From: South Central (Tamazunchale@webtv4tag.net) Date: Mon, 30 Mar 1998 15:07:15 -0800 Subj: Space1999: Episode by Episode
THIS WEEK: The Last Enemy
As always: Monday through Sunday
Mateo
From: David Acheson (dkach@hotmail4tag.com) Date: Mon, 30 Mar 1998 22:08:31 EST Subj: Space1999: The Last Enemy
After the plateau that was reached by WAR GAMES, it would be fairly certain that almost any episode would find it hard to live up to the same expectations. THE LAST ENEMY had that unfortunate task.
Unfortunately, this particular episode seemed almost doomed to failure from the start. Despite the effort to jazz things up with some action/adventure. Was this the spin off effect of the previously filmed episode? Another ITC directive? It is the only episode to be credited as both written and directed by Bob Kellett (director of VOYAGER'S RETURN and THE FULL CIRCLE). He definitely had some experience with the series by this time around but he was not one of the big timers like Austin, Tomblin and Chrichton who all left a definite directorial mark on the show. Still he wasn't completely bad so I would put him into the average category but this too lacks when compared to the others. I think he did his best work in THE FULL CIRCLE.
I must admit from the start that I enjoyed THE LAST ENEMY as a kid - big ships and big explosions. As an adult and some twenty years later I do not see much else there. Its predecessor, WAR GAMES, was billed as an action episode but Christopher Penfold gave us some great philosphical ideas (mostly anti-war) to go along with it. What Kellett ended up giving us was CHARLIE'S ANGELS in outer space.
I am not sure though that this was his intention. There has been a lot of talk about the issue of the battle of the sexes - the females of one world versus the males of another. I have to admit that I never saw it that way all these years. I agree Dione's all female crew was a far-fetched idea. However, it was never directly mentioned that the females were the superiors on Betha and they hated the men on Delta. That definitely would have put this episode into the 1950's B film category. Ever see QUEEN OF OUTER SPACE with Zsa Zsa Gabor? So I grew up thinking that we just never saw the other important Bethans and Deltans who were of both sexes. Just call me naive.
I often wondered if Bob Kellett got the idea for Betha and Delta being in the same orbit around their sun but on completely opposite sides of it from the Anderson's JOURNEY TO THE FAR SIDE OF THE SUN (DOPPELGANGER). A remarkable coincidence.
Funniest moment. When Dione arrives on Alpha in her motorcyle uniform and helmet. Space Biker chick! All that was missing was the Harley! BTW, just who is Caroline Mortimer and did she do anything else after this?
Overall, one of the few episodes I enjoyed as a kid that has not agreed so well with me as an adult. I can still watch it but I learn not to take it so seriously now.
David Acheson
Site Administrator, Return to Moonbase Alpha
http://www.geocities.com/WestHollywood/Heights/4376/moonbase.html
From: Chris Hlady (chlady@escape4tag.ca) Date: Mon, 30 Mar 1998 23:01:50 -0600 Subj: Re: Space1999: The Last Enemy
--instigating influence reply--
Thanks Dave for:
a) your terrific description of the episode: The Last Enemy
b) your very cool web site:
http://www.geocities.com/WestHollywood/Heights/4376/moonbase.html
I vaguely remember this episode from when I was a kid, and will be happy to
watch it again when I get the chance.
--expansive self-interest opinion--
The story metaphor, the eternal conflict of the sexes (nicely paralleling
Doppleganger), plays well as a timeless theme. Although I agree with you
that it wasn't blatantly part of the story, it did serve to propel the
story, and to clarify the planets' differences.
The denial of sexual differences, I believe, is one of the least agreeable side-effects from my Space: 1999 influence. I found it very difficult to grow up treating men and women differently. While good in once sense - every individual deserves to be treated equally - each relationship is unique and requires finely tuned appreciation of the other's differences.
The sexual ambiguity of Space: 1999 episodes, while metaphysically sound, didn't match the reality of what I would face later on (nor should it, of course, but age-appropriate storytelling is another enemy altogether).
In my life, I've found myself detached from other people's feelings. Although fairly prevalent among the population, this detachment/ambiguity has crippled my function as a man. I've since spent a fair bit of time trying to redefine what kind of man I want/need to be, and my explorations have been fruitful, if somewhat abstracted.
So who is the Last Enemy? Ourselves? Our sexual needs? The opposite sex?
I'd like to hear some opinions before giving my answer.
Cheers,
Chris Hlady
chlady@escape.ca
http://www.escape.ca/~chlady
From: Petter Ogland (petter.ogland@dnmi4tag.no) Date: Tue, 31 Mar 1998 12:17:29 +0000 Subj: Re: Space1999: The Last Enemy
David Acheson wrote:
After the plateau that was reached by WAR GAMES, it would be fairly certain that almost any episode would find it hard to live up to the same expectations. THE LAST ENEMY had that unfortunate task.
A striking part of the first year production is the wide scope of episodes, I feel. While THE LAST ENEMY has nothing to do with the change of directions made in year two, it sometimes almost feels like being made for another series. THE FULL CIRCLE is the first episode that comes to mind having a similar oddness to it, perhaps not too strange, as David also points out, both being directed by Kellett.
According to Johnny Byrne, who wrote the script for Kellett's first contribution, VOYAGER'S RETURN, Kellett liked to work on his own, and there was very little discussion between him and the writers in the making of his episodes.
Personally I feel that VOYAGER'S RETURN is the episode the strikes the most chords with the general SPACE: 1999 feel, but this being somewhat anonymously directed perhaps, I believe I can understand why David favours THE FULL CIRCLE as Kellett's most well accomplished work for the series.
In THE SPACE:1999 DOCUMENTARY and ALPHACON, Kellett explains that THE FULL CIRCLE was, in fact, the piece of work he felt most content with, and THE LAST ENEMY, which was apparently working on in collaboration with Barabara Bain, was a rather difficult thing, Kellett having difficulties understanding Barabara's intentions with the script.
