Star Trek VI: The Undiscovered Country (1991)

After lackluster box office returns for Star Trek V, questions abounded whether Paramount finished the film series for good. Retaining the core cast proved so expensive that continuing might be unsustainable if they couldn’t guarantee better profits. Paramount entertained other directions to keep the franchise beyond the original actors.

Harve Bennett, the producer for the previous four entries, commissioned David Loughery, Star Trek V‘s screenwriter, to draft the “Starfleet Academy” concept Bennett cultivated for some time. This “Star Trek” prequel, then titled, “Star Trek: The First Adventure,” re-cast the familiar roles with younger and less expensive actors (Bennett revealed after the fact that he envisioned Ethan Hawke for Kirk and John Cusack for Spock). We’d see farmboy Kirk in his wild and womanizing days, his main rival, Spock, treated amongst peers as a misfit outsider, and Bones as Kirk’s older roommate who manages to keep them both grounded. This prequel would entertain franchise fans while serving as a jumping-on point for new viewers. Bennett felt so strongly about his vision that he desired to direct the feature himself.

“Star Trek” creator Gene Roddenberry stated this was a bad idea. He publicly mischaracterized it, perhaps intentionally to raise fan outcry, becoming a lowbrow spoof of the “Star Trek” concept, akin to Police Academy in space. Paramount’s motion-picture head, Ned Tanen, wasn’t phased. If the public rejected it, they still had the option of pulling together the original cast for one more go-around. Tanen left, and Paramount’s new motion picture head, Sid Ganis,  begrudgingly stayed with the concept. After much development, they took it to Paramount head Frank Mancuso wanted to still involve William Shatner and Leonard Nimoy in the next film.

Bennett and Loughery brainstormed a framing device for their story. Admiral Kirk, played by Shatner, gives an address at Starfleet Academy and is asked about his time as a cadet there. The rest plays as a series of flashbacks with a different cast until the final scene, where Nimoy as Ambassador Spock greets Kirk before they go on another mission. This frame gave them the option of proceeding forward with the young cast but also not ending the franchise for the older actors if things didn’t work out.

Mancuso loved the idea, but there was a catch. Martin Davis, the CEO of Gulf+Western (Paramount’s parent company), heard about the controversial plan. He demanded that they could not make the next movie without the original cast. No one at Paramount had the gumption to persuade him otherwise. Word leaked out, which sparked a letter-writing campaign from Trekkers threatening to boycott any film without the original cast.

Mancuso wanted one more conventional Star Trek before going with the Starfleet Academy concept. Bennett knew making another traditional Trek would mean little chance of his idea going forward because Mancuso of the desired Summer 1991 release date. Only eleven months to draw up and make a new Star Trek would end up severely rushed and undoubtedly botched. The franchise would be dead, as would his reputation, and no one would want to see his prequel idea. With his contract nearly expiring and without attractive options, Bennett left Paramount feeling hurt and depressed at the amount of time he spent on the project to have Paramount pull the rug out from under his feet.

As Paramount continued to have financial difficulties, they considered putting the series into mothballs. George Takei, the only original cast member who signed on for the “Star Trek” convention circuit in 1990, told Trekkers that Paramount executives questioned public interest in another Star Trek film. Takei urged them to make their voices heard. Fans began lobbying the studio to make it happen.

Sensing that “Star Trek” still had life in it, Mancuso told Leonard Nimoy to take the lead on the next Star Trek. Nimoy could write, direct, executive produce – whatever he wanted. – so long as they could get a movie into theaters by the 25th Anniversary of “Star Trek” on September 8, 1991. Paramount wanted a final film with the original cast to act as a transition of the big-screen series to “Star Trek: The Next Generation,” the #1 rated syndicated television show at the time.

Nimoy’s angle was that “Star Trek” had always been a show that commented on the times. For its 25th anniversary, the film should comment on something there from the beginning: the thorny issues between the United States and the Soviet Union, using the Federation and Klingon Empire as an allegory. The Soviet Union had been undergoing extraordinary changes –  glasnost, perestroika, the Chernobyl crisis. Peace was a goal, but continued distrust among many factions about the “New World Order” emerging caused some to thwart it actively.

