The runabout Ganges returns to the space station in serious trouble, as it has no power, the hatch can’t be opened, and oxygen is running out. There seems to be an extra person on board. O’Brien opens the hatch and recognizes someone from his time on the Enterprise. Vash (Jennifer Hetrick) has been traveling in the Gamma Quadrant for two years and brought back some artifacts, including a beautiful geode. Dangerous blackouts keep happening, putting the crew and the nearly 300 residents in danger. Could this be one of Q’s jokes, or something much worse?
Q: Really, Vash, I can’t believe you’re still pining for Jean-Luc, that self-righteous do-gooder.
This is one of the S1 stories meant to raise ratings and draw in fans of TNG; it assumes that the viewer has watched TNG. The teleplay is by Robert Hewitt Wolfe; he also wrote the memorable TNG ep “A Fistful of Datas.” Not much time is spent on introducing Q (John de Lancie). Vash, the shady lady version of Indiana Jones in space, was one of Picard’s few love interests. Q and Vash are two of the most memorable guest stars in the ST universe; they operate in shades of gray (which is not unlike some characters you’ll meet later in DS9). Vash met Picard on Risa in “Captain’s Holiday.” “Qpid” is the ep where Q took Vash to travel the galaxy as his companion. No, they aren’t a romantic pair, but they bicker like one!
Vash: It’s over, Q, I want you out of my life. You’re arrogant, you’re overbearing and you think you know everything.
Q: But… I do know everything.
Vash: That makes it even worse.
I saw this ep on it’s first run on TV, but didn’t recall some of the details (such as Vash teaming up w/ Quark to sell the artifacts). Bashir is used for comedy in the opener and closing; this is too on-the-nose, but some fans may enjoy re-watching. At the start of the ep, he is on a date w/ a Bajoran woman, trying to impress her w/ his medical smarts. A few scenes later, he asks Vash out on a date; she flirted w/ him in Sick Bay. Quark also gets a little crush on her, as she also has her mind on profit.
Q: You hit me! Picard never hit me.
Sisko: I’m not Picard.
Q: Indeed not. You’re much easier to provoke. How fortunate for me.
There is an alternate scene that is must-see, even if you don’t watch the ep. You can find the blooper on YouTube. In an outtake from the fight scene between Sisko and Q, de Lancie replied to Avery Brooks’ order to bring back the DS9 inhabitants w/ the line: “Or what? What? You’ll ravish me?” Then, de Lancie laughed and apologized. Brooks seductively replied: “I might.” The crew laughed and applauded. ROTFLMAO!
[1] The plots seems a bit disjointed…
[2] The dialogue here is written well and both Hetrick and De Lancie do well with their roles.
[3] What doesn’t make sense in this episode is her relationship with Q. Although Q is all-powerful and clearly very condescending, he chases after her like a love-starved puppy…
[1] Joseph Cotten is the perfect charming monster.
[2] As for Teresa Wright, she finds some good notes as well in playing off of Cotten… …those kids are just the right icing to the cake the film cooks up.
[3] One of my favorite elements in the movie is the ongoing dialogue between Henry Travers and Hume Cronyn, avid mystery readers who are constantly discussing the best ways to murder each other. Apart from being a bit of comic relief… it also demonstrates how lightly people think of murder and murderers… until they encounter them face-to-face.
-Excerpts from IMDB reviews
Young Charlie: We eat and sleep and that’s about all. We don’t even have any real conversations. We just talk.
Charlotte “Charlie” Newton (Teresa Wright) is bored w/ her uneventful life, living in Santa Rosa, CA, w/ her family. She knows exactly what they need- a visit from her well-traveled/sophisticated Uncle Charlie Oakley (Joseph Cotten), her mother’s younger brother. Out of the blue, they receive a telegram from Uncle Charlie announcing that he is coming to visit. Uncle Charlie creates a stir as the new man in the small town, dressing stylish and charming locals. Young Charlie begins to notice some odd behavior on his part. Two strangers, Graham (Macdonald Carey) and Saunders (Wallace Ford), come to interview the Newton family, saying they were chosen for a national survey. It turns out that they are (undercover) detectives!
