Each
of the three core Star Trek directors had their own
speciality. Marc Daniels' strength was making the most of the
Enterprise sets, producing his best work on bottle shows like The Doomsday Machine, or Mirror, Mirror. Joseph Pevney was
great at big set piece stories, ones with lots of location shooting
like Arena, but he also had an excellent eye for composing
individual shots as in Amok Time and the scene where Spock
tries to explain the pon farr to Kirk (“The birds and the bees are
not Vulcans, Captain”).
The
Star Trek production team seem to have viewed Ralph Senensky
as the actor's director and tended to give him scripts with lots of
character moments; This Side Of Paradise and Metamorphosis. He
also has an astonishingly good sense of cinematography. In script
terms Metamorphosis is frankly dull. Like This Side Of
Paradise it's a love story between two mismatched people but
Cochrane and the Companion are no Spock and Leila. However regardless
of the faults of the script the finished episode looks
stunning and judged on its visuals alone the story would be one of Star
Trek's ten best. Ralph Senensky's real
strength appears to have been in inspiring the people around him to do their best
work; in the case of Metamorphosis the art director Matt
Jefferies, and director of photography Jerry Finnerman.
What's
true for Metamorphosis
is also true for Is There In Truth No Beauty? The
episode looks stunning and there's a constant sense that Ralph
Senensky is always looking for a more interesting angle. Most notably
with his and Jerry Finnerman's use of a 9mm fish-eye lens to capture
point of view insanity shots. However where Metamorphosis
was dull, Is There In Truth No Beauty?
is a much better paced story. Like The Enterprise Incident
it is full of plot and keeps the
attention of the viewer by constantly moving the story in new
directions. Ultimately Is There In Truth No Beauty? is
a better episode than The Enterprise Incident because
the story is much neater. Where The
Enterprise Incident ends up
being overbalanced by the weight of too many coincidences, Is
There In Truth No Beauty? carefully
sets up its story. If Jean Lisette Aroeste's script has a fault it's
a little predictable in places. In the opening Captain's log when the
Medusians are described as, “beings who are formless, so utterly
hideous that the sight of a Medusan brings total madness to any human
who sees one,” it is immediately apparent that someone is going to
see one and be driven insane. Likewise it's clear Ambassador Kollos'
navigation skills will be required when Kirk later asks Miranda
Jones, “do you feel any way may be found to employ Medusan
navigators on starships? It would certainly solve many of our
navigational problems.” One surprise the script sucessfully pulls off is the end of act three moment when Spock accidentally catches sight of
the Medusan. Early on it is established that Miranda Jones is jealous of Spock's superior ability to
mind meld with Kollos but it remains unclear
if Spock/Kollos accidentally forgets to wear the visor when Kollos
returns to his box or if, as Kirk later accuses Jones, she deliberately
made him forget.
The
cast are in fine form, and there are two excellent guest stars. Most
obviously Diana Muldaur, back again after appearing in the earlier
Ralph Senensky directed episode Return To Tomorrow. She makes Miranda Jones spiky and unpleasant without being
irremediable. For half the episode Diana Muldaur is given the
extremely difficult task of playing a blind character without giving
away that her character is blind; her condition is not revealed until
act three. The odd vulnerability Diana Muldaur succeeds in giving
Miranda Jones is an accomplished piece of acting. More easy to
overlook is David Frankham as Larry Marvick who makes the most of a
smaller role. his sweaty hysteria once Marvick goes mad is really
well done, especially his delivery of the oddly creepy line, “We
mustn't sleep! They come in your dreams! That's the worst! They
suffocate in your dreams!”
The
two behind the scenes stars of the episode are film editor
Fabian Tordjmann and George Duning who composed the additional music.
Fabian Tordjmann's editing work on the episode is tremendous. Watch
the scene where Larry Marvick is
driven mad by Ambassador Kollos. In the 30 seconds between the slow zoom
to Kollos' container and the shot of Miranda Jones sitting in her cabin there
are something like 20 cuts, but the sequence is more than just simple
rapid cutting. Everything works together to create a sense of
dislocation; the lurid green light; the headache inducing animation;
and cutting around within a single shot so that, for example, we see
Larry Marvick twist in agony, before Fabian Tordjmann cuts back to
the beginning of the shot and then suddenly to the end, so that
Marvick appears to jerk around the frame as if time is out of joint.
Played over the top of this is George Duning's frantic score. The
discordant trumpet stabs and electric organ would sound ridiculous on
any other episode, but perfectly fit the mood and pace of Is
There In Truth No Beauty?
Act
two encapsulates why Is There In Truth No Beauty? works
as well as it does. Running at a brisk six minutes the pace never
lets up and showcases the work of Ralph Senensky, Fabian
Tordjmann, Jerry Finnerman, George Duning, and the cast. The act
begins with a tracking shot following the now insane Larry Marvick as
he runs from the Medusan Ambassador's quarters to a turbo elevator,
and then cuts between Marvick heading to engineering with, first,
Miranda Jones investigating the Ambassador's cabin, and then Kirk,
Spock, McCoy and two security guards walking down the same corridor
with the camera tracking backwards. There is no dialogue for the
first minute of the act, but the mood is captured by the camera movement in the shots used, Duning's score,
and the body language of the actors; David Frankham, distressed and
disoriented; Diana Muldaur hesitant and unsure; and Kirk and the
security team purposeful.
At
this point I'm going to have to politely disagree with Ralph
Senensky. Over on his blog he describes when he first saw the episode
on television, “I was appalled. Who had ordered the horror film
flickering green light and the comic strip animation?” I can
understand why he feels they are an unnecessary addition to his director's cut. His opinion is that they represent a “vulgarizing
technique [that] had never intruded into STAR TREK before." The green light and animation are b-movie techniques
but I don't
think Star Trek should
be above using these techniques, and I also think they are an important part of why the episode works. The green
light and animation give the audience a sense of something
incomprehensible in the Ambassador's container. This is not just some
rubber suited monster but literally something indescribable which the
human mind cannot cope with, and it's important to have this conveyed
with a visual cue.
Enterprise
crew deaths: None this week. Although recurring extra Billy Blackburn
does get punched in the face by the insane Larry Marvick.
Running
total: 48.
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