Nimoy envisioned that the Klingon Empire is crumbling. Under the leadership of a Gorbachev-like leader, they reach out for assistance to survive to the Federation. Their leader promises an end to their warmongering ways to work toward peace to ensure their survival.

With a solid story idea, Nimoy wanted Nicholas Meyer to write and direct. Meyer had a hand in the best of the franchise films,  directing Star Trek II and co-scripting Star Trek II and IV. Meyer was putting the finishing touches on his project for MGM called Company Business. Paramount didn’t want to wait to negotiate with Meyer, having Nimoy talk to a screenwriting team they had under contract, Lawrence Konner and Mark Rosenthal. They brought in a completely different story idea, centering the film around Romulans. Nimoy insisted they write his story instead. After a couple of drafts based on Nimoy’s ideas, Nimoy grew disenchanted and insisted they pursue Meyer.

Frank Mancuso and Martin Davis met with Meyer, unhappy with leaving the series stalled with Star Trek V, asking if he could make Star Trek VI  for $30 million. After they had Nimoy explain the story, a metaphorical Berlin Wall coming down in space, Meyer consented to write the script. If the screenplay were good enough, he’d direct it as well. Nimoy and Meyer brainstormed the basics of where they wanted to go and smooth sailing seemed assured

A snag arose when Paramount reasserted that Konner and Rosenthal should be the screenwriters. Paramount tried them out but found their work was substandard. They asked Meyer to help out. Meyer explained the story he and Nimoy developed. Nimoy was incensed because it was his story idea that Meyer was assisting them with, and he wasn’t in the loop.

Even with help, the Konner/Rosenthal script was a turkey, allowing Meyer to take the lead on the screenplay duties once more. During this period, Meyer’s assistant, Denny Martin Flinn, was diagnosed with a form of oral cancer. Flinn was also a screenwriter, so to distract his mind from the pain, Meyer had Flinn help write the first draft of the screenplay for Star Trek VI. In subsequent revisions, Meyer added his trademark literary references, with a heavy emphasis on Shakespearean quotes, including the film’s subtitle derived from Hamlet’s “To Be or Not to Be” soliloquy, “The Undiscovered Country,” used in the film to denote the uncertain future and the fear that results from the unknown. Meyer has stated he put in Shakespeare because he liked the way it sounded coming from the gleefully scenery-chewing Christopher Plummer.

Once their draft was complete, Meyer handed it to Nimoy, who had concerns. Meyer was combative at Nimoy’s criticism, and the revision process grew tense. They sorted out narrative gaps, though Nimoy was unable to convince Meyer on one plot element. Nimoy wanted Kirk to realize that Klingons were angry and warmongering for reasons other than it’s in their nature. Meyer asserted that their actions should not be justified. Even though it was tense, the story grew layers, and they had a script that they both were proud to call theirs. Or so they thought. After the film had wrapped and a suit was filed by Konner and Rosenthal, claiming they should get credit for writing the film. After weeks of contentious arbitration, Konner and Rosenthal won a “story by” credit with Nimoy, with Meyer and Flinn as the screenwriters.

Gene Roddenberry wasn’t a fan of the script, detesting the depiction of the Klingons as capable of being civilized, refined, and seeking peace, while the Federation led the resistance. The Federation would always look for peaceful solutions, but the Klingons settled disputes by brute force. Roddenberry had qualms about Kirk’s line, “Let them die!” upon hearing that the Klingons would perish without Federation assistance. Shatner also felt it seemed out of character, negotiating with Meyer to express regret after saying it, something Meyer trimmed in the final cut. Even if Klingons killed his son Kirk was never a bigot. It subverted Roddenberry’s utopian vision of humanity’s future without prejudice if the Federation viewed other races in the galaxy that way.  Despite Roddenberry’s qualms, Meyer insisted that his approach worked best for the aspirational theme of overcoming hatred and enmity to value a peaceful coexistence. 