I must admit from the start that I enjoyed THE LAST ENEMY as a kid - big ships and big explosions. As an adult and some twenty years later I do not see much else there. Its predecessor, WAR GAMES, was billed as an action episode but Christopher Penfold gave us some great philosphical ideas (mostly anti-war) to go along with it. What Kellett ended up giving us was CHARLIE'S ANGELS in outer space.
CHARLIE'S ANGLES? He-he. David's sense of humour is one of the things I really enjoy about this list. I must admid though that it also rings true, especially in the early prologue sequences. More so, it doesn't strike me that the female actors playing co-pilots to Dione have been chosen because of outstanding acting abilities. The credibility in some of the scenes in this episode seems dangerously close to zero, but seemingly being a Freudian drama of sorts it doesn't really seem to matter all that much. Anyway, Caroline Mortimer is both beautiful and a very talented actress, I feel, although her best scenes perhaps being on Alpha and not on the warrior ship.
I am not sure though that this {CHARLIE'S ANGLES} was his intention. There has been a lot of talk about the issue of the battle of the sexes - the females of one world versus the males of another. I have to admit that I never saw it that way all these years. I agree Dione's all female crew was a far-fetched idea. However, it was never directly mentioned that the females were the superiors on Betha and they hated the men on Delta. That definitely would have put this episode into the 1950's B film category. Ever see QUEEN OF OUTER SPACE with Zsa Zsa Gabor?
The more I watch this episode the more I get the feel of its being derived from ideas concerning strained relationships betweent the sexes. Before filming one of the early drafts was even called THE OTHER SEX. My impression of the episode is that it is partly a serious attempt of using ideas similar to Woody Allen's ALL YOU WANTED TO KNOW ABOUT SEX, BUT WERE AFRAID TO ASK (1972), last sequence, using the outer space environment, the new sun and it's two planets, guns, thundering battle, etc. as Freudian symbolism describing love, death, sex, power, jealousy and so on to describe a rather rough state of marriage.
I believe that Gerry and Sylvia Anderson were having a hard time at this moment of production, deciding to depart shortly later, and perhaps the Landaus were also having a bit of a rough. They also decided to separate, although somewhat later I believe.
While the story is somewhat whimpsical, it does seem to include elements of a triangle between John, Helena and a younger woman. While Helena's jealousy is somewhat subdued, it seems to play a central part in the plot. The epilogue also seems to indicate that this is very much a jealousy drama.
Perhaps one could look at THE LAST ENEMY as a drama along the lines of Edward Albee's WHO'S AFRAID OF VIRIGINA WOOLF or some of the high pitched marriage dramas of Tennesee Williams (such as CAT ON HOT TIN ROOF and A STREETCAR NAMED DESIRE), although Shakespeare's THE TAMING OF THE SHREW may be even more appropriate.
I keep thinking of Barabara Bain and Sylvia Anderson when watching this, believing it perhaps gives some kind of insight of what was going on on the production set at the time. I believe I can understand Kellett's difficulties in writing and directing this. I don't know how insisten Barabara Bain may have been, but to me the story seems to reflect a female mind to a great extent, trying to say as much as possible at the same time and changing symbolistic imagery along the way making it hard for traditional interpretation one would use when studying the symbolic dramas of the 1870s. I like this aspect, though.
Much of the interaction is superb, especially scenes involving John/Dione and Helena/Victor. The episode is a encyclodedia of subtle body language and facial expressions as Pat would testify to, I assume, Pat's earlier description and interpretation of some of the sequences with John/Dione and Helena/Victor is some of the most enjoyably insightful I've read about this episode.
Petter
From: Petter Ogland (petter.ogland@dnmi4tag.no) Date: Tue, 31 Mar 1998 13:17:48 +0000 Subj: Re: Space1999: The Last Enemy
The denial of sexual differences, I believe, is one of the least agreeable side-effects from my Space: 1999 influence. I found it very difficult to grow up treating men and women differently. While good in once sense - every individual deserves to be treated equally - each relationship is unique and requires finely tuned appreciation of the other's differences.
I have always enjoyed this aspect of the series. The unisex costumes and no-nonsense sort of dialogue in Year One portays a scientific community in a very nice way, I feel, in this line of work the difference of the sexes does not have to be stressed too much.
When relaxing, the Alphans seem to reflect the relationship between men and women of the early 1970s, I think, which was considered the normal way of life in the western world from Greek society (500 B.C) until about 1980 when the traditional arrangement seemed unadequate as men and women to a greater extent were doing the same type of work, both professionally and in the domestic. I don't know if this is good or bad, but where I live at least this seems to be the way it is.
While later films such as ALIEN, ALIENS, THE ABYSS, TERMINATOR II etc. seems to focus on how women integrate into this new concept of the world, the first year of SPACE;1999 seemed to take this as granted. There was no question about Dr. Russell's judgement or authority as a reference to her being a woman. On the contrary, whether Koenig was doing the right thing or not seemed much more debatable, and in episodes like COLLISION COURSE it's easy to understand Helena and Victor worries.
By taking certain things for granted and playing down on the sexual differences, the difference in behaviour becomes much more interesting. Helena being jealous in THE LAST ENEMY works as a fine example of this for me. Beyond her controlled surface we have a person who may be insecure and irrational at times. An other nice example is the conversation of Balor in THE END OF ETERNITY where she suddenly plays "frustrated aggressive working woman" style of emotions. Very good and very interesting is how I see it.
In my life, I've found myself detached from other people's feelings. Although fairly prevalent among the population, this detachment/ambiguity has crippled my function as a man. I've since spent a fair bit of time trying to redefine what kind of man I want/need to be, and my explorations have been fruitful, if somewhat abstracted.
I like the relationship between John and Helena. I understand the Landaus wanted her to be pale and beautiful and him fo be dark and tough, and they certainly achieve this in the opening titles. In many ways it seems that she is a much more intelligent person than he is, but he has the power.
Reading the relationship from a Niezchian perspective it is almost an Apollon-Dionyos configuration. Just like Nietzsche points out, the emotions are far superior to the intellect, and the one with the strongest feelings will finally take command.
