Destination: Moonbase Alpha (56 page)

Authors: Robert E. Wood

BOOK: Destination: Moonbase Alpha

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Psyche itself – referred to in one working title as ‘The Biological Computer’ – is a veiled interpretation of
Frankenstein
: a creation (whether a computer or a monster) that ends up destroying its maker.

The culminating scenes are exciting and dramatic, finally ending with the destruction of Psychon and the introduction of Maya to Alpha’s crew. The special effects are all impressive, especially the view of Psychon from above, with a remarkably believable display of clouds in the atmosphere. Set design excels with the Grove of Psyche and the striking orange colour scheme evident in the corridors and holding cell. The single aspect that serves to define most strongly the tone of ‘The Metamorph’ – and all of Year Two – is the enjoyable music of Derek Wadsworth, which conveys the new action-adventure orientation of the series.

The finest elements of the episode are those related to the characters, and the show ends on a touching note, with emotions conveyed with realism and validity. Maya begins as a naïve girl, and the most remarkable transformation in the episode is her journey to being a woman, spreading her wings and leaving the nest. Psychologically, as well, Maya alters her view of the world and her father, transitioning from her earlier sheltered naïveté to broad awareness as she moves on with her life in the alien, and undoubtedly scary, universe – the ultimate metaphor for life itself. These are the real metamorphoses with which ‘The Metamorph’ is concerned.

The weakest aspect of the episode is the lack of explanation for the changes between seasons, but the positive side of the missing characters not being killed off is that fans can still imagine that Professor Bergman, Paul Morrow and the others are still somewhere out there in the universe. But it would have been wonderful to see Bergman interact with Maya, not only because of the potential character combination, but also because Barry Morse and Catherine Schell were friends, having worked together on the series
The Adventurer
, and they had wonderful chemistry together.

Another quibble would concern the ability of one explosive-packed Eagle to destroy the entire planet Psychon, which clearly is in contradiction to the tenets of the first series. Finally, the date of this episode – 342 days since leaving Earth orbit – is too soon. Not only does this contradict the earlier dating of ‘Dragon’s Domain’, it also artificially compresses all of Year One into far too short a time frame. With this, as with other aspects, the two seasons of
Space: 1999
seem to inhabit entirely different universes.

‘The Metamorph’ is an outstanding fast-paced introduction to the new series of
Space: 1999
and sets a high standard for future episodes to match.

Rating:
8.5/10

2.2

THE EXILES

Screenplay by Donald James

Directed by Ray Austin

Selected Broadcast Dates:

UK
LWT:

Date: 11 September 1976. Time: 11.30 am

Granada:

Date: 22 April 1977. Time: 7.30 pm

US
KRON (San Francisco):

Date: 11 September 1976. Time: 7.00 pm

Credited Cast: Martin Landau
(John Koenig),
Barbara Bain
(Helena Russell),
Catherine Schell
(Maya),
Tony Anholt
(Tony Verdeschi),
Nick Tate
(Alan Carter),
Zienia Merton
(Sandra Benes),
Margaret Inglis
(Mirella),
Anthony Blackett
(Stal),
Peggy Ledger
(Old Lady (Maya)),
Anton Phillips
(Bob Mathias)

Guest Stars: Peter Duncan
(Cantar),
Stacey Dorning
(Zova)

Uncredited Cast: Peter Porteous
(Petrov),
Sarah Bullen
(Operative Kate),
Robert Reeves
(Operative Peter Reeves),
Pam Rose
(Operative P Rose),
Andy Cummings
(Command Centre Operative),
Quentin Pierre
(Security Guard Quinton),
Roy Everson
(Life Support Guard),
Ron Nichols
(Security Guard),
Vic Armstrong
(Rescue Operative),
Glenda Allen
(Technician),
Frank Maher
(Decontamination),
Charlie Price
(Doorman),
Bill Westley
(Doorman),
Jenny Cresswell
,
Tracey Hudson
,
Maryanne
(Nurses)

Plot:
A fleet of missile-like objects enters orbit around the Moon, and when the first is retrieved they are found to be capsules containing alien beings. Two of these aliens – Cantar and Zova – conspire to use the resources of Moonbase Alpha to return to their home world, Golos.

Quotes:

Koenig:
‘Helena, they may have something. Something our sensors can’t detect. My concern is with the survival of this base.’
Tony:
‘Look, you asked what sort of people they are. What sort of people are we?’
Helena
:
‘I’m a doctor, John. I save life for the sake of saving life.’
Tony:
‘Is survival all-important? What sort of society is it that abandons 50 innocent beings?’
Helena
:
‘There is once again a warm feeling of well-being on Moonbase Alpha.’

On-screen Date:
403 days since leaving Earth orbit.

Filming Dates:
Tuesday 17
February – Monday 1 March 1976

Months later, on 7 June, director Kevin Connor filmed an additional scene for this episode, where Maya rescues Petrov by transforming into a gorilla.

Commentary:

Keith Wilson:
‘The black panther was one of our most successful Maya transformations: when it leaps across the set in “The Exiles”.’

