星艦迷航記

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星艦迷航記
導演	羅伯特·外斯 (Robert Wise)
監製	金·羅丹貝利 (Gene Roddenberry)
作者	Alan Dean Foster Harold Livingston
演出	參見內文
音樂	傑瑞·戈德史密斯 (Jerry Goldsmith)
攝影	理查·克萊因 (Richard H. Kline)
剪輯	陶德·蘭賽 (Todd C. Ramsay)
發行公司	派拉蒙影業公司
上映日期	1979年12月7日
片長	132分鐘
語言	英語
預算	美金$35,000,000
續集	《星戰大怒吼》
IMDb -{zh-cn:信息;zh-tw:資訊}-（英語）

《星艦迷航記》(Star Trek: The Motion Picture)(派拉蒙影業公司，1979年)是以熱門科幻影集《星際爭霸戰》為基礎的第一部電影。英文中因縮寫而常稱ST:TMP或TMP。

[编辑] 演員

[编辑] 內容概述

在23世紀晚期，大約是星紀7412.6的時候，一只強大外星武力——以龐大的能量雲外型呈現——在克林貢領域被偵測到，據信正航向地球。這片雲氣在途中摧毀了所遇到的克林貢星艦以及一個星際艦隊監控站。星際艦隊決定派出原型星艦企業號攔阻這個「物體」，因而要求其漫長的改裝升級過程 盡快完成，並於運輸時測試。

身為計畫成員之一，詹姆斯·柯克准將強取他過去對這艘船艦的指揮權，激怒這艘船的指揮官威拉德·戴克，當時戴克已以新艦長身分監督整個改裝過程。在多數原先的船員都登艦之後，企業號駛出，開始航程；然而新系統的測試卻沒有好好地進行，這導致了柯克與戴克間對立的升壓。許多問題在科學官史巴克中校加入船上後獲得解決，在這之前他在瓦肯母星進行柯林納(kolinahr)儀式。His failure to complete kolinahr and purge his emotions has led him to seek his answers on the Enterprise, explaining, "On Vulcan I began sensing a consciousness. Thought patterns of exactingly perfect order. I believe they emanate from the intruder. I believe it may hold my answers."

The Enterprise intercepts the alien cloud, survives its initial assault, and journeys inside the cloud, finding a vast alien vessel, which draws the starship inside. An alien probe appears on the bridge and abducts navigator Lieutenant Ilia, who is replaced by a robotic probe, who reveals that she/it has been sent to study the "carbon units" (humans) by something called V'ger. Decker is distraught over the loss of Ilia, with whom he had a history, and is troubled to be assigned to get information from the mechnical doppelgänger, which he discovers has Ilia's memories and feelings buried within. Meanwhile, Spock takes a suicidal spacewalk into the alien vessel, and attempts to telepathically mind meld with it. In doing so, he learns that the vessel is V'ger itself; a living machine. He also comes to terms with his emotions, realizing that the pure logic V'ger represents is "barren...cold."

The ship gradually journeys to the center of V'ger, where V'ger is itself revealed to be the unmanned scientific probe Voyager 6, which was part of the Voyager program, and (fictitiously) launched in the "twentieth century". The damaged probe was found by an alien race of living machines that interpreted its programming as instructions from God to "learn all that is learnable" and return that information to its creator. These machines made V'ger into something capable of fulfilling that mission, and "on its journey back it gathered so much knowledge that it achieved consciousness itself!" However, Spock realizes that what V'ger lacks is the ability to give itself a purpose other than its original mission to “learn all that is learnable.” Having learned all that is learnable on its journey home, which took V'ger across the Universe, V'ger finds itself empty and without a purpose. Only through the creator can V’ger begin to explore illogical things, such as God, other dimensions, or higher planes of being. In the climax of the film, V'ger (in the person of the Ilia probe) merges with Commander Decker and then vanishes into a higher realm of being, and thus the Earth is saved by the crew of the Enterprise.

[编辑] 場景

TMP exhibits numerous themes familiar to viewers of Star Trek (TOS) and Star Trek: The Next Generation (TNG). One is the notion of "Kirk as destroyer of malevolent machines". Captain Kirk often encountered and destroyed computers which have become too powerful for the humanoids around them. TMP takes a slightly different tack, as V'ger is not actually destroyed.