So who is the Last Enemy? Ourselves? Our sexual needs? The opposite sex? I'd like to hear some opinions before giving my answer.
Personally I've read the titles LAST ENEMY referring to ourselves. In this case, the cause for Helena's jealousy, prominent but unexplained from the very first scene where Dione appears on Alpha, may be partly an external problem and partly an internal problem and she would have to fight herself most of all.
I look forward to more comments, Chris and others.
Petter
From: "Willey, Martin J" (martin.willey@eds4tag.com) Date: Wed, 1 Apr 1998 09:27:35 +0100 Subj: Re: Space1999: The Last Enemy
<lurk off>
Petter was speculating about the differences between the original script of Last Enemy (Second Sex) and the broadcast episode. This is from an article I wrote for a fan newsletter some time ago *...
From first concept to finished film, an episode will undergo many changes, from major rewrites of the plot to subtle revisions of dialogue.
But it is unusual when a final shooting script differs radically from the completed episode. This is true of the script titled "The Second Sex", dated 25th October 1974, and the episode it became, "The Last Enemy", filmed just a fortnight later on 8th November. The episode is also unusual in that the director, Bob Kellett, had also written the script.
Last Enemy is a simple adventure story, a "space opera" in which the Moon finds itself in the middle of an interplanetary war. It was filmed immediately after the episode "War Games". Although both episodes feature exciting space battles, the contrast between them is marked: in Last Enemy the action is straightforward and action oriented, while War Games is a metaphysical parable.
Although it has some impressive special effects, Last Enemy had a much lower budget than others (most of the money had just been spent on War Games). The action is largely confined to Main Mission and the Command Office, with some padding scenes in the Satazius and a short excursion into Sandra's quarters.
Second Sex opens with a male Bethan announcing to Dione that the Moon will soon be in position. In Last Enemy it is Theia who makes the announcement; no male Bethans are shown. Scenes in the script describe the spaceship Satazius moving out from a vast underground bunker and launching from the planet surface. The episode shows somewhat less spectacular, and much cheaper, shots of the ship leaving Bethan orbit. The script contains no scenes or dialogue inside the Satazius; Dione could be alone or have thousands of crew. The episode adds many short scenes of Dione and a crew of three female Bethans in a rather bland and unimpressive control room. The new dialogue inside Satazius adds much cleverly ambiguous menace: "Touch down and assault will be as planned", states Dione.
Many of the early sequences of the script were filmed with little modification, including the eerie scenes of the Eagles trying and failing to launch. As the Satazius closes on the base, one scene of dialogue was cut.
Flippantly Victor remarks "Looks like we'll soon know what it's all about. The spaceship, I mean, not eternity.""Victor-" protests Koenig.
"Sorry, John; I'm a born optimist."
Victor gives an enthusiastic lecture about the two planets to Koenig and Helena, both too anxious about the gunship to pay him full attention.
"I'm not boring you am I?" he asks as he notices them staring out of the window."No, Victor." replies Helena. "But don't you find things a little tense?"
"That always makes me talk a lot and get very cheerful."
The script portrays the Satazius as an almost organic monster, its parabolic reflectors like giant eyes, the rocket tubes adjusted by mechanical arms. However, no missiles are described: only "pencils of light" moving to their targets. The missiles shown in the completed episode are somewhat spoiled by the puny rocket flames, looking like cigarette lighters. Much of the bombardment, as the Satazius fires at the planet Delta and Deltan missiles strike round the base, is as described in the script. A short missing scene occurred at the start of the attack, as Koenig orders everyone to drop to the floor. "Cover your ears. Open your mouths. If you can- keep your body off the floor with your toes and elbows." he advises, to protect them from the blast.
After the Satazius is apparently hit, the script describes the escape capsule as a ground vehicle approaching the base. This became a flying craft on screen. In the script Koenig explains why, although he had been willing to attack the battleship, he will not attack the escape craft. "If a buffalo is charging at me, I shoot it. But I don't kill a beetle- unless it's eating my roses."
Dione is allowed into Alpha and taken to Main Mission. On screen, a new initial scene features Dione demanding sanctuary from Koenig, then threatening that Alpha will be attacked unless they take her in. It is an odd scene, showing Dione's arrogant nature, but the threats are not likely to win support or influence the Alphans. In the script Dione explains "Their planet contains vast reserves of minerals and energy sources. We need them for our survival." Another addition, not in the script, was the scene in which Alan tells Paul of his doubts about the Satazius, wondering if it was as knocked out as it appeared.
After the Deltan gunship lands and begins another bombardment, Dione's suggestion of an evacuation to Betha was taken much farther in the script. Koenig accepts the offer and orders personnel to prepare to evacuate: a sequence shows Alphans boarding the Eagles in the underground bunkers. The screened episode does leave in Paul's line at the end of the episode, however: "Evacuation procedure negative."
After the Deltan gunship is destroyed, the sequence in which the Alphans decide to organise a cease-fire is shortened in the completed episode. In the script, Koenig remarks flippantly that they stick a white flag out of a window; this prompts Victor to suggest a truce. The dialogue with the military leaders Theia and Talos is similar in script and on screen, with the nice comic touches such as Theia's "We have been accused of starting this war. We did not. It started long before we struck the first blow. They were unreasonable. They have always been unreasonable." The demand by Talos that a Deltan gunship should be ready in orbit was not in the script.
The remainder of the episode differs in important ways from the script. The scene in which Koenig offers Dione the use of Sandra's quarters was more significant in the script. Koenig explains that as the Alphans must police the cease-fire, there should be no combatants in Main Mission. As Sandra leads her off, Koenig stops her.
"Dione. There's still one problem. How are you going to get back to your planet?"For an instant Dione looks startled, then she recovers herself. Koenig cuts in quickly reassuringly. "Don't worry. As soon as we're out of danger we'll send you back in one of our Eagles."
"But Commander- I thought all your people were coming to Betha. From what I have seen here you will like us."
The scene after this, in which Koenig, Victor and Helena discuss her offer, is also shortened on screen. It ends with Helena asking "Do we trust her?"
