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Posted: |
Feb 28, 2015 - 2:01 PM
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By: |
Mike West
(Member)
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I think these are the ones you mentioned:
EDIT: It's not embedding correctly here for some infuriating reason. Here's the links instead.
Trek III: https://www.youtube.com/watch?v=LBXkoGTZBNk
Trek IV Prologue: http://youtu.be/6VkCW7Xdpsc
Was extremely disappointed this wasn't included on the Blu-ray edition, it was on the UK DVD years back (wish I'd kept it now!). Hopefully it will be included again as an extra somewhere down the line if Paramount ever get their act together and finally give all the films the fresh 4K scans & remastering that they richly deserve. It was shown before the film when I saw it here in the UK in '86 - really acted as a superb 'starter course' for the main film. Great edit of Mr Rosenman's score too.
- John
exactly!
I did not find them and was not sure if they have been maybe just edited in front of the german version,
but I love this prolog to the third film which starts in the distance and without colours, and comes
closer and closer.
For me it is about the relation between Spock and Kirk, this friendship.
And I think in the new Into Darkness they absolutely took away the depth of it when they just killed Kirk to have an extreme plot stunt and have this superficial flat dialogue in the dying scene. This is so soulless, just fun and fast.
The original scenes between them have quietness, slowness, calmness, and soul, and they are even more fun sometimes, thinking of S T 4.
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Posted: |
Feb 28, 2015 - 2:09 PM
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By: |
Howard L
(Member)
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Wow this is getting really interesting. For starters:
Goldsmith's Spock music in TMP was even colder than Fried's--in fact Fried's sounds quite passionate in comparison. I think Goldsmith had planned something warmer--those harp notes when he arrives on the Enterprise I think would have been the music for Spock, although that's just my opinion--but Wise wanted some specifically non-emotional music for the character, which Goldsmith said he found very difficult to write. But it's true that Horner's, Rosenman's and Eidelmann's music was much warmer, which was appropriate since the character found his "human" bearings in the wake of TMP.
Indeed, context means everything. The Fried cue was extremely effective in terms of character and sound at both the literal time of its creation and its point in time of the unfolding ST universe. The Wise/Goldsmith collaboration that resulted in the harp notes likewise effectively captured the mystery of the then-dry Spock character ("whatever happened to...") at that point in the evolving ST universe and for that matter was a sound appropriate to what was going on in the minds inhabiting the rejuvenated ST Nation. At least in mine! And so on.
Context, in terms of stand alone listening experience vs. filmic, would naturally favor the Horner theme. Hands down. And its scoring factor certainly wasn't too shabby, either. But in terms of pure nose-up sophistication, gotta hand it to Fried's.
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Spock experiencing madness in "Is There In Truth No Beauty?" after mind-melding with the Medusan without protective visors:
George Duning's music plus Gerry Finnermann's fish-eye lens and Ralph Senensky's direction all contribute to the effectiveness of this scene (and the episode as a whole).
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Posted: |
Mar 1, 2015 - 8:21 AM
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By: |
Howard L
(Member)
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Ha, looks like the OP and the NY Times obit are on the same page, tangentially. From yesterday's print edition:
In one of his most memorable “Star Trek” performances, Mr. Nimoy tried to follow in the tradition of two actors he admired, Charles Laughton and Boris Karloff, who each played a monstrous character — Quasimodo and the Frankenstein monster — who is transformed by love.
In Episode 24, which was first shown on March 2, 1967, Mr. Spock is indeed transformed. Under the influence of aphrodisiacal spores he discovers on the planet Omicron Ceti III, he lets free his human side and announces his love for Leila Kalomi (Jill Ireland), a woman he had once known on Earth. In this episode, Mr. Nimoy brought to Spock’s metamorphosis not only warmth, compassion and playfulness, but also a rarefied concept of alienation.
“I am what I am, Leila,” Mr. Spock declares after the spores’ effect has worn off and his emotions are again in check. “And if there are self-made purgatories, then we all have to live in them. Mine can be no worse than someone else’s.”
 but the spores "aphrodisiacal"? I suppose, in a way...
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