Yes,
this is the (in) famous Space: 1999 (1975 -1977) that sees
Moonbase Alpha’s interior overrun with…soap suds.
Yet
despite such a silly-sounding (and appearing…) menace “Space Brain” by
Christopher Penfold has always been one of my favorite Space:1999 installments. This
is so because the episode intimates an alien (and ultimately impenetrable…)
order to the universe, and more-so, an alien hand influencing Alpha’s journey…and
perhaps not for the better.
In
fact, I was so taken with the sub-text and “under”-story aspects of “Space
Brain” that my first officially licensed Space: 1999 novel, The
Forsaken (Powys Media; 2003),
might be interpreted as a direct sequel to this episode’s events, one that
seeks to address some of the mysteries presented in the televised story.
In
“Space Brain” Moonbase Alpha’s routine is unexpectedly disrupted by the sudden
transmission on every vid-screen of streaming alien hieroglyphs. Commander
Koenig (Martin Landau) sends out an Eagle to investigate the transmission’s
point of origin, but quickly loses contact with the craft.
In
short order, a second ship is sent out, but one astronaut, Kelly (Shane Rimmer)
returns from a spacewalk as a changed man.
He is now the “programmed” vessel for a vast entity in space, one on a
collision course with the Moon.
Meanwhile,
a small but incredibly-heavy meteorite crashes near Alpha. Concerned about the impending collision with
the larger obstacle, Koenig orders an Eagle filled with nuclear charges launched. It is tagged to detonate at the center of the
space-going entity.
As
the threat progresses, Dr. Helena Russell (Barbara Bain) and Professor Victor
Bergman (Barry Morse) seek to understand the threat better, and Bergman soon realizes
that the meteorite is actually the crushed remains of the first eagle craft, destroyed
by alien antibodies.
At
roughly the same time, Helena understands that Kelly is acting as an
intermediary, relaying messages from Alpha’s Main Computer to the entity in
space, attempting to avoid the collision.
After
undergoing a dangerous mental symbiosis with Kelly, Koenig accepts that the
entity -- the so-called “space brain” -- is a peaceful organism, and one that turns
at the “center of a whole galaxy, maybe
hundreds of galaxies.”
But
disaster looms when the eagle armed with the nuclear charges can’t be recalled,
and the Space Brain begins to emit deadly antibodies so as to crush the Moon in
the very way it crushed the first eagle spacecraft…
One
of the arguments I universally make in support of Space: 1999 as a highly-visual
science fiction initiative is that it functions (like Prometheus [2012], for
example) on largely symbolic terrain,
and its stories -- often criticized as
being somehow confusing -- are crystal clear once the symbols are noted,
studied and then thoughtfully interpreted.
“Space Brain” is no exception, and in terms of both visuals and musical
choices, this episode proves rather impressive, despite the onslaught of killer
soap suds.
For
instance, “Space Brain” opens with various scenes of Moonbase Alpha personnel relaxing
off-duty, solving puzzles (and trying to beat a puzzle record). One of the first such shots depicts Alpha’s
commander, Koenig, completing a puzzle in his office.
The
puzzle itself depicts a painting by Jacque Daret (1404 – 1470), created circa
1435. Called “The Visitation,” this work
of art reveals Mary (with Jesus still in utero) visiting another pregnant
woman, Elizabeth. Art critics have
interpreted Deret’s work to symbolize Mary’s role as intermediary between God
and Man.
This
work of art, then, reveals, in a sense, Kelly’s role in “Space Brain” as the
go-between for Alpha and the entity in space.
In both circumstances, there is indeed a “visitation” and a human being
is transformed by what she/he carries within.
The shot of the painting also reveals what Koenig only learns later:
that the space brain, like Mary’s God, is a benevolent one. On a much more basic level, all the “puzzle-solving”
suggests the modus operandi of the teleplay: Koenig, Bergman, and Helena must each
put together a piece of the space entity’s puzzle, from the indecipherable
hieroglyphs, to Kelly’s odd physical condition, to the true (and horrific…)
nature of the meteor.
Late
in the episode, the action is scored to Gustav Holst’s Planets’ suite, namely the movement titled “The Bringer of War.” In terms of practicality, this music was likely
seeded in to lighten the load on composer Barry Gray. There’s a real world, production reason for
its use.
And
yet in terms of appropriateness and interpretation, Holst’s composition also
fits in well with “Space Brain’s” themes. Specifically, Holst’s work is a seven
part suite, and each part describes the “character” of that planet, and that
planet’s influence on the psyche of humans.
Consider then that “war” ascends in Koenig’s mind as he prepares a
pre-emptive strike with the eagle carrying nuclear charges, and only later
realizes the errors of his ways. The “Mars”
composition is also scored to literal war,
as Alpha falls under siege, nearly crushed by the killer antibodies of the
space brain.
Put
the two artistic visions and ideas held together -- peaceful interaction or
Visitation between God and man, and then all-out war --- essentially present
the two main perspectives depicted in “Space Brain.” The entity wants peaceful
contact. The Alphans prepare for war. The entity opens with communication and an
intermediary. Human-kind faces a puzzle (and a crisis) with plans for
destruction. The book end works of art
in “Space Brain” -- Daret’s and Holst’s -- convey much of the narrative’s deeper
meaning. Ignore the imagery and the
soundtrack, and you’re not getting the entire picture.