In the script she states "Well, I don't trust her."Koenig protests: "Helena- for Heaven's sake. I have to make a decision based on logic and reason. All our lives depend on it."
"It's not a matter of logic and reason. It's a matter of feeling."
"What feeling? Feminine intuition..."
Victor objects: "John, that's not worthy of- "
Helena counters "Are you so taken in you can throw that one at me?"
"Now Helena-" warns Victor.
"Oh shut up, Victor." she replies.
"Can we leave personalities out of it. I want to make a clear decision." Koenig declares.
Helena is sceptical. "Based on what? A promise from a dewy eyed girl who an hour before had launched her own Pearl Harbour?"
The script does not show Dione in Sandra's quarters, or explain how she escapes, though this is shown on screen with Dione teleporting herself. Back on the Satazius, Dione calls Koenig. "You are surprised at me? Really, you shouldn't be. I nearly gave myself away more than once. Do you remember when you asked me how I was to return to Betha? I knew I was going back in my Satazius. I reacted badly: I am sure Doctor Russell noticed." Again, this appears in a different form on screen. Dione launches her surprise attack on Delta. Talos then demands that Koenig give him the coordinates of the Satazius. In the script Koenig does, the Deltan missiles destroy the gunship and the episode ends. Evidently the episode ran short, so a long additional sequence was added. Dione prevents Koenig transmitting the coordinates by the obvious step of threatening to destroy Alpha if he does. Koenig stages his own breakdown, demanding to be let aboard the Satazius. He travels to the gunship in a moonbuggy, but Dione realises too late it is a trap: an empty spacesuit in a buggy packed with explosives. The buggy destroys the Satazius, and the Alphans tell Talos to destroy his missiles.
The epilogues are slightly different: on screen Koenig is curious about what life on Dione's planet would have been like. In the script Koenig tells Helena that he is concerned he did not recognise Dione's deception:
"How could I have been so wrong?""We all make mistakes." Helena assures him.
"But that could have been a fatal one- for all of us. I'm worried about my judgment."
"About women? Forget it. It takes a woman to know a woman."
"It's as well you were around: she had me fooled. I'll never ignore feminine intuition again."
"Right. It's a thing called jealousy."
He looks at her astonished, then laughs and puts her arm around her shoulder.
The shooting script of Second Sex was clearly too short to fill a fifty minute episode, and most of the changes were to accommodate additional scenes. Although some additions, such as the psuedo-technical dialogue in the Satazius, are padding, the new scenes generally enhance the tension and excitement of the story. In particular, the new ending is much more satisfying.
Dione is a beguiling siren in the script, her intelligence and seductive looks weakening the suspicions of the Alphans. On screen she is more of a Amazonian warrior, belligerent and arrogant, and the Alphans are more sceptical of her. The screen Koenig not only resists Dione's charms, he is actively hostile to her. The distrusting and resentful Helena all but disappears on screen. As the title changed from "The Second Sex" to "The Other Enemy", and finally "The Last Enemy", the sexual themes of the script were lost. However, by only showing female Bethans and a single male Deltan, Kellett suggests that the space war is itself a battle between the sexes.
"The Last Enemy" is one of the weaker episodes of "Space: 1999", but it is entertaining, with thrilling space battles and ingenious deceptions. It is certainly much improved from the "Second Sex" script, although it has lost much of the humour and some nice characterisation.
* Nick Tate newsletter 1988.
Martin Willey
martin.willey@eds.com
martinwilley@hotmail.com
http://www.geocities.com/Area51/8722/ will open soon!
<lurk on>
From: Petter Ogland (petter.ogland@dnmi4tag.no) Date: Wed, 1 Apr 1998 10:14:50 +0000 Subj: Re: Space1999: The Last Enemy
Martin wrote:
Petter was speculating about the differences between the original script of Last Enemy (Second Sex) and the broadcast episode. This is from an article I wrote for a fan newsletter some time ago *...
Excellent, Martin! Your analysis of the differences gives tremendous insight to what the story was really all about, and reasonable explanations for why it was changed.
I'm astounded by how well we have managed to make sense out of the episode by speculating about differences in the script versions. I wonder, though, why so many of the Barabara Bain lines were left out when they after all had problems with filling the 50 minutes and Barabara assumingly was the one that was pushing this episode.
Perhaps she got frustrated along the way, Kellett misunderstanding her ideas, and just wanted to get it over with. I find Kellett's script highly amusing, and must say that my admiration for him has grown considerably after I feel I grasp more of the man and what he wants to do.
Many of the early sequences of the script were filmed with little modification, including the eerie scenes of the Eagles trying and failing to launch. As the Satazius closes on the base, one scene of dialogue was cut.
Too bad this wasn't included. From what I've understood Bob Kellett seems to have directed a number of British sex-comedies in the 1970s, so this could explain his fascination with filming Sandra in a tiny leopard skin, a sequence he talked very enthusiastically about in the ALPHACON video, and for including this sort of humour in THE LAST ENEMY.
I wonder why they left it out. Was Penfold still with the series at this time? If he was, perhaps he, Johnny Byrne or Gerry Anderson thought it was too silly. Perhaps Barry Morse was objecting? I can't see why, though. Personally I think it would have fitted nicely with the odd character of this episode.
This was even better than the sequence with Victor's enthusiasm. I'm really beginning to like Kellett, wonderful sense of humour, very British I suspect though, and perhaps Barabara Bain may have felt offended by it and resisted to do it. What a loss for the episode that this was not filmed!
The way the filmed version turned out to be, it was rather whimsical, I feel, and by reading Martin's comments I sense a much more coherent story, it just seems too obvious that Kellett was not the man to chose if Barabara Bain wanted a story on female psychology, not from the female point of view anyway. Kellett seems to have had great fun writing the script, however, first draft at least, so it's a bit of a letdown that they excluded so much of the inspired parts.
Nevertheless, to me THE LAST ENEMY is becoming more and more interesting the more I learn about it. Thanks Martin, for the enlightment!
