, is a veritable trope of the format at
this point.
We have seen it on Space: 1999 (1975-1977) in “One Moment
of Humanity,” in The Fantastic Journey (1977) in “Beyond the Mountain” and,
quite touchingly, in Star Trek: The Next Generation’s
(1987-1994) “The Offspring.”
That’s
only one arena where “Requiem for Methuselah” has been an inspiration. The
story of a lonely immortal, marching through history in isolation is, frankly,
the very bread and butter of the Highlander franchise, both on film
and in television.
But
my highest praise for the episode involves the coda.
First,
I will acknowledge that I find it absolutely impossible to believe that Kirk
spirals into a depression over Rayna, given that he did no such thing over
Edith Keeler or Miramanee. I wonder, did
Spock need to make him forget them too?
However,
given the script, I believe that the final scene is an excellent one. Kirk falls
asleep in his quarters, while Bones and Spock stand at his door. McCoy then
speaks with Spock about the utter irrationality of love. He discusses the
things "love can drive a man to do.” He
then says he is sorrier for Spock than he is for Kirk, because while Kirk may feel pain, Spock will never
understand love.
Then,
after McCoy leaves, Spock proves that he absolutely understands the nature of
love.
He walks to his friend in pain, and conducts a mind-meld, telling Kirk to
“forget.” This is, simply, an act of
love, a beautiful act from a man who professes not to understand human emotion.
Spock sees his friend in pain, and he takes away that pain.
The
set-up of the episode and the performance of the love story are inelegant at
best, but the last five minutes of “Requiem for Methuselah” find Star
Trek at its finest, showcasing the unique chemistry of the
Kirk-Spock-McCoy triangle.
Next
week is my Star Trek anniversary celebration!
Please make sure to send me a
list of your top-twenty Star Trek episodes (with explanation
for your choices!) at Muirbusiness@yahoo.com
as soon as possible. I'll post them all week long!