Once they turned in a completed script, Paramount grew gunshy because of they of the financial risk. They would only budget $27.5 million and they still hadn’t negotiated with the stars. When Meyer refused to accept anything below the $30 million he was promised, Paramount canceled Star Trek VI.

After a short length of time, luck came into play. Frank Mancuso left Paramount, making way for Stanly Jaffe, the father of one of the producers for Star Trek VI. Jaffe had a prior working relationship with Meyer and accepted his request for the additional $2.5 million. Still, Shatner and Nimoy’s asking price threatened to eat half of that amount. The green light came on again when Shatner and Nimoy negotiated a smaller salary upfront for a more significant cut of the net profits.

Once things were ready to roll, the next snag arrived. The same corporate bean counters that forced Shatner to chop up his story for Star Trek V did the same for Star Trek VI due to estimates of exceeding its allotted budget by $15 million.  They reduced special effects sequences in half and redressed sets used initially in Star Trek V and “The Next Generation” to avoid building anything new. The shooting schedule was reduced to ten weeks, forcing Meyer to jettison a ten-minute opening sequence depicting each member of the Enterprise crew in their retirement before being rounded up by Kirk for one more mission.

They jettisoned a sequence where Kirk, Spock, and Scotty sneak into a hidden Klingon base to discover a cloaked Bird-of-Prey. This chopped out the explanation of the plot to destroy the peace process. Meyer revised the central scheme to incorporate a Federation conspirator in the form of Lt. Valeris, played by Kim Cattrall. The Valeris role had been intended to be Saavik, but her original portrayer, Kirstie Alley commanded a hefty salary in 1990. Although Saavik was not his creation, Gene Roddenberry objected to her involvement in a conspiracy within Star Trek VI because of her beloved fan-favorite status. Also, the intention of romance between Spock and Saavik wouldn’t work because it would upset fans to see her turn at the end.

Cattrall, who originally auditioned for Saavik for Star Trek II, won the role this time, but she turned it down because she didn’t want to be Saavik #3 and offer only window dressing. Nimoy and Meyer scrapped Saavik and created a new character, offering Cattrall to have a hand in designing her appearance (within certain boundaries) and her name. Cattrall chose the name “Eris,” which Meyer changed to “Valeris” because it had a more Vulcan ring to it. 

Star Trek VI draws many parallels to the end of the Cold War between the United States (represented here by the Federation) and the Soviet Union (the Klingons).  An explosion occurs on the Klingon moon known as Praxis (an allusion to the Chernobyl nuclear disaster), which makes the Klingon race face possible extinction, as their way of life crumbles, rendering them a superpower no longer (akin to the breakup of the USSR).  The crew of the Enterprise is called upon to be an escort for Klingon Chancellor Gorkon (Gorbachev proxy) to a crucial assembly on Earth.

It’s hard for Kirk and company to trust the Klingons after so many years of fighting them. When a couple of photon torpedoes blast into the Klingon ship, and two men in Federation gear assassinate many onboard, all fingers point to the only logical culprits, the Enterprise crew.  Kirk and McCoy are put on trial for the disaster, leaving the remaining team with little time to coordinate an effort to clear their names and secure their release before whatever faction responsible commits more assassinations to undermine the peace process.

In addition to the original cast returning, there would be some surprises for the fans. Jack Palance wanted too much money to play the Klingon leader, Gorkon, so they offered it to David Warner, who played Jack the Ripper for Meyer’s breakthrough film, 1979’s Time After Time. Though Warner had just appeared in Star Trek V as a different character, Meyer felt he would be under so much make-up that few would notice or care. Christian Slater is a hardcore Trekkie, and his mother, Mary Jo Slater, was the casting director, so they wrote a cameo part.

The tie-in to “Star Trek: The Next Generation” comes in the form of Michael Dorn, who plays a lawyer named Colonel Worf, not to be confused with Lt. Worf from “Star Trek: The Next Generation,” who is his grandson. The role in the script was “Klingon defense attorney,” but Meyer decided to retool the part for Dorn’s appearance. Meanwhile, Leonard Nimoy further connected the two series by appearing as a 130-year-old Spock on “Star Trek: The Next Generation.” Airing weeks before the Star Trek VI release date, the two-part episode called “Unification” directly references to the movie’s plot.