Petter
From: David Acheson (dkach@hotmail4tag.com) Date: Wed, 01 Apr 1998 06:15:16 EST Subj: Space1999: The Last Enemy Part Two
Thanks to Martin Willey for the history behind how THE OTHER SEX became the finished product we are discussing this week, THE LAST ENEMY. I can now understand where all this battle of the sexes stuff came from.
I agree with Martin that the finished episode was by far superior to the initial script. The episode is un-1999-like as it is but the original was vastly out of line with how year one had proceeded since BREAKAWAY. Some of the dialogue mentioned in Martin's message was painfully bad and reduced the complex ambiguous style of the show down to a rather simple story. If Dione was intended to be a space siren capturing Koenig's heart she wasn't well developed like the servant in GUARDIAN OF PIRI. The rather obvious jealousy of Helena over Koenig's infatuation of Dione reduced the competent medical officer to a childish figure. It also makes no sense to have Victor ramble on and on for no apparent reason other he gets giddy in times of danger. Can you imagine him doing that in WAR GAMES?
The filmed Dione was a more mysterious character that I think worked out well. In the beginning we were not too sure what the Satazius' mission to the moon was. She asked for asylum on Alpha and agreed to Koenig's peace offer but we all knew there must be something more to her. Koenig's distrust of her actually fits in well with how Koenig has proceeded so far in the show.
Thus now I can see that the cheesy CHARLIE'S ANGELS bits were more or less remnants of the original idea. I do believe that having Dione getting orders from a male boss would have cut once and for all all the talk about battle of the sexes. Why this character was replaced by Theia I don't know?
I agree with Petter that Caroline Mortimer was competent enough in the role but I do not believe she was one of the stand out guest artists to appear in the series.
Overall, my original assessment of the episode has not changed much. However, I now have a better understanding of its development and am thankful Bob Kellett upgraded the story to save it from certain death.
David Acheson
From: Petter Ogland (petter.ogland@dnmi4tag.no) Date: Wed, 1 Apr 1998 12:12:14 +0000 Subj: Re: Space1999: The Last Enemy Part Two
David wrote:
I agree with Martin that the finished episode was by far superior to the initial script. The episode is un-1999-like as it is but the original was vastly out of line with how year one had proceeded since BREAKAWAY.
Un-1999-like indeed, but, nevertheless, an interesting effort to explore what was possible within the 1999-format. Similiarily I also find THE FULL CIRCLE and THE INFERNAL MACHINE quite un-1999-like, at least compared to early efforts such as BREAKAWAY, MATTER OF LIFE AND DEATH and BLACK SUN. While these early episodes are the sort of adrenaline that I need every now and then to really get into the SPACE:1999 mood, I also enjoy some of the less typical episodes.
While I initially found THE LAST ENEMY to be one of the very least interesting episodes in the series, at the moment I find it one of the most interesting.
Some of the dialogue mentioned in Martin's message was painfully bad and reduced the complex ambiguous style of the show down to a rather simple story.
He-he. It depends somewhat on ones point of view, I suppose. While I think the "flower-giving-scene" in DRAGON'S DOMAIN is totally awful, I think Kellett's tounge-in-cheek views on female psychology was very fitting in this one. Victor's speach seemed hilarious. It's almost as though Kellett tried to make the episode a parody of the series.
If Dione was intended to be a space siren capturing Koenig's heart she wasn't well developed like the servant in GUARDIAN OF PIRI.
That's a good point. Kellett's visualisation of Dione in motorcycle gear was an intruiging one, I think, and making her more of an Amazone warrior made perfect sense to me.
The rather obvious jealousy of Helena over Koenig's infatuation of Dione reduced the competent medical officer to a childish figure.
He-he. Childish, but fun, a bit like THE GUARDIAN OF PIRI actually, except for Penfold's (or may it have been di Lorenzo's?) metaphysical and moral statements.
It also makes no sense to have Victor ramble on and on for no apparent reason other he gets giddy in times of danger. Can you imagine him doing that in WAR GAMES?
Makes a rather shivering contast to WAR GAMES, doesn't it? In WAR GAMES it would have been totally out of character, in THE LAST ENEMY or perhaps even in DEATH'S OTHER DOMAIN, it would have spiced up the story, I feel. I wish they had gone for the original script, but, nevertheless, it was great fun to read Martin's comments and to imagine what it might have looked like.
I agree with Petter that Caroline Mortimer was competent enough in the role but I do not believe she was one of the stand out guest artists to appear in the series.
Did Carilone Mortimer star in any of the Hammer Horror films of the sixties? Brian, perhaps you know? She has a certain charm to her that makes her seductively dangerous and would fit perfectly in the company of Christopher Lee and Peter Cushing.
Overall, my original assessment of the episode has not changed much. However, I now have a better understanding of its development and am thankful Bob Kellett upgraded the story to save it from certain death.
He-he. I always enjoy reading David's comments.
Petter
From: JSchill824 (JSchill824@aol4tag.com) Date: Wed, 1 Apr 1998 11:14:22 EST Subj: Space1999: The Last Enemy
I'm glad they didn't stick to the original script of "The Second Sex". Good lord, I read the original script a while ago and all I can say is it's awful!!! Let me stress - I mean really bad! They totally left out the scene where they tricked Dione. In the ending, instead of the Commander going out to the ship (the bomb that is-dressed as the commander) he tells Talos the co- ordinates of the Diones gun ship and its destroyed. That’s it. Kind of a let down after seeing the changed scene. Plus often there were times where I just felt dialogue was out of character. There is even a scene where Helena tells Victor to shut up. :-p
I believe the changes in The Last Enemy were well needed. I'd preferred instead how it concentrated on the idea of how war really sucks rather then the "feminine intuition" and jealously garbage. Better that it didn't focus not being an issue of gender war, but just on the pointlessness of war itself. They did a good job showing that there was no diplomacy for these two planets. Funny how when we see the Delta guy Talos, his eyes were usually shut and how both planets circling the sun also never saw each other. Nice metaphor for not being able to “see”, compromise etc.