Uncle Charlie: The whole world’s a joke to me.
Uncle Charlie: I guess heaven takes care of fools and scoundrels.
One reason Sir Alfred Hitchcock considered this to be his favorite movie was that he loved the idea of bringing menace to a small town. Hitchcock believed that the expensive and sturdy, but weathered and worn, look to the house would give the suggestion that the Newton family could be anyone, an average American family in any American town. Edna May Wonacott (book-loving/chatty Ann) and Estelle Jewell (Young Charlie’s friend Catherine) were locals of Santa Rosa, where the movie was filmed. Many of the extras were also locals of the town. The story is lightened up by the patriarch, Joseph (Henry Travers), and his eccentric neighbor, Herbie (Hume Cronyn- in his first movie).
Young Charlie: We’re not just an uncle and a niece. It’s something else. I know you. I know you don’t tell people a lot of things. I don’t either. I have a feeling that inside you there’s something nobody knows about… something secret and wonderful. I’ll find it out.
In his interview with François Truffaut in 1967, Sir Alfred Hitchcock said the dense, black smoke coming from the train that brings Charles to town was a deliberate symbol of imminent evil. Some viewers may have missed his cameo; he is playing cards on the train w/ his back to the audience. The waltz tune is Franz Lehár’s “the Merry Widow;” the nickname of the killer is the Merry Widow killer. Charlie’s sister, Emma (Patricia Collinge), mentions that he’d had an accident on a bike as a boy; his personality changed after the accident (getting into mischief). I learned that Collinge wrote the romantic scene in the garage between Young Charlie and Graham.
The title derives from Matthew Arnold’s poem Dover Beach (1867):
Ah, love, let us be true
To one another! for the world, which seems
To lie before us like a land of dreams,
So various, so beautiful, so new,
Hath really neither joy, nor love, nor light,
Nor certitude, nor peace, nor help for pain;
And we are here as on a darkling plain
Swept with confused alarms of struggle and flight,
Where ignorant armies clash by night.
Mae: What do you want, Joe, my life’s history? Here it is in four words: big ideas, small results.
Directed by Lee Strasberg, Clifford Odets’ play, Clash by Night, had a short Broadway run from late 1941 to early 1942. The cast included Robert Ryan as Joe Doyle (the character who is Marilyn Monroe’s boyfriend in the film), Joseph Schildkraut as Earl Pfeiffer, Lee J. Cobb as Jerry Wilenski, and Tallulah Bankhead as Mae Doyle. Wow, how cool would it have been to see Cobb (one of Hollywood’s best character actors) perform live!? The production revolved around a Polish family on Staten Island, NY, before the US gets into WWII. In the original play, Jerry (the cuckolded husband) kills Earl (his wife’s lover) in their climactic fight; Hollywood (of course) had a different idea.
Earl: Jerry’s the salt of the earth, but he’s not the right seasoning for you.
Mae: What kind of seasoning do I need?
Earl: You’re like me. A dash of Tabasco or the meat tastes flat.
This was one of Monroe’s early roles, she was under an acting coach (who worked for 20th Century Fox where Monroe, then only 25, was on contract) and wanted her on the set. The coach would stand behind director Fritz Lang and tell her when a scene was good enough. When Lang (known for his difficult personality) realized this, he demanded the coach leave the set. After Monroe complained and wouldn’t act w/o her, Lang allowed the coach to return, on the condition that she not direct Monroe. The actress was loaned out to RKO Pictures for this film; she shows a lot of potential here (brightening up the mood of the story).
Jerry: I like you – you know that.
Mae: You don’t know anything about me. What kind of an animal am I? Do I have fangs? Do I purr? What jungle am I from? You don’t know a thing about me.
