Stardate: 1312.4
Under
the command of James Kirk (William Shatner), the U.S.S. Enterprise probes to
the very edge of the Milky Way Galaxy. The starship follows in the footsteps of
the SS Valiant, which disappeared on a similar probe two centuries earlier.
A
disaster recording probe from the Valiant is recovered, and it is learned from
it that the ship’s captain ordered the vessel’s destruction following contact
with a force field or barrier at the edge of the galaxy.
After
that incident, some crew members on the Valiant developed unusual psi powers.
Recognizing
that other ships will one day head this way, Kirk orders the Enterprise through
the barrier at the edge of the galaxy, but the ship is damaged in the attempt,
and two officers -- First Officer Gary Mitchell (Gary Lockwood) and
psychiatrist Elizabeth Dehner (Sally Lockwood) -- are injured.
While
repairs are effected to the Enterprise, Mitchell begins to develop frightening
psionic or ESP abilities. Spock recommends marooning the evolving human at an
automated lithium cracking and “galactic
mining” station on lonely Delta Vega, and Kirk comes to realize he has no
choice, lest he be forced to make the same decision that the Valiant’s captain
did two hundred years earlier.
But
Gary Mitchell has not decided yet what kind of world he can “use,” and strikes
back against his old friend and shipmates…
“Where
No Man Has Gone Before” is the episode that sold Star Trek (1966-1969) as
a series, and therefore, the series episode that, we might fairly state,
initiated a beloved franchise.
Written
by Samuel Peeples, the adventurous story concerns a dear friend of Kirk’s, Gary Mitchell,
who is altered by psionic powers, becoming a God-like being in the process. In
very real terms, the story is an important first command test for Kirk.
Is
Jim Kirk able -- despite his intense emotions -- to see this situation clearly? Is he able to safeguard his ship and put
aside his friendship for Mitchell?
He has Spock to argue the logic of marooning
(or killing) Mitchell, and Dehner argues the humanistic side, debating the
notion that an evolved human could also be a “wonderful thing.”
Structurally,
one can see (the brilliant) format of the original Star Trek forming before our
eyes with this episode.
The triangle, or
triumvirate, is often called, is beginning to grow apparent.
At the upper point of the triangle we have
Kirk, the decision maker.
At one point
below, we have the case for logic and rationality as represented by the apparently-heartless Spock.
And on the last corner, we have the emotional
or human argument, urging humanity, sensitivity, sympathy and understanding.
Kirk must, throughout
the course of the series, consider those often opposing philosophies, and make
a choice that impacts the lives, literally, of millions. He must show the wisdom of Solomon.
I
note that the triangle is forming, because it is not complete.
Although brilliantly-played by Sally
Kellerman, Dr. Dehner in "Where No Man Has Gone Before" is not an appropriately grounded voice for the “emotional”
arguments being presented to Kirk.
One senses that she is attracted to Gary, and taken with
her ideas of “improving the line” (perfecting the human species). She is not a
fair, impartial arbiter, in other words.
In other episodes, of course, we have Dr. McCoy to passionately argue the
humanistic side of the equation in the structural/character triangle.
“Where
No Man Has Gone Before” obsesses on Kirk’s position, and dilemma.
Is it right
to imprison, maroon and kill a friend who exhibits signs of becoming
dangerous? Is it irresponsible not to do
so, given the abilities Mitchell demonstrates?
Kirk serves as an almost Hamlet-like figure in this episode, torn between
viewpoints, and unable to act until it is almost too late to do so.
We don’t often see Kirk paralyzed by his
choices, but it is appropriate that he is seems so torn in this case. He risks not just losing a crew-man, but,
ostensibly, his best friend on the Enterprise. He notes for example, that he
has been friends with Mitchell for fifteen years, since their Academy days.
Spock’s arguments are logical, but ruthless,
and that ruthlessness is a brand of noise, one might say, that jeopardizes his
message. Kirk can’t countenance a brutal
decision made brutally, if that makes sense.
He must, as he notes in a later episode “feel his way” through the
decision process.
The
human side of this debate may also seem inadequate because as viewers, we
clearly recognize the danger Mitchell represents. As soon as we see those (marvelously effective) silver eyes staring at us, we know that Mitchell is trouble.
We see him as a villain and a monster, rather
than as merely an evolved man, and so we come to agree with Spock’s sentiment,
if not the (emotionless) way he delivers his analysis. It might have been intriguing for Mitchell to
go through some intermediate states of development wherein he doesn’t seem like
a threat, just different.
Had we seen
that progression, we might be more inclined towards Dehner’s belief that he is not
dangerous, merely a new stage in human evolution.
What
may be most interesting about “Where No Man Has Gone Before” -- and this fascinates me, endlessly -- is the visualization of the show's universe. We see a different
set of Starfleet uniforms. e see a different communicator and a bulky phaser rifle.