In the ending I liked the conversation with Helena and Koenig talking about the possibilities of moving to the warring Bethan planet or facing the fate of unknown space. Of course they choose space - not a hard decision but a nice ending.
Lastly, I could excuse the "CHARLIE'S ANGELS in outer space" as per David's comment, and even the "Emma Peel like" leather space suit Dione wore, but high heels! Not! I'm sorry, but if you were at war, you would not be wearing heals! (Just my opinion)
So what I liked about this episode is I have a poster of Diones ship Satazius signed by Martin Bower! Cool ship, not so cool episode. Even with the great special effects and I liked how they deceived Dione in the end, but having said that The Last Enemy still falls short of being a good episode.
Janet
From: Mboelke58 (Mboelke58@aol4tag.com) Date: Wed, 1 Apr 1998 13:53:05 EST Subj: Re: Space1999: The Last Enemy
Petter Ogland wrote:
believe that Gerry and Sylvia Anderson were having a hard time at this moment of production, deciding to depart shortly later, and perhaps the Landaus were also having a bit of a rough. They also decided to separate, although somewhat later I believe.
This "somewhat later" was "somewhat much later" in 1983. They were divorced in 1993. I think the problem of the Landaus was that they returned to Hollywood and found themselves no longer interesting for the producers, her, having "a reputation as a pain in the ass" as she said in a later interview (due to the famous alleged wage dispute - does anyone remember IMF?) and him being told by his agent "You are hard stuff to sell".
Just my personal opinion and a marginal note.
Marianne
From: Petter Ogland (petter.ogland@dnmi4tag.no) Date: Fri, 3 Apr 1998 14:01:32 +0000 Subj: Re: Space1999: The Last Enemy
Oops! What I wrote was, of course, speculations, as I also pointed out, I hope. Nevertheless, thank you Marianne for putting things right!
Petter
From: djlerda@juno.com Date: Wed, 01 Apr 1998 14:58:50 EST Subj: Space1999: The Last Enemy
In the opening scene where Satazius is in orbit around Betha, there are two other small ships visible. They look a lot like the Sidon ships from "Voyager's Return." Can anyone else confirm this? The scale difference between Satazius and the others is so large it's hard to tell.
Also, I have a cut out picture of Dione's lifeboat from a fan magazine that happened to find its way as a bookmark in an Orbit novelization that my cousin picked up for me at a used bookstore in England. According to the caption on the picture, the original plan was for Dione's ship to drop out of the bottom of Satazius, hence the egg shape. Don't know if this was in the original script or not but thought I'ld pass it on.
Finally, what did Dione ride, a Yamaha, Kawasaki, or Harley-Davidson?
David J Lerda
From: "Robert Ashley Ruiz" (espresso@dnai4tag.com) Date: Wed, 1 Apr 1998 14:01:08 +0000 Subj: Space1999: Mortimer Peel
Janet wrote:
and even the "Emma Peel like" leather space suit Dione wore...
Ha! I have ALWAYS thought the actress chosen to play Dione (Caroline Mortimer) looked like a budget version of Diana Rigg in The Last Enemy. She resembles Diana somewhat but seems very hard and cold and lacking in charsima of any kind -- part of the reason I don't like the episode much. Of course, Diana is smashing as Emma Peel and would be hard to measure up to. Let's see how Uma Thurman does.
Robert Ruiz
San Francisco, California USA
From: Petter Ogland (petter.ogland@dnmi4tag.no) Date: Fri, 3 Apr 1998 13:57:42 +0000 Subj: Re: Space1999: The Last Enemy
Janet wrote:
I'm glad they didn't stick to the original script of "The Second Sex". Good lord, I read the original script a while ago and all I can say is it's awful!!! Let me stress - I mean really bad!
It's nice with different opinions. While I'm getting more and more enthuiastic about this, Janet, who usually contributes highly enthusiastic psychological and emotional insights to the series, is expressing views complementary to mine on this weeks THE LAST ENEMY.
They totally left out the scene where they tricked Dione. In the ending, instead of the Commander going out to the ship (the bomb that is-dressed as the commander) he tells Talos the co- ordinates of the Diones gun ship and its destroyed. That's it. Kind of a let down after seeing the changed scene.
Interesting. I always felt the scene where they tricked Dione seemed a bit redundant. Apart for in BREAKAWAY, I also think the moonbuggy looked too much of a model. It looked perhaps a little bit better in THE LAST ENEMY than in THE INFERNAL MACHINE, but only slightly.
Plus often there were times where I just felt dialogue was out of character. There is even a scene where Helena tells Victor to shut up. :-p
He-he. I must admit I raised an eyebrow, reading Martin's extracts from the script, but thinking more along the way this was expressing Bob Kellett as a writer and director, I thought it seemed perfect for this kind of episode. Orson Welles is noted for having said something like "A film is as good as it is able to express it's creator." This quote fits nicely with Citizen Kane, I believe, and makes sense with directors like Hitchock, Renoir, Kubrick, Bergman, Fellini, Godard, Antonioni etc., I think.
In a way, this is also how I value Austin, Crichton and Tomblin at their best. These three seem to have contrasting personalities, turning out episodes that are strikingly different in emotional character and content.
From what I've read, the collaboration between Johnny Byrne and Bob Kellett on VOYAGER'S RETURN was not the greatest, Kellett being handed the script just goes out and makes it without any exhange of ideas with Byrne what so ever. While it is perhaps the one in the Kellett trilogy that is most coherent with the series as a whole, his style of direction seemed rather anonymous to say the least, this was at least my impression last time seeing the episode.
On THE LAST ENEMY, Kellett is given totally free hands, so it seems, and while Penfold and Byrne where reading and adjusting the scripts, the original THE SECOND SEX gives wonderful insight into Kellett's understanding and wanting for the series, I feel. If not as drastic as Fred Freiberger, he certainly tries to make his contribution in both FULL CIRCLE and LAST ENEMY to prevent the formula from drying up. While both Freiberger and Kellett seem to enjoy adding silliness to the series, I must say I still prefer Kellett. Anyway, the Alphans are by now lightyears away from the ideas and concepts of BREAKAWAY, MATTER OF LIFE AND DEATH and BLACK SUN.