The film noir drama is set Monterey, CA, a town where almost everyone is connected to the commercial fishing industry. After 10 yrs, Mae Doyle (Barbara Stanwyck) returns home, feeling tired, bitter, and depressed. Her macho/judgmental younger brother, Joe (Keith Andes), wonders what she has been doing w/ her life. Mae fell for a married politician who died; she has nowhere left to go. Joe’s spunky/beautiful 20 y.o. girlfriend, Peggy (Monroe in an early supporting role), takes a liking to Mae. After a short time dating, Mae decides to marry a fisherman, Jerry D’Amato (Paul Douglas), a naive/optimistic bear-like man who feels “safe.” Of course, she isn’t in love w/ Jerry (and he knows that). After a year of domestic life and having a baby girl, Mae feels stifled. She has an affair w/ Jerry’s friend, Earl Pfeiffer (Robert Ryan), a film projectionist who is recently divorced. Jerry finds out about their betrayal- he could explode w/ jealousy and anger!
Earl: Mae – what do you really think of me?
Mae: [coolly] You impress me as a man who needs a new suit of clothes or a new love affair – but he doesn’t know which.
Earl: [stung] You can’t make me any smaller. I happen to be pre-shrunk.
There is some great scenery- the ocean waves breaking on the beach, seagulls flocking, seals playing on rocks. We see the rough-and-tumble lives of blue-collar people; Peggy works in a fish cannery while Joe works on Jerry’s boat. People in this community fight loudly and drink heavily (drowning the disappointments of their unfulfilled lives). Jerry’s Sicilian immigrant father drinks b/c he can’t get any work at his advanced age. His bachelor uncle, Vince, also drinks and avoids responsibility.
[1] The power of “Clash by Night” lies… in the no-nonsense acting of Stanwyck and Ryan, tough as nails, but raw at the core. They have an animal eroticism together between them that sparkles like fireworks, but they are also, alas, quite self-pitying.
[2] Stanwyck has never better than she is here, and she dominates the film, vanquishing such heavyweight co-stars… she is magnificent in this movie, which seems almost to flow from her. As her simple, trusting husband Paul Douglas is almost as good; and Robert Ryan nearly steals the show as a sadistic loser who is somehow magnetic, pathetic and yet highly observant, all at the same time.
-Excerpts from IMDB reviews
I heard about this movie from a film noir group on Facebook; you can rent it for $2.99 on Amazon. It has some fine/memorable dialogue, which is why many people watch classics. Stanwyck (who was going through a divorce from actor Robert Taylor) inhabits her conflicted character; she is rarely at ease (note her body language, esp. in the early scenes). This is the type of role usually given to an anti-hero man in Hollywood. Instead, Mae is a conflicted woman who must choose between Jerry- the nice guy (security/respectability)- and Earl- the bad boy (danger/uncertainty). Though these are middle-aged people, they are not quite settled in their minds. Mae and Earl expected much more from life; they are drawn to each other like magnets. Jerry is content to be the breadwinner, husband, and father. The younger couple project a different energy in their scenes, but soon we realize that Joe would be a controlling husband (and perhaps) diminish Peggy’s spirited personality.
Odets was born/raised in Philly and came from Jewish heritage (Russian and Romanian). He dropped out of HS to work as an actor. He was understudy on Broadway in 1929 to the young Spencer Tracy in Conflict by Warren F. Lawrence. Odets became one of the founding members of The Group Theatre, which became one of the most influential companies in the history of the American stage. They based their acting technique (new to the US) created by Russian actor/director Constantin Stanislavski. It was further developed by Group Theatre director Lee Strasberg and became known as The Method (or Method Acting). From working in the theater, Odets developed a great love of language, and was inspired to write his own plays. His socially relevant dramas, popular during the time of the Great Depression, inspired several generations of playwrights: Arthur Miller, Paddy Chayefsky, Neil Simon, and David Mamet.