Fred Freiberger:
‘We did a black panther sequence on
Space: 1999
[in “The Exiles”] – Catherine Schell made a leap and transformed into this panther in mid-air. We spent the whole day and it cost us $5,000. In America it would have cost us $50,000!’

Review:
‘The Exiles’ was originally written in the autumn of 1975 for the Year One format, and was re-written to fit the new series by Donald James in early January of 1976. The script is well paced and the drama builds to a memorable climax.

‘The Exiles’ is quite successful as a second episode. A suspenseful (and very well filmed) prologue generates interest in the presence of the alien capsules in orbit around the Moon and demonstrates admirable teamwork among the Command Centre staff. The space walk sequence with Koenig and Maya leaving the Eagle with jet packs is an example of fantastic production quality and effects. The Eagle ‘arm’ used to transport the alien pods to the base is an effective piece of novel technology that will feature again in the later episodes ‘The Rules of Luton’ and ‘Space Warp’. Viewers are introduced to an impressive new remote research station, complete with launch pad, located at a safe distance from the bulk of the base. It is a logical addition – a distant lab where dangerous experiments can be undertaken or alien objects examined – and would have been very useful in Year One episodes such as ‘The Last Sunset’ and ‘Space Brain’.

The plot has similarities to that of Year One’s ‘End of Eternity’, with the curious Alphans unwittingly releasing psychotic alien criminals from their eternal prisons. Helena identifies the dichotomy of this episode when she notices how young the aliens are, as a means of demonstrating their implied innocence. The implication is that youth and beauty equal innocence. Here youth and beauty are deceptive covers for the true history and evil purpose of Cantar and Zova.

Anton Phillips has a sufficiently interesting role to play in this, his final episode of the series. The continuity of his presence will soon be greatly missed as a revolving door of doctors begin passing through Medical Centre.

‘The Exiles’ features some effective and amusing banter and fun interplay between Helena and Maya, demonstrating their growing friendship. Helena’s hobby as a sculptor is explored: she has created a bust of herself as a gift for John. It’s a pleasant addition to her characterisation, and in general she seems to be more open with emotions that she would have restrained in the first season. For viewers unfamiliar with Maya, several demonstrations are given of her powers of molecular transformation. First is the harmless fun of her change into Helena. Second is her adoption of the form of a large gorilla creature (actually, another awful man-in-gorilla-suit) to save an Alphan trapped under a fallen metal beam. Third is her amazing mid-air shape-shift into a black panther – without doubt one of the finest transformations in the series. Sadly, the big cat doesn’t seem to retain Maya’s intelligence and quickly gets stunned.

Keith Wilson recycles his Grove of Psyche set from ‘The Metamorph’ and converts it into the control room on Golos, with quite impressive results. It’s an indication that the budget had been decreased: In Year One, new sets were designed with virtually no re-use, and on a much larger scale. Now, they are scaled back in scope and this same set will return again, redressed, for episode three.

Golos seems to be an interestingly advanced world of high technology and compassionate criminal justice systems. The surface of Golos is similar to that of the planet from ‘War Games’, with tall buildings raised up over a surface quite green with trees and foliage. The scenes on Golos are excellent. Helena states her contempt for Cantar, who tells her she is crippled by her ‘moral ideas of loyalty, gratitude and fair play.’ Helena replies, ‘And you and Zova are free spirits, I suppose. Free to hate, threaten and kill.’ The name ‘Golos’ is actually derived from the Hebrew word ‘Galuth’, meaning ‘exile’. Historically and specifically, this referred to the exile of the Jews from Palestine.

In a suitably alien manner, Cantar bleeds green blood when
Helena scratches his face, piercing the protective membrane that preserves his youth. This culminating sequence is a dynamic combination of direction, action and pyrotechnics. Topping it all is the transformation of Cantar as his 300 years catch up with him in a matter of minutes. The ageing make-up is first-rate, as is Peter Duncan’s performance as the dying and ancient Cantar; unfortunately Duncan’s voice was dubbed (quite poorly) by someone who sounded more American, which is a shame, because the new voice is an eternal, though minor, distraction.

Frequent first season director Ray Austin makes his first of two stabs at helming segments of Year Two, and although his efforts here lack the visual flair he usually displayed in Year One, he is largely successful. Other memorable aspects of the production include the soundtrack by Derek Wadsworth and the impressive special effects by Brian Johnson and his team.

Thematically, there is a prominent argument over the ethical conflicts involved with survival, which is a worthy concept for the series, and was dealt with earlier in such episodes as ‘Mission of the Darians’.

‘The Exiles’ is a very enjoyable second episode for Year Two.

Rating:
8/10

2.3

ONE MOMENT OF HUMANITY

Screenplay by Tony Barwick

Directed by Charles Crichton

Selected Broadcast Dates:

UK
LWT:

Date: 25 September 1976. Time: 11.00 am

Granada:

Date: 6 May 1977. Time: 7.30 pm

US
KRON (San Francisco):