I believe the changes in The Last Enemy were well needed. I'd preferred instead how it concentrated on the idea of how war really sucks rather then the "feminine intuition" and jealously garbage. Better that it didn't focus not being an issue of gender war, but just on the pointlessness of war itself. They did a good job showing that there was no diplomacy for these two planets. Funny how when we see the Delta guy Talos, his eyes were usually shut and how both planets circling the sun also never saw each other. Nice metaphor for not being able to “see”, compromise etc.
After WAR GAMES I think it seemed natural to defocus the "how war really sucks" aspect. Personaly I found the ideas circling around feminine intuition and jealousy quite interesting. By cutting down on these psychological aspects I feel the episode inclines more to the STAR TREK formula film making, removing itslef away from the psychological investigation of the human spirit that had been at focus in many of the early episodes like BLACK SUN. It shows less of Kellett both as a writer and director, I would assume.
On the other hand, as Kellett seems to angle the episode in a quite new direction by uncharacteristic and unconventional writing, I also understand the worries of Gerry Anderson, Byrne and Penfold in order to make it fit the usual format. One of the ITC directives was that the episodes should be assembled in such a manner that they could be aired in any order without causing frustration for the viewer.
In the ending I liked the conversation with Helena and Koenig talking about the possibilities of moving to the warring Bethan planet or facing the fate of unknown space. Of course they choose space - not a hard decision but a nice ending.
My impression was that this was supposed to be a matrimonial wash-up, discussing whether they should split, referring to Koenig flirtation with the younger woman, or, as the finaly did, decide to continue business as usual. With the downplaying of the symbolism in the revised script, this seemed a bit odd, but reading about Kellett's original intents, such an interpretation seems less un-natural, to me at least.
Who knows, perhaps Kellett was rethinking his own marriage.
Lastly, I could excuse the "CHARLIE'S ANGELS in outer space" as per David's comment, and even the "Emma Peel like" leather space suit Dione wore, but high heels! Not! I'm sorry, but if you were at war, you would not be wearing heals! (Just my opinion)
Totally absurd, of course, but again perhaps it reflects Kellett's sense of humour and his work with sex-comedies at the time with lovely young ladies running in and out of closets just wearing bikinis or underwear and, probably, high heels as well.
Petter
From: "Petter Ogland" (petter.ogland@dnmi4tag.no) Date: Fri, 3 Apr 1998 14:29:12 +0000 Subj: Re: Space1999: Mortimer Peel
Ha! I have ALWAYS thought the actress chosen to play Dione (Caroline Mortimer) looked like a budget version of Diana Rigg in The Last Enemy. She resembles Diana somewhat but seems very hard and cold and lacking in charsima of any kind -- part of the reason I don't like the episode much.
Interesting Robert should say this. Personally I think Caroline Mortimer had great appeal, a wonderful actress on all accounts. Her apparent hard and cold approach to the role was absolutely splendid, I think, very much in line with the sort of Walkure she seemed to represent. It obviously made her incredibly interesting in the short moments when she was playing around with other feelings. Fantastic, I would say, one of the best female performances of the whole series.
If they had revised THE SECOND SEX by downplaying graphical action and keeping in more of the psychologically interesting scenes, but straitining up the tongue-in-cheek style, perhaps it would have been more in line with what Ingmar Bergman was making at the time, such as the TV series SCENES FROM A MARRIAGE (1973).
The way I see it Carline Mortimer had enormous charisma, perhaps even more than Joan Collins, who also has a supreme command over her acting skills, but had to face a perhaps less spectacular role, pshycologically speaking that is, at least from where I'm standing.
Petter
From: JSchill824 (JSchill824@aol4tag.com) Date: Fri, 3 Apr 1998 11:34:09 EST Subj: Space1999: Petter and The Last Enemy
Hey Petter and fellow Alphans,
Totally absurd, of course, but again perhaps it reflects Kellett's sense of humor and his work with sex-comedies at the time with lovely young ladies running in and out of closets just wearing bikinis or underwear and, probably, high heels as well.
I'm sorry but the consistency in this bends, buckles, and BREAKS! I don't think I like any of Kellett's episodes except the possibilities of VOYAGER'S RETURN. Funny how usually I'll agree with you Petter, but the buck stops here. This episode - even with the changes still is bad. Plus to focus on the gender issue with the overall as you put it "silliness" would have been damaging and insulting. There is an episode (help me out trekfan) in the original Star Trek series where there were 2 aliens. One was black on one side and white on the other, and the other alien it was in reverse. Their "differences" made them hate each other. When the crew realized what they were fighting about they were horrified. I felt this was well done and appreciated the risk they took when writing the script. To make a comment on such a issues as race, especially back then, had to done with thought and conviction. If The Second Sex was to be such an episode, it should have been approached in this way and NOT silliness, and high heals. (JMO)
He-he. I must admit I raised an eyebrow, reading Martin's extracts from the script, but thinking more along the way this was expressing Bob Kellett as a writer and director, I thought it seemed perfect for this kind of episode. Orson Welles is noted for having said something like "A film is as good as it is able to express it's creator." This quote fits nicely with Citizen Kane, I believe, and makes sense with directors like Hitchock, Renoir, Kubrick, Bergman, Fellini, Godard, Antonioni etc., I think.
I like the quote and Yes it maybe true, but Kellett is no Kubrick, and there still something to be said about constancy. Just look at how we all have problems with the complete changes from y1 and y2. A more gradual change would have made more since and kept the viewer believing in the characters and the series as a whole.
Lastly I would agree that maybe they were over doing the anti-war theme, but then again take away this and the theme of the Alphans being a plight on the universe and much of y1 would be gone. (that seems harsh, sorry, I still love year one!)
Just my opinion,
Janet
From: djlerda@juno4tag.com Date: Fri, 03 Apr 1998 18:58:42 EST Subj: Re: Space1999: Petter and The Last Enemy
There is an episode (help me out trekfan) in the original Star Trek series where there were 2 aliens. One was black on one side and white on the other, and the other alien it was in reverse. Their "differences" made them hate each other. When the crew realized what they were fighting about they were horrified.