Also,
I often laud Space:1999 in terms of another quality for which it is widely
disliked: it’s refusal to explain every
aspect of its narrative and spoon-feed the audience easy answers.
“Space
Brain” never satisfactorily explains, for instance, why the nuclear-charged
Eagle remote-control guidance system should short-out, rendering the collision
with the space brain impossible to avoid.
Koenig himself dismisses – in explicit dialogue -- the idea that the space
brain is behind the act. By inference,
this could mean, quite simply, that a
third, unseen hand, is at work in this episode. And that hand desires the space brain
destroyed for some reason. Thus it is
using Alpha as its vessel for that very purpose.
Again,
we must go back to the painting, and the idea of Visitation. Is Moonbase Alpha being used or visited by
another force, only as a bullet to the brain, for some unknown purpose?
That’s
the plot-line of my book, The Forsaken.
But
clearly, Alpha’s destruction of the space brain at the conclusion of this
episode must boast terrifying and cosmic ramifications. The dialogue explains how thousands of worlds
depended on the space brain. Accordingly,
I speculate that the entity was a kind of regulating factor, ensuring the
stability of stars and other environments.
Thus in its absence, everything becomes unstable, unpredictable…chaotic. If you’ve read my book, you realize that’s my
explanation for the wild, out-of-control, action-oriented events of Space:1999’s
second season. The galaxy has descended
into chaos, and all bets are off.
Like
I said, that’s my interpretation, but
it need not be anyone else’s. What I
love about “Space Brain” is that it leaves open these little intriguing
mysteries, and the viewers can fill them in, interpreting the clues in a way
that they see fit, and that seems to fit the facts. I’ve done so, as I note above, but other
viewers are also welcome to interpret the symbols in a different fashion. I much prefer these open-ended, stimulating
mysteries to “techno-babble” resolutions we get in latter-day space operas.
The
biggest stumbling block, of course, for “Space Brain” is the visual depiction
of the alien antibodies. The foam or
soap-suds don’t look like organic antibodies, but rather just like a washing
machine has gone dangerously out-of-control.
I
realize that this visualization will be a deal breaker for some viewers, and I
accept that fact, but it’s truly a shame because there’s a lot going on in “Space
Brain” beneath the bloody foam attack in the last act. Open-minded s.f. viewers forgive the giant
ice-cream cone-shaped planet killer in Star Trek’s “the Doomsday Machine”
and the panto-Myrka in Doctor Who’s “Warriors of the Deep,
so I would ask (again) that Space:1999 be given the same
consideration.
Going
back to the possibilities inherent in “Space Brain,” I once pitched to Powys Media a novel titled “Ordination” in which a race of high priests to the Space Brain arrived
on Alpha and attempted to induct Maya into their number, for nefarious purposes…the
destruction of a rogue space entity like the one seen in this episode...
This is an odd episode and tough to evaluate. The use of fire-fighting foam is fine, I think. (I think that Trek's Doomsday Machine looks great; and that it looks more like a 'Bugle' than an ice-cream cone shape. A friend of mine likes it because it looks organic, and "scary". It was made from fiberglass, by the way.)
ReplyDeleteI think most fans are sophisticated enough, as you imply, to know how these shows were put together. The 'overwhelming threat' was handled very well in "Space Brain". You could see panic in the Alphan's eyes. Good stuff. All in keeping with the series' theme of (almost) ordinary characters struggling to survive in a hostile environment.
Tracking-in Gustav Holst's "The Planets" ("Mars") was done probably to save money -- licence fees are cheaper than writing and recording original music. Plus, knowing what I do about Gerry Anderson, he was probably fixated on using that music somewhere in the series. (Barry Gray had some real problems with Anderson, in this regard.)
All in all, a fine and entertaining episode.
Keep the material coming, John.
Hi Barry, and happy Breakaway Day 2013!
DeleteI agree with you that science fiction fans are accustomed to dealing with production values that don't always measure up, and understand the constraints of visualizing other worlds and alien life forms. I think that's one reason we can indeed appreciate episodes like "Space Brain" or "The Doomsday Machine."
I also agree that Holst was more than likely a happy accident, but one that works perfectly with the ideas at work in "Space Brain," and ultimately fits in and enhances the episode's use of art as symbolism.
This is an odd episode, to be sure, but one that I have a real passion for, as I hope my review explains...
Great comment!
best,
John
Hi John,
ReplyDeleteThanks for your support.
I forgot to respond specifically to this comment of yours...
"Also, I often laud Space:1999 in terms of another quality for which it is widely disliked: it’s refusal to explain every aspect of its narrative and spoon-feed the audience easy answers."
You are absolutely correct! (How many exclamation marks can I affix?)
While I never disparage "resolution" in the conventional, and expected, sense, Space: 1999's strength (read: non U.S. television model) is its refusal to wrap everything up in a nice little bow.
Hi Barry,
DeleteI appreciate you saying that. For me, what so many people see as "incomprehensible" or a "weakness" in regards to Space:1999 is actually a strength. The Alphans don't know all the hows and whys of the universe, and so they can't always get answers, or understand why things happened as they did. I love this aspect of the series.
Thanks for saying that...
best,
John
As a boy, I loved this episode as a boy soap suds and all.
ReplyDeleteGood review.
SGB