Stardate 3012.4
The
U.S.S. Enterprise receives a message diverting the vessel to Starbase 11. There, Commodore Mendez (Malachi Throne)
insists that no such message was sent.
Mendez
also reports some grave news. Fleet Captain Christopher Pike (Jeffrey
Hunter/Sean Kenney) has been badly injured during a rescue attempt aboard a
cadet vessel. Although Pike survived the incident, he was exposed to delta rays
is now horribly scarred. He is also confined to a life-support chair, and is
only able to answer “yes” or “no” through an indicator light. As Dr. McCoy (De
Forest Kelley) points out, Pike is as alert as ever, but he is trapped in a
convalescing body.
Pike
is the former captain of the Enterprise, and was Spock’s (Leonard Nimoy) commanding
officer for many years. Accordingly, Mendez suspects that Spock sent the phantom
message so he could see his former friend.
The
truth is somewhat different.
Spock
abducts Pike and hijacks the Enterprise, stranding Captain Kirk (William
Shatner) at Starbase 11. Spock
immediately sets a course for Talos IV, a mysterious planet that Starfleet
officers are forbidden to have contact with.
Violation
of this edit is punishable by the last death penalty on the books.
Kirk
pursues the Enterprise in a shuttle-craft, and attempts to stop his
apparently-mutinous first officer. When
Spock is held for court-martial, however, exonerating evidence is presented…straight
from the mysterious Talos IV.
On
a view-screen on the court room, images from nearly two-decades earlier play
out. They reveal the details of Captain Pike’s visit to Talos IV, and his
strange encounter with the beings there.
Star
Trek’s only
two-part episode -- the brilliant “The Menagerie” -- began as a production
expedient. Because Star Trek was expensive -- not to mention complicated to produce -- there was the ubiquitous worry that
deadlines would be missed, and an episode might not make it to air.
The
result was a clever re-use of the original pilot, “The Cage,” with new
wraparound or bridging material featuring the regular cast, standing sets, and
so forth. Few would have imagined, no
doubt, that a glorified “clips” story would become one of the most beloved
episodes of the series, or for that matter, one of the best Star Treks ever made. Yet that is precisely what happened.
“The
Cage” by itself is a clever, intelligent story about mankind’s indomitable nature, and humanity's refusal to give in to emotions or appetites (such as desire) in the face of,
essentially slavery.
But the bridging material included in "The Menagerie" adds so much to the story-line.
It is the yin to “The Cage’s” yang.
If “The
Cage” is about the ways that illusions can be a trap (like an addictive “narcotic,”
in the words of the teleplay,”) then “The Menagerie” is an even-handed,
book-end opposite conclusion.
Sometimes,
perhaps, an illusion can be legitimately, life-saving. Sometimes, it can be a refuge from suffering.
In exploring that idea, “The
Menagerie” deepens the character of Spock significantly. Not only because we
meet a younger, apparently more impulsive version of him in the material from “The
Cage,” but because we come to understand that beneath his cool, glacial
exterior, he does feel. He does care.
And the bonds Spock forges with his friends are strong...even unbreakable. Here, he exposes himself
to legal jeopardy and possibly death in order to save a friend, Christopher
Pike. He acts against regulations, against orders, against prudence, even, to
enact a positive outcome for a man whose life has been destroyed.
The question, of course, is this: are Spock’s
decisions based in emotion or in logic?
I could very well our dispassionate friend explaining the utter illogic of Pike’s continued suffering, as
well as the illogic of a zero tolerance policy towards visiting Talos IV. In this one setting, in this one case, there
is only one logical place for the injured Captain Pike -- Spock’s friend to live out the rest of his days. And
that place happens to be Talos IV.
Uniquely,
the Star
Trek movies present a kind of mirror or reflection of this episode's ethos. In Star
Trek III: The Search for Spock (1984), Kirk risks legal jeopardy and
death, too, to visit a forbidden planet called Genesis.
As is the case in “The
Menagerie,” he does so to save his friends, both Spock and McCoy. He must alleviate their suffering.
In both examples, one cannot escape the
conclusion that Star Trek has made a judgment on “rules.”
It is more important to achieve a good (such
as saving a friend) than it is to adhere to a policy, rule, or hierarchy.
When one considers all the occasions in which
Kirk chooses “normal human development”
over the dogma of General Order One, or the Prime Directive, this philosophical
viewpoint becomes even more apparent.
Rules are good. They give us all guidelines.
Helping people is better.
The
original “The Cage” possesses a much more “cerebral” philosophy for certain. Pike’s
adventure is not about helping friends, about succumbing to your feelings or
even logic.
Rather, it is about the opposite. It is about how a
starship captain, Pike, must remain disciplined in the face of sexual fantasy.
If Pike succumbs to his appetites, to his sexual desires, he will be responsible
for fathering a race of human slaves. The Talosians keep tempting him with those fantasies. They are inventive
and relentless in their attempts. For example, they set up a scenario in which he is a
knight in a shining armor, protecting a virginal princess from a Kalar
barbarian. Here, he is asked to fulfill his biological male role of protector.