Preview screenings went exceptionally well, save for Roddenberry demanding that they cut out all of the military aspects that Meyer put into the script to emulate Naval command. Their mission is of exploration, not of being Cold Warriors who serve no function in times of peace. Roddenberry, who had already been ailing from a couple of strokes before the screening, would pass away two days later from heart failure on October 24, 1991. Paramount has already celebrated  Star Trek’s 25th anniversary by naming a new building on their lot the Gene Roddenberry Building. They’d have one more dedication to make: the movie.  They commemorated his legacy with a simple, “For Gene Roddenberry,” to start the film.

Although the script does play campy at times, there is very little that the makers of Star Trek VI do wrong.  Meyer brings in healthy character development, tie-ins with prior Star Trek films, gripping action, in-jokes, well-crafted sets, and special effects, and a complex story that brings intelligence to the forefront.  Meyer draws out a grounded performance from William Shatner, shedding Kirk’s joviality exhibited over the last two films.  Kirk is commanding and resourceful once again, regaining the stature and respect as one of the great warriors of his time.

Returning to do visual effects work is Industrial Light and Magic, who did wonders for Star Treks II-IV. ILM’s hiring assured none of the poorly rendered effects that marred Star Trek V.

After listening to a sample cassette, Meyer and music editor Ron Roose selected 26-year-old composer Cliff Eidelman to handle scoring duties because his sound was original and not a typical film score. Meyer originally wanted for Eidelmann to adapt a pre-existing symphony called “The Planets’, by Gustav Holst, but had difficulty acquiring the rights. In the meantime, Eidelman continued to do original work that amazed them, until they finally thought “The Planets” was no longer needed with such suitable compositions already available.

Star Trek VI opened on December 6, 1991, a week ahead of its target date to avoid competing with Steven Spielberg’s Hook. With good critical writeups and robust box office response, it debuted at #1 with $18 million, the best opening weekend of the series to that point. All told, it earned $75 million in the US and another $22 million overseas for a combined total of about $97 million off of its $30 million budget.

The film ends with a nice touch. The seven main actors’ signatures appear on the screen one after the other. The origin of this sequence was one written by Denny Martin Flinn in which Kirk invited the rest of the Enterprise crew, signing off the last entry of the Captain’s Log. This idea morphed into the actors officially signing off on the movie, the series, and “Star Trek” as a whole, History would prove that it was only the final “Star Trek” appearance for DeForest Kelley and Nichelle Nichols.

Although this is the last film in the original series, Meyer never decides to go for the sentimentality that would mar the previous “last” movie, Star Trek V.

It doesn’t play like a final film much of the way, only indicating its status when you get to the Captain’s Log, and Kirk mentions that it is the last voyage under his command. Never tugging at our heartstrings, the film concludes with a sense of respect for the fans and the actors alike. The sadness that comes with a final adventure comes from within us as viewers, rather than any artificial manipulations onscreen.  It’s good to see the crew in top form once again, and at the same time, it’s sad to see them go.

• Despite its “last film” status, Kirk, Scotty, and Chekov would return to the big screen in the next franchise film, Star Trek Generations, the first official “Next Generation” Star Trek movie.

Qwipster’s rating: A

MPAA Rated: PG-13 for violence and mild language
Running Time: 113 min.

Cast: William Shatner, Leonard Nimoy, Christopher Plummer, Rosanna DeSoto, Kim Cattrall, DeForest Kelley, James Doohan, George Takei, Walter Koenig, Nichelle Nichols, David Warner, Iman, Mark Lenard, Grace Lee Whitney, Brock Peters, Leon Russom, Kurtwood Smith, John Schuck, Michael Dorn, Christian Slater (cameo)
Director: Nicholas Meyer
Screenplay: Nicholas Meyer, Denny Martin Flinn