We meet
different crewman, like Dr. Piper and Mr. Kelso, too. There is no sign of Dr. McCoy
or Lt. Uhura. Scotty wears a gold
command shirt, and Mr. Sulu is a physicist who offers Captain Kirk “the
mathematics” of a given situation.
The
background terminology is different too.
The transporter is called a “materializer” for example, and the ship’s
intercom is referred to as “intercraft” communication. Similarly, when the Enterprise comes to a stop, Kirk orders the helmsman to “neutralize” warp.
Again, not a common term in the standard Trek lexicon.
Similarly, we learn that the Enterprise runs on “lithium” crystals, rather than the Dilithium Crystals of canon. Even Spock’s background seems a bit vague. He notes, while playing 3-D chess with Spock that one of his ancestors married a human female. That ancestor, of course, is his father. In the early episodes of Star Trek (such as “The Corbomite Maneuver,”) Spock refers to his parents in the past tense, though by“Journey to Babel” we see they are very much alive.
I
have always rather liked the fact that “Where No Man Has Gone Before” appears to
have taken place in a slightly different world than do the other episodes. Between “The Cage” and “Where No Man Has Gone
Before,” we get the sense that there is a larger universe out there, one with changing
fashion, changing technology, changing energy sources, even. I don’t see the changes as continuity errors,
but rather as a sign that Star Trek presents a living, growing universe.
I do wonder, however, what original viewers must have thought on first run while watching this installment. Were they asking: where's McCoy? Why is Spock's shirt gold instead of blue?
Did they think that the third episode was presenting a new format/new look?
One
very nice aspect of “Where No Man Has Gone Before” involves the background we
get on Kirk.
Sure his gravestone -- reading “James R. Kirk” -- is wrong, but Mitchell describes our good Captain memorably as “a
stack of books with legs. In his class,
you either think…or sink.”
That’s a far
cry from the more devil-may-care attitude that many casual fans think of when
they imagine Kirk. The reboots, set in
an alternate reality, change Kirk to that kind of character. He’s hardly a
stack of books with legs.
William Shatner is very good in his first Star Trek appearance here, though a little too furtive and unsure for my test. That approach fits in with the story and Kirk's Hamlet-like dilemma, but may not have worked, overall for the character.
Look at Kirk on the bridge as the ship approaches the barrier for the first time. He is craning his neck, constantly looking at everyone else for reassurance, visibly worrying too much, and not demonstrating the confidence a starship captain must possess.
“Where
No Man Has Gone Before” resolves in a fist-fight and with an obvious lesson -- “absolute
power corrupts absolutely” -- and yet it also establishes another trademark of
the series.
Kirk draws Dehner to his side of the conflict with Mitchell by
appealing to her humanity and sense of duty. He reminds her that she is a
psychiatrist and asks for a diagnosis of Mitchell. He asks her if she likes what she sees. A key element of Kirk’s character throughout
the series is his ability to craft a persuasive argument from the two world
views that inform his world (logic and emotionalism).
In terms of Star Trek's prophetic nature "Where No Man Has Gone Before" predicts that we will have electronic readers in the future so as to read books in that fashion. Yep.
Next
Week: “The Naked Time.”
John excellent review of this very memorable great Star Trek:TOS episode. Yes, these establishing episodes that defined Star Trek:TOS even though they did not air this way:
ReplyDelete"The Cage"
"Where No Man Has Gone Before"
"The Man Trap"
A trilogy of how to create a great science-fiction series by revising both production design and cast.
SGB
Really enjoyed this :)
ReplyDeleteJohn,
ReplyDeleteWatching Star Trek in reruns as a kid, my initial thoughts upon seeing this episode was that it was filmed first, and that's why it looked so different. I later learned that this was precisely the case. Not sure if that helps, but the station that used to play the episodes - WGN - aired them in the order that they first aired on NBC.
That still shot of Kirk, Spock and Mitchell in the turbolift reminded me that they employed a neat effect: we see the outside corridor and extras walking by when the men enter the turbolift. The camera remains in place and when the doors open, what we now see is the bridge of the Enterprise. This is the first time the technique appeared in the series. JJ Abrams also used this trick in the first Star Trek film.
Steve
Another fine review, John, but I have to disagree with you on your analysis of Kirk's reactions upon approaching the galactic barrier: He is at the command, looking around the bridge and connecting with his highly trained bridge crew as they do their jobs during an intense moment; Kirk is in command, and presents himself as more than capable. (I should mention the sound effects work during this scene; it is outstanding.)
ReplyDeleteTrivia: NBC had a lack of finished episodes in its hands when Star Trek's third week rolled around, so they opted to show "Where No Man Has Gone Before". "The Corbomite Maneuver" was the first episode shot in regular series production, but its visual effects load pushed it back to a later date.
Also: Upon airing, WNMHGB won its timeslot. This episode (the second pilot show, of course) was budgeted for $215,644 but ended up costing $354,974 --a few steps down -- no surprise -- from "The Cage" and its comparative numbers of $451,503 & $615,751.