And then the Talosians tempt Pike again
with a scene of domestic bliss. He is home, safe and well-established. His beautiful wife adores him, and he her.
And finally,
unforgettably, the Talosians tempt Pike with Vina’s (Susan Oliver) final appearance: as a
seductive “animal-like” Orion Slave Girl. Vina's dance is one of the great moments in Star Trek, the promise of alien contact that is dangerous, different and desirable.
I
have written here before about the kinky aspects of the original Star
Trek, and the way that the later generations prove far more conservative
(as a whole) in their approach to sex, and sexual fantasies.
“The Menagerie” is a prime example of Star Trek getting its kink on. The ship’s captain is attacked, essentially,
with sexual fantasy after sexual fantasy, but he must not crack; must not
succumb.
The underlying theme of “The Cage” aspect of this episode is that
appetites and desires must be controlled, lest a negative future be
wrought. Pike can indulge in every
fantasy, every kind of sex he can imagine. But in doing so, he risks focusing on the
selfish; on the personal, and not seeing the big picture. He would fail to consider the welfare of the
human race itself. It's a classic conflict between desire and morality.
The
provocative sexual aspects of "The Menagerie" might be today viewed as somehow
sexist by some, especially since female crew-members are referred to at one point as “breeding
stock.”
And yet, at the same time, “The Cage” is amazingly progressive in one very remarkable regard. Number
One (Majel Barrett), a competent, highly-accomplished female, is
second in command of the Enterprise during Pike’s voyages.
She is depicted leading
a landing team, in command during a strategy briefing aboard ship, and in other situations
that demonstrate well her skill, training and judgment. So of course, the network axe Number One. Who does she think she is?
Alas, there would be no other female
character of Number One's ilk in Star Trek until the age of Deep Space Nine. Crusher and Troi on Next Gen were always
firmly ensconced in caretaker roles, and Tasha Yar was so underdeveloped that
viewers rarely if ever got to see her in a leadership role.
“The
Cage” is also forward-thinking in its presentation of Captain Pike. Although he keeps horses, he is much, much less
cowboy-like than is Captain Kirk. Indeed, Pike seems a more direct antecedent of Jean Luc Picard than he is of James Kirk. Pike is introspective; he is moody. He is reserved…and private. Thus Pike does not feel like a product of 1960s TV. He is very un-Bond-like and un-cowboy-like at the same time.
“The
Cage” also features fewer Western tropes, in general, than we see in many Star
Trek episodes of the regular series. It feels ahead of its time, and
spectacularly so.
“The
Menagerie” is also brilliant in a way that was certainly not intended.
More than any other episode in the original
series, it establishes the reality of the Star Trek universe by granting it…history.
In this episode we see a future that is
twenty-years earlier than Kirk’s time. It is a clunkier time in terms of technology, and appropriately
so given the arc of history. There are Flash Gordon ray guns
about, goose-neck monitors, and large communicators that have their circuitry
visible under transparent materials.
We
see older uniforms, a younger Spock, and more.
We see a starship bridge that is recognizable as such, but clearly of an earlier design.
My
point is basically this: Had Star
Trek attempted to invent this “earlier” future, it would have cost the series a
lot of money, and been been practically impossible to do so.
But by importing an earlier
production into its continuity -- in the form of “The Cage” -- “The Menagerie” presents a whole, incredibly believable, fully-realized three-dimensional “history” to the
series we know and love. The differences and similarities in production design
make the universe feel as though it is always developing, always in
motion. "The Cage" actually feels like it comes before Star Trek in history.
A critical flaw of Enterprise, I feel, is that it always looked like it came after Star Trek, and so didn't have the right vibe for a prequel. It didn't feel like history. It looked and felt like something new.
When
I finish blogging the first season of Star Trek, I’ll present my list for
the ten best episodes of that span, but without giving too much away, “The
Menagerie” will certainly make that list.
It dynamically expresses Spock’s
under-the-surface humanity at the same time that it grows the universe
dramatically, and transmits a message about discipline in the face of
temptation.
Next
week: “The Conscience of the King”
I was always fascinated by how much more sophisticated the sets, props, and costumes of the series looked compared to The Cage even though they was probably only a year between the making of the pilot and the series. Clearly, The Cage design was stuck in the space cadet mentality of the 50s, where the series decided to move into a more streamlined 60s look. I've never found an explanation for why the extensive changes were made, but it sure benefits the look of The Menagerie.
ReplyDeleteJohn your thoughts regarding "The Menagerie" are so very true. Using "The Cage" [first pilot episode] to create a history in production designs that enhanced the entire series was brilliant. That was a problem I had with Enterprise too, it's production design just did not look like it came before TOS. Science-fiction is best when you have a sense it is a universe with history like real life. Production cost was the catalyst for the re-use of "The Cage", but the results are a permanent foundation the Star Trek universe.