Another theme is the notion of a being transcending the material plane to become something greater and enter another level of existence, usually represented as a being of light. Creatures such as the Organians from the original series episode "Errand of Mercy" have this characteristic, as do several beings from TNG. Star Trek almost always portrays this transformation in a positive light, something to which humanity can aspire, and V'ger's transformation here certainly is in this mold.

Another prevalent theme in the movie is that of birth and rebirth. The Enterprise’s lengthy transit, though critically derided, is widely perceived by fans to have profound symbolism: akin to sperm fertilising an ovum in (human) reproduction, just as the ship and its crew travel through V'ger to ultimately conceive a hybrid being.

Rebirth in the film also applies to the characters. Decker and Ilia are removed from the stage through their own rebirth, while Kirk comes to command the Enterprise again as a sort of rebirth. Spock is reborn as his old self, returning to duty.

The film is short on drama or excitement; other than Kirk's conflicts with Decker and the obvious threat of V'ger, there is precious little conflict in the film, and both of these elements are resolved by the deus-ex-machina nature of the ending. The story, in effect, is a relatively straightforward puzzle for the characters to solve, and, having done so, their other problems evaporate.

[编辑] 《星艦迷航記》緣起

In the wake of Star Trek's popularity in the early 1970s as a result of newborn Trek fandom and syndication, there were several failed attempts to produce a Trek feature film. Starting in 1974, a number of ideas were seriously pitched for a film to be entitled Star Trek II. These included "The God Thing" by Gene Roddenberry about a vessel visiting Earth claiming to be God, a story by Harlan Ellison about alien reptiles changing Earth's past to make snakes evolutionarily dominant, and "The Planet of the Titans."

"The Planet of the Titans" was nearly produced as the first Star Trek motion picture. Written by Allan Scott and Chris Bryant, the script involved the crew of the Enterprise rescuing the starship Da Vinci from a disaster. During the rescue Kirk suffers a shock to the brain causing him to go mad and disappear. Years later, the Enterprise, now under Captain Gregory Westlake, is dispatched to a planet near where Kirk disappeared. This planet is slowly being sucked into a black hole, and contains a wealth of information that the Klingons (who have also dispatched ships) want as well. Kirk is found, but the planet and the Enterprise are pulled, via the black hole, into Earth's past, where they become the Titans of Greek mythology. It was to be directed by Philip Kaufman. Ralph McQuarrie did pre-production art and Ken Adam storyboarded the script. The second issue of Starlog magazine trumpeted the production of the film on a front cover headline. The movie was abandoned in late 1976 when Paramount finally rejected Scott and Bryant's script.

Instead, in 1977, attention was turned away from a film and towards a second television series, to be entitled Star Trek: Phase II, as part of a fourth television network to be created by Paramount. Work began on a scripts for the series, including a 2-hour pilot titled "In Thy Image". In the midst of preparation for shooting Michael Eisner, then-head of Paramount, called a landmark studio meeting. Eisner was said to declare regarding the pilot, "we've been looking for a Star Trek motion picture...and this is it!". Despite already-extant casting, costuming and set production the new Paramount network was placed on hold (it would eventually become the UPN network), and work commenced on rewriting the Phase II pilot episode In Thy Image as Star Trek: The Motion Picture.

All this couldn't have come at a more opportune moment. By the end of 1977, Star Wars had become a huge box-office success, and Paramount put The Motion Picture into pre-production. Rather than follow the space opera feel of Star Wars, TMP instead emulated the mood and format of 2001: A Space Odyssey, in which Douglas Trumbull also supervised special effects.

The film follows the story of "In Thy Image" only generally, as multiple disputes between screenwriter Harold Livingston and producer Gene Roddenberry (as well as numerous changes requested by Paramount Executives and the actors) led to extensive and even daily rewrites of the movie right up to the end of filming.

Major changes from the Phase II pilot episode include: Scenes of Kirk trying to recruit McCoy in a park in San Francisco, a conference of admirals discussing the intruder, Lieutenant Xon's entire role, the destruction of the cruiser Aswan, an invasion of the Enterprise by mechanical probes, scenes of the Ilia-probe attempting to seduce Kirk and Sulu, and scenes of Kirk and Ilia beaming down to San Francisco to show her footage of NASA's Voyager program at Starfleet Command. The director of the pilot episode, Bob Collins, was briefly set to be the director of the motion picture.