Janet,
The episode you are thinking about is "Let That Be Your Last Battlefield" written by Oliver Crawford from a story by Lee Cronin. I believe that Lee Cronin was a pen name for Gene Coon, one of Star Trek's producers. The episode guest starred Frank Gorshin (the Riddler from "Batman") as Bele and Lou Antonio as Loki. Lou Antonio also appeared in "Cool Hand Luke" as Koko. This episode has always been one of my favorites and I agree that it was pretty daring for its time. Hell, it would be pretty daring for today.
Hope that helps.
David J Lerda
From: David Acheson (dkach@hotmail4tag.com) Date: Fri, 03 Apr 1998 21:36:55 EST Subj: Space1999: Space Babes
I have never seen such talk over one episode as much as I have seen over this week's episode for discussion, THE LAST ENEMY.
Janet makes some very valid points. Most I agree with but she is very hostile to Bob Kellett's space babes. For one, I must admit it was a bit silly to have women in revealing clothes driving through the cosmos to blast missles at another planet. This was very un-like what we have seen in earlier 1999 shows. Yes, Ms. Schell wore hardly anything in GUARDIAN OF PIRI but there was a complex and serious plot and her character's ability to appear in a pleasing form was essential to the storyline. I don't believe the crew of the Satazius's battle dresses were. Still the show didn't go completely silly so when I brought up CHARLIE'S ANGELS I really was only referring to parts of this episode. Just keep year two's DEVIL'S PLANET and DORZAK in mind when we want to really discuss CHARLIE'S ANGELS.
The greatest sin of this episode was not to fully stick with a moral to tell. Was it an anti-war episode or a battle of the sexes. Neither issues were explored in enough detail to let us know what direction Kellett wanted us to go in. To date its a cute little war episode that I don't mind watching but I cannot take so seriously like WAR GAMES. This was the point of my first message.
Caroline Mortimer was a poor-man's Emma Peel. She had the looks and her character at least had some development. All the other aliens were interchangeable. However, I too have to say she did not have the fire that Diana Rigg had in connecting with an audience. I cannot place her as one of the series greater guest stars. Sorry Petter. Even the second year had some stand out actresses - Billie Whitelaw, Carolyn Seymour and Ann Firbank.
Still I understand Petter's amusement over Kellett's sex comedies. They may have had a place in some other project but they were just too out of place for 1999 - years one and two combined.
Just a few more of my thoughts. Scary that I had so much.
David
From: Chris Hlady (chlady@escape4tag.ca) Date: Fri, 3 Apr 1998 22:16:41 -0600 Subj: Re: Space1999: The Last Enemy
So who is the Last Enemy? Ourselves? Our sexual needs? The opposite sex?
Answer: Bill Clinton's biographer ;-)
Cheers,
Chris Hlady
From: Patricia Embury (Patriemb@sprintmail4tag.com) Date: Sat, 04 Apr 1998 17:23:24 -0500 Subj: Space1999: The Last Enemy
The Last Enemy is definitely a different type of combat scenario than "War Games". War Games was more of a psychological thriller, with a straight up in your face combat. This one has more of a "helpless Alphan" feel to it. There they are, minding their own business when a ship comes from one of the planets, lands, and starts attacking the opposite planet, and the scenario is repeated. Then Dione shows up and a truce is worked out. Koenig knows that they are all dead if there is a full scale assault, even "smart missles" miss their targets eventually. I found it most interesting that the male alien spent most of his conversation with his eyes closed. He almost looked bored or tired with the whole thing. The biker costume was probably done for financial reasons. If most of the money was spent on War Games, they probably recycled this costume from another production. It also did look rather alien in nature, and made Carolyn Mortimer look attractive, and a bit dangerous. She was also dressed a little too formally for the battle. Granted, you want to look your best, but I don't think Norman Swartzkoff (?sp) wore a tux to start the ground offensive in the Gulf War. People seem attracted to things, or other people who have an air of danger around them.
The jealousy aspect of the episode was a bit subdued. Helena seemed more amused at first, than jealous, when Dione fell on the Commander, then put her arm on his to try to get them to move to her planet. Later, she looked rather tired of it, and, if she had the chance, would probably laid down the law. John seemed to be firmly in control, so Helena didn't appear to doubt his loyalty to her.
I would like to thank Martin for posting his article about the episode. It really put things in a different light for me. The "Pearl Harbor" scene should have been left in, but I'm glad they added that scene with Alan and Paul. A nice piece of forshadowing. At first, I took it as a classic "battle of the sexes" type plot, which, let's face it, was a hot topic back in the 70's. From bra burning, to Bobby Riggs vs Billy Jean King the idea for this type of episode has merit. Especially since previous episodes have talked about other topical issues. My question is, did the writer/director make these changes deliberately to focus more of the direction on the " battle of the sexes" theme? I would also like to know what changes/input Barbara Bain was aiming for when she tried to collaborate with the writer. Has she ever said anything publically on this topic?
My little nit with the episode: We see parts of the base being hit or exploding near the end of the episode. Koenig says we can't take much more. Then Helena walks in and says they have a lot of causalties. Later in the episode, she states that only a few people have ruptured ear drums. What happened???
From: jcg@vh4tag.net Date: Sat, 04 Apr 1998 21:13:38 -0500 Subj: Space1999: The Last Enemy
Indeed a very straight-forward episode.
The crew on the women's ship lean to one side when their ship get underway? Not even the eagles do that.
The women know what the eagles are called?
Ultrasonic magnetic distortion? A weapon that sends sound through the vaccum of space?
Would the Alphans hear anything flying over their heads outside in the vaccum of space?
Is the commander of Planet Delta asleep?
"We survived." "Yes, but think of the cost." Does that mean they should have let themselves get killed instead?
We see buildings on Alpha destroyed, Helena runs in saying they can't take anymore casualties, and yet at the end there are only five cases of middle ear damage?
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