Well, that’s it. We gave it our best shot, it wasn’t good, and it will never happen again. -William Shatner’s first thoughts on viewing this movie
[1] Everything is very straight-faced and sincere. To introduce someone to Star Trek with this film would be a bad idea.
[2] The Enterprise is much more of a physical ship traveling in space, and less of a device to facilitate storytelling.
[3] ...most of the film has the crew standing on the bridge, gazing out in awed-wonderment at all the expensive, and impressive, special effects…
-Excerpts from IMDB comments
I learned that this movie is often derided as Star Trek: The Motionless Picture. So, what’s good about this movie!? The original TOS actors, particularly Nimoy, do the best w/ what they get (which is not much good dialogue). We don’t see much of their chemistry or friendship; everyone seems cold and distant. If you love TOS and/or grew up w/ it in the ’60s or saw reruns in ’70s, then this isn’t a total waste of time. If you’re not much of a fan, then go ahead to the second film (which is great). They basically pretend like this one never happened- LOL! There is a fun scene where Dr. McCoy (DeForest Kelley) is sporting a full beard and (very ’70s) casual outfit w/ chunky gold necklace. Also, Gene Roddenberry loved the (now iconic) main theme from the musical score, which he reused for Star Trek: The Next Generation (TNG). Below this review is the scene which I thought was done very well.
The original script was written by Roddenberry and titled “The God Thing” though it was rejected by Paramount executives b/c of the storyline in which the Enterprise crew meet God. Many other story ideas were considered: preventing JFK’s assassination, becoming the Greek Titans, and trying to prevent a black hole from swallowing the galaxy. The popularity of Star Wars: Episode IV – A New Hope (1977) had a big impact on the story, pacing, and marketing of TMP. Many sci-fi fans (incl. writers) viewed Star Wars as fantasy and fluff. Roddenberry always saw Star Trek as a more serious endeavor. The story was pushed toward more complex ideas; the decision was made to have no battle scenes (which hurt the movie). The early promos for newspaper ads had as the line “There is no comparison.”
Orson Welles narrated trailers for this film- a voice familiar to classic film fans! Director Robert Wise was also the editor on Citizen Kane (1941); he also reedited and reshot The Magnificent Ambersons (1942). Welles held a grudge against Wise b/c of the latter work; he probably recorded the trailers b/c he needed money. Wise (who was unfamiliar w/ Star Trek) was convinced to take on the directing job by his wife Millicent (a huge fan of TOS). She also convinced Wise to campaign for Leonard Nimoy’s return. Nimoy agreed to do the film only after Paramount agreed to a settlement of his lawsuit for allowing his TV series likeness to be used by advertisers. Wise (best known for West Side Story and The Sound of Music) is sadly not in his element here; his directing style contributes to its slow pace.
The producers and cast were worried about their appearances after being away from TOS for 10 yrs. In the later movies, the aging of the crew became part of the story. The cast hated the uniforms (as did viewers). One of the cast’s conditions for returning for a sequel was to have new uniforms. It was understood in the script, but not said outright, that Cmdr. Will Decker (Stephen Collins- who also didn’t watch TOS) was the son of Commodore Matthew Decker from The Doomsday Machine. Persis Khambatta (who played Lt. Ilia) was a model from India; she had her head shaved for the role. She has very little to do, though it is rare to see a Hollywood newcomer/woman of color at that time in such a big production. The abandoned TV series (Phase II) was to have three new main characters. Paramount was concerned that Shatner might ask for too much money (if the series was extended). Decker was created, so that once Kirk had to be written out, he could take on the new lead role. Will Riker and Deanna Troi on TNG were later incarnations of Decker and Ilia.