[编辑] 摘記

The film was directed by Robert Wise, after the studio decided they wanted a big name director attached to the property, and released Phase II pilot director Bob Collins. It displays state-of-the-art (for the time) special effects, set design and use of models. Despite this, the film was regarded by critics as ponderous and boring, especially in the second half, which included lengthy scenes of the Enterprise flying through the interior of the cloud, with the awed reactions of the crew. However, the ship's lengthy transit is also widely perceived by fans to have profound symbolism, akin to human fertilisation and conception. Critics also complained that the story is clearly little more than an hour-long TV episode fleshed out to two hours (a criticism that would become standard with the release of every future Trek film). Despite this, the first hour of the film contains some witty and interesting moments — even with Kirk's long, drawn-out travel pod flight to the refitted Enterprise.

An extended cut of the film on videotape and ABC network television released in 1983 included a number of small character moments that had been trimmed, some slightly illuminating, some embarrassingly performed. This was one of the first occasions in which an extended version of a film was created for television and the then-new home video market. The additional footage included one glaring error in that a scene showing Kirk supposedly floating in space was added, however the scene had not had special effects added, so viewers were clearly able to see the scaffolding and ceiling of the soundstage in which the sequence was filmed. (This sequence can still be viewed among deleted scenes included on the 2001 DVD release.)

In 2001, a Director's Edition of the film was released on VHS and DVD. Robert Wise was given the opportunity to re-edit the film to better match his original vision, and also to use computer-generated imagery to complete sequences which had been curtailed due to short deadlines. The new effects were based on storyboards from the original production and produced to appear as if done using the effects technology of the time. Several continuity errors were also corrected, but some were also added. Edits to improve the film's pacing were made. This Director's Edition of the film also has a proper sound mix, which was lacking in the theatrical presentation. This version of the film is generally considered a significant improvement over the original film.

The entire segment of Spock entering V'Ger alone was filmed at the last minute by Douglas Trumbull, who wrote and directed the sequence. The original sequence, showing Spock and Kirk entering V'Ger's memory core had been in production but abandoned when it was determined that the sequence brought the movie to a halt and that the costs of the wire-removal and other effects would consume much of the entire effects budget for the film.

Artist Andrew Probert proposed a climactic sequence involving the Enterprise being attacked by the Klingon ships from the beginning of the movie, who would rematerialize as V'ger moved to its new plane of existence, but this sequence was not filmed.

The film's Academy Award nominated score was by Jerry Goldsmith. His theme to the film was later reworked as the theme for the Television series Star Trek: The Next Generation and was also reused in Star Trek V, Star Trek: First Contact, Star Trek: Insurrection, and Star Trek: Nemesis.

This is the first moment in Star Trek when Klingons are seen with their trademark 'bumpy forehead' look rather than the hooked eyebrows and twirled moustaches seen in TOS. This change of appearance sparked a quarter century of fan speculation (and a joking reference in the Star Trek: Deep Space Nine episode "Trials and Tribble-ations") until a canonical rationale for the change was finally provided in a 2005 episode of Star Trek: Enterprise.

Much of the recording equipment used to create the movie's intricately complicated sound effects was, at the time, extremely cutting edge. Among these pieces of equipment was the ADS (Advanced Digital Synthesizer) 11, manufactured by Pasadena, California custom synthesizer manufacturer Con Brio, Inc. The movie provided major publicity at the time and was used to advertise the synthesizer, although no price was given at the time.

[编辑] 批評

普遍來說，由於電影節奏緩慢，而且相比於故事情節與人物性格，電影過分著重特技，所以《星艦迷航記》是《星艦奇航記》電影系列中令人失望的一集，有些《星艦奇艦記》的擁躉更嘲諷這是「The Motionless Picture」。不過，亦有擁躉認為這是系列中最好的一齣，因為它最準確地反映了《星艦奇航記》創作人金·羅丹貝利的對未來的看法。

[编辑] 幕後花絮

Elements of the film were also resurrected in TNG, such as the dashing young executive officer (Commander Riker) who had a personal relationship with an empathic alien woman (Counsellor Troi), and the one-piece Starfleet uniforms.