ReplyDeleteIf only the Pike in the J.J. Abrams films had a happier ending.
SGB
Doctor Boyce
ReplyDelete(to Captain Pike)
"We both get the same two kinds of customers - the living... and the dying."
___
When I was young, "The Menagerie" was one of those episodes I always looked forward to seeing.
Good review, John, in many ways. You are right on why the first pilot's footage was utilized: The series was running high in the red and almost missing its airdates on a regular basis. Also, the producers and the studio thought that letting a $615,751 film negative collect dust was a waste. Repurposing "The Cage" effectively "bought" another episode. The byproduct of this was it gave "The Menagerie" untouchable scope (compared to other television shows of the time, and for many years afterward).
When this pilot show gets edited into (intercut with) a regular Star Trek episode we get a marvelous out-of-television experience.
Your overview on the different periods of Starfleet technologies are spot on. Well said! There is a wonderful verisimilitude displayed in "The Menagerie" which the series as a whole benefits from immensely. The technological depth illustrated and contrasted in "The Menagerie" is something that gave Star Trek a special believability factor for the audience. I think "epic" is the current term used, and should be used here.
The script, by John D.F. Black, Gene Roddenberry, and Gene Coon, rendered a story which could have been a standard look-back at the Enterprise of thirteen years ago, but instead gives us a compelling tale involving two Starship Enterprise captains and their respective crews. Brilliant storytelling. A special credit must go to film editor Robert Swanson for working, and make work, the then-and-now footage. (He was the cutter in one of four editing teams that worked on the series.)
You are right when you state that Pike and Kirk are two distinctly different personalities. The Starship and Starbase personnel are memorable. Spock really does come across as almost human in this episode; he's emotional without wearing it on his sleeve... he shows it in his immediate and ultimate actions.
"The Menagerie", with some benefit from the exoticness of "The Cage" and its Talonsian world, is actually an affecting viewing experience. Helping achieve this, especially during the story's denouement, is composer Alexander Courage's beautiful and haunting music.
In the early/mid 1970s an independent television station in Los Angeles advertised and screened "The Menagerie" as a weekday night movie, placing it directly against the big networks' first run prime-time fare. Even by this point, this two-part episode would have been shown countless times, but what happened when the station aired "The Menagerie" as a TV Movie is it won its time slot.
___
THE KEEPER
(on viewscreen, to Kirk)
"Captain Pike has an illusion, and you have reality. May you find your way as pleasant."
John,
ReplyDelete"The Menagerie" takes the footage from "The Cage" and turns it into something poetic, ethereal, and powerful. Not only in its fascinating look back into history, but its denouement, which is genuinely touching and vibrant and wonderful.
In the original pilot, Pike is told that the Talosians will die off as a result of their failure to convince him to stay. He kind of shrugs it off and rejoins the ship and crew, and it's not very humane or humanitarian. Just another day at the office. His primary concern is for Vina, and so, the Talosians give her an imaginary Captain Pike to hang out with. It's kind of...creepy? I'm not saying it's horrible, but it leaves a strange aftertaste; not a very fulfilling conclusion to a great story.
"The Menagerie" re-works the footage by dropping the line about the Talosians dying off. This makes them seem less sympathetic, until those final moments. When Kirk is shown Pike and Vina walking, hand and hand, completely healed and as one, his smile gives us an amazing moment. The two of them were always meant to be together, and here they are, both crippled and made whole, reunited. Fate has torn them apart and brought them back together. There could be no other ending for them, and it's a happy one...and it seems the Talosians knew what they were doing all along, and were trying their best to facilitate it. They're not the manipulative alien monsters that General Order 7 has led us to believe.
You are so right that this episode defines the characters in ways that will manifest many times, all the way to the films and beyond. But it is the ending of "The Menagerie" that always gives me chills. It is, quite simply, beautiful.
Steve
One correction: it seems to have been Majel Barrett to which NBC objected, not the character of Number One. The network didn't want the potential mess arising from Gene Roddenberry casting his mistress in a major part on its most expensive series (what if they broke up acrimoniously?), but of course Roddenberry was invested for decades in misleading people on this point. Of course, what was he going to tell Majel when the second pilot was ordered? When she changed her look to audition as Nurse Chapel, a minor character who initially was not a continuing character, she slipped in under the radar.
ReplyDeleteRegarding The Menagerie/The Cage, I would add to your review that the Talosians are not depicted as entirely villainous, either; though they are deceptive and manipulative, their goal is to attract company for the tragically solitary Vina (a theme that will be revisited beautifully in Metamorphosis). They rescued her, tried to repair her without sufficient knowledge, and are trying to fulfill their responsibility to her by seducing Pike to remain--so much so that if he doesn't find any of Vina's guises attractive enough, they are prepared to use any/all of the women on Enterprise to induce him to stay.