As many have pointed out before, Klingons continue to be the one-note baddies; they were not developed until TNG. The Klingon words spoken by the Klingon captain were invented by James Doohan (Cmdr. Scott). Linguist Marc Okrand later devised grammar and syntax rules for the language, along w/ more vocabulary words in Star Trek III: The Search for Spock (1984), and wrote a Klingon dictionary. Doohan also devised the Vulcan words heard during Spock’s Kolinahr ceremony. The scenes were first shot in English, but when it was decided to use Vulcan, Doohan wrote lines (to fit the existing lip movements).
This is one of the top-rated (also fan fave) eps of Star Trek: The Next Generation (TNG); I’ve seen it 3x over the years. At the 50th anniversary Star Trek convention in Las Vegas in August 2016, fans voted this the 5th best ep of the franchise. It’s well-written (despite having 6 different writers- incl. a young Ronald D. Moore), tense (w/ great music and innovative direction), thrilling, and includes an element that Star Trek doesn’t usually do well (romance). Our heroes on the Enterprise-D see a “temporal rift” opening in space, which Data (Brent Spiner) thinks could be unstable. Lt. Tasha Yar (Denise Crosby) is alive in this alternate timeline where the Federation is in a 20+ yr. war w/ the Klingons! Lt. Worf- being a Klingon- is not there; Michael Dorn had a fun scene in the opening of the ep w/ Guinan (Whoopi Goldberg). This is the ep where he gets introduced to “warrior” drink (prune juice)- LOL!
Capt. Picard (Patrick Stewart) and Cmdr. Riker (Jonathan Frakes) don’t like each other. I esp. liked the (dark) lighting used on the bridge. The uniforms are a bit different (militaristic); the crew wears silver belts on their hips (which holds phasers). We hear “battle alert” followed by a “condition” (either yellow or red). Unlike the Captain’s log and Stardates, Picard records a Military log using “combat dates.” This is the first time Wesley Crusher (Wil Wheaton) is seen wearing a Starfleet uniform.
The world we know changed when the Enterprise-C traveled 22 yrs. in the future commanded by (a lady boss) Capt. Garrett (Tricia O’Neil). The actress does a terrific job; many fans noted that she paved the way for Capt. Janeway on Voyager. Dr. Crusher (Gates McFadden) tells her to rest longer in sick bay, but she’s a tough cookie (insisting that her crew needs her). I esp. liked the scene w/ Garrett and Picard on her ship’s bridge; he lowers his voice at one point to admit that the war is going worse than commonly known. O’Neil later played a Klingon in TNG (Suspicions) and a Cardassian in DS9 (Defiant).
Lt. Castillo (Christopher McDonald), the helmsman under Garrett, is wowed by the tech, incl. modern weaponry. He learns much from Tasha as they spend the day together; they start to develop feelings for each other. As some viewers noted, their relationship happens naturally (unlike what you’d expect from episodic TV). I learned that McDonald was one of the top actors vying for the role of Riker- no wonder he fits in so well in this episode! The costumes worn by the crew of the Enterprise-C may look familiar to movie fans; these are similar to designs on Star Trek: The Wrath of Khan (which I watched recently).
Guinan knows something is wrong, though she can’t explain exactly what to Picard (who gets rather mad at her). After seeing Nichelle Nichols as Uhura in TOS as a young girl (and getting very inspired), Goldberg vowed that she’d be part of the Star Trek world someday. Tasha notices that Guinan is acting weird around her; it’s b/c they were never meant to know each other. In time, Picard realizes that the Enterprise-C must return to its own time/place to restore the original timeline. They would (most likely) die defending a Klingon outpost against the Romulans, but could prevent a war.
We brought Denise Crosby back to kill off Tasha Yar a second time. It was a great opportunity to send the character off in a big heroic sacrifice because nobody was really happy with the way she left the series in the first season. Nobody on the show really liked it, the fans didn’t like it, I’m not sure even she really liked it. So “Yesterday’s Enterprise” was a chance to kill her right. -Ron Moore
Knightleyemma 