According to Gene Roddenberry's novelization of the film, Will Decker is the son of Commodore Matt Decker from the original series episode "The Doomsday Machine", which was also the plan for the Phase II television series. Despite not being mentioned onscreen in the movie, this relationship has assumed at least semi-canonical status, considering its Roddenberry origins, and the fact that it has never been officially contradicted in the years since.

The film's storyline is strongly reminiscent of the Original Series episode "The Changeling", which features an Earth-born probe enhanced by alien technology and seeking to return to its "point of origin". The probe, in this case Nomad, mistakenly believes Kirk to be its creator, and possesses a strong drive to sterilize all "imperfect" life forms.

In the novelization of this movie, credited to Gene Roddenberry, and published by Pocket Books in paperback format, V'Ger is spelled "Vejur" through to nearly the end of the novel, and the second individual who perishes in the Enterprise transporter accident is named as a Starfleet Admiral named "Lori Ciana". The novelization states that Lori Ciana was a Starfleet vice admiral assigned as Rear Admiral James T. Kirk's commanding officer in his post as chief of Starfleet Operations (as well as his ex-wife, for some of the two-and-a-half years since he relinquished captaincy; it is sometimes erroneously stated that the character was his fiancee). The female character who perished in the transporter was played in the film by Susan Sullivan.

Roddenberry's novelization is the only Star Trek novel credited to the creator of the franchise, although there were rumors in the 1980s that it was actually ghost written by Alan Dean Foster. (This would not have been unprecedented; Foster ghost-wrote the novelization of Star Wars Episode IV: A New Hope, which was credited to creator George Lucas.)

In William Shatner's novel, "The Return", in which the Romulans and the Borg team up to revive Kirk and destroy the Federation, Spock was nearly assimilated by the Borg, but was saved by the fact that he mind-melded with V'ger. This is because, according to Shatner's novel, the alien race that found V'ger was an earlier form of the Borg. (Gene Roddenberry had speculated that perhaps the living machine world found by V'ger was the Borg homeworld.) Spock was saved from assimilation because he had part of the Borg Collective in his mind when he mind-melded with V'ger.

There are several reported inconsistencies in the film:

• In the original 1979 cut of the film, the planet Vulcan is depicted as having two moons. However in the original series episode The Man Trap, Spock notes that Vulcan has no moon. This has been corrected in the director's cut.
• The V'Ger cloud is reported to be over 82 astronomical units in diameter. An AU is the distance between Earth and the Sun, and a diameter of 82 AUs would engulf the entire solar system. While this seems inconsistent with V'Ger managing to get into Earth orbit, a line in the film explains "Cloud dissipating rapidly as it approaches", and, indeed, the last of the cloud vanishes as V'ger enters Earth orbit (a fading blue cast in the original cut, but more distinctly seen in the Director's Edition). In the Director's Edition, the line describing the cloud is edited to "two AUs in diameter".
• When Kirk tries to use the phasers to destroy the asteroid in the wormhole, Decker overrides his orders, instead opting for the photon torpedoes. He gives his reason later as because the phasers take their power directly from the warp engines, when the engines went into imbalance, the phasers were cut off, hence he used the photons. Later Trek series, such as TNG, establish that phasers are sublight weapons and would not work at warp. However, this rule wasn't established at the time of the making of the film, and furthermore the warp engines were already shut down in the wormhole, further confusing the issue, especially given dialogue about "negative inertial lag." (There are odd occurrences in TNG, DS9 and Voyager where phasers are used during warp. These are likely simply canonical slips.)

[编辑] 相關書籍

Chekov's Enterprise: A Personal Journal of the Making of Star Trek: The Motion Picture, by Walter Koenig.

The Making of "Star Trek: The Motion Picture", by Gene Roddenberry (with Susan Sackett). (New York: Pocket Books, 1980).

[编辑] 外部連結

• 《Star Trek: The Motion Picture》在互联网电影数据库（IMDb）
• Star Trek: The Motion Picture 在StarTrek.com