From: South Central (Tamazunchale@webtv3tag.net) Date: Mon, 13 Apr 1998 10:00:38 -0700 Subj: Space1999: Episode by Episode
This week's episode for discussion is Space Brain. From Monday, April 13 to Sunday, April 19.
Now, as kids, how many of us used to confuse this episode with Ring Around the Moon?
Mateo
From: David Acheson (dkach@hotmail1tag.com) Date: Mon, 13 Apr 1998 06:31:09 EDT Subj: Space1999: Space Brain
Alphans:
Christopher Penfold and Charles Chrichton team up again to give us yet another classic year one episode: SPACE BRAIN. This episode is within the frame of the usual Penfold plotlines - mankind being deemed a virus or at least something undesirable. The difference this time around is not that some thinking entity deems mankind to be that way but it's the Space Brain's biology that, in the end, treats the moon and its inhabitants as a foreign entity. More on that later. Unlike the previous Penfold aliens this one actually wants to work with the Alphans to avoid a pending collision. Chrichton, who has a magic touch with Penfold's stories in my opinion, turns a quaint little thinking man's story (not Penfold's best)into a space epic. Great fun no matter how many people actually believe the overflowing dishwasher. More on this later too.
I suppose that it was only a matter of time before Shane Rimmer showed up in 1999. He added his voice in almost all of the earlier Anderson puppet shows and guested in UFO. Since 1999, he has done the voice of DICK SPANNER and played the Brogan character in the SPACE PRECINCT pilot. Actually, his Kelly character is not all that awe inspiring. Like FORCE OF LIFE, it was interesting to see a married couple on Alpha. However, I just didn't think Kelly and Melita were as fleshed out as Anton and Eva - whom I earlier accused of not being fully developed characters. Sure Kelly may have been a friend of Alan but there should have been a lot more there. Also, give us some reason why Melita is standing by her man.
The Earth of the 1999 universe must have been into the science of man's brainwaves and thought patterns. First, in GUARDIAN OF PIRI, we learn of the experiment Kano undertook with linking himself to a computer. Now Koenig oversteps Helena's fears and has himself linked to Kelly's brain. Another interesting factor about the science experiments of Earth before Breakaway occured. Was this an area that Penfold was interested in as he was involved with the scripts of both episodes.
I rather like the idea of the Space Brain itself. TV series budgets usually limit aliens to be humanoid characters or at least fake rubber creatures. This time, budget and the effects department combine to give us what can be best described as a living space phenomenon. A galactic being probably eons old and home to many worlds. This is probably the most original part of the otherwise not-so-original Penfold plotline.
Now to the infamous foam. Our own bodies uses its immune system to attack foreign intruders. It is believable then that the Space Brain's own immune system would treat the moon the same way. What has always been the sore point on this list is the execution of this sequence in the episode. Most fans are divided on this point. Some look at the foam used to represent the antibodies and laugh. Others simply live with it. I am of the latter. Sure I know its foam and I have made many dishwasher/laundry machines jokes over the years. However, I still think the acting, outer space shots and the music used kept the scene rather dramatic and not so schlocky as the scene could have really turned out. I credit Chrichton with keeping the sequence focused.
No talk about this episode is complete without bringing up "Mars, the Bringer of War" by Gustav Holst. This is surely the best use of library music in the entire series. The fairly dramatic score helps make Chrichton's job easier. A scene which could have been slow paced or rather comical is suddenly intensified. A space epic is unfolding.
Before I end, the worst line in the episode? When Kelly wakes up and rips off those electrodes and utters that overdubbed line, "You must not touch my brain!". Makes me laugh everytime I hear that.
Enough said for now. Just some ramblings on this episode. Overall not Christopher Penfold's most original scripts but one that I find to be executed very well. One of my favourite episodes but not the best one.
David Acheson
Site Administrator, Return to Moonbase Alpha
http://www.geocities.com/WestHollywood/Heights/4376/moonbase.html
From: Petter Ogland (petter.ogland@dnmi4tag.no) Date: Tue, 14 Apr 1998 09:29:40 +0000 Subj: Re: Space1999: Space Brain
David Acheson wrote:
Christopher Penfold and Charles Chrichton team up again to give us yet another classic year one episode: SPACE BRAIN. This episode is within the frame of the usual Penfold plotlines - mankind being deemed a virus or at least something undesirable. The difference this time around is not that some thinking entity deems mankind to be that way but it's the Space Brain's biology that, in the end, treats the moon and its inhabitants as a foreign entity.
This theme seems to be quite consistent in the Penfold plots, I think, a rather bleak view of the world that was also shared with Johnny Byrne it seems, highly coherrent with the use of music, lighting and general theme of the moon being hurled out into outer space.
I had another look at BREAKAWAY again last night, and I must say that I'm quite astonished by how well the very first episodes of SPACE:1999 worked. While episodes like THE TROUBLED SPIRIT and SPACE BRAIN have nice aspects to them, I find there is a distinct difference of style and content comparing with the first five episodes.
In some ways, as Mateo also points out, SPACE BRAIN seems in some ways to be a reconstruction of RING AROUND THE MOON, but to a great extent leaving out the metaphysics that makes RING AROUND THE MOON interesting as a story. Personally I don't feel that Penfold's central idea is fully explored by paying hommage to RING AROUND THE MOON in this way, but as I understand it, Penfold wanted to leave the whole thing by now, and obviously wasn't too interested in elaborating too much.
On the other hand, the basic concepts of SPACE BRAIN seem perfectly coherrent with Penfold's typical writing and concerns about human endeavour. The episode GUARDIAN OF PIRI, of which he has been involved in to a great extent it seems, there is a sequence where Victor turn into a sort of mad high priest leading the Alphans to worship the Guardian, typically of Penfold of writing such a thing, I would suppose, being concerned about how people are carried away by their feelings, and perhaps in particular, how assembles of intelligent individuals turn into unintelligent mobs representing a sort of virus of the universe. "The struggle for life makes monsters of us all", he says in DORZAK.
In THE LAST SUNSET the Alphans are guided away from settling as the inhabitants of the newly found planet see nothing more than death, horror and devastation in the path of human exploration, nicely illustrated by Paul Morrow's fit. In WAR GAMES, perhaps Penfold's most interesting achievement, his views on the goal of human life is perhaps most elaborately painted out.
SPACE BRAIN seems like a footnote to earlier episodes, I feel, Penfold perhaps sensing that he has said what he wanted to say about SPACE:1999 at this point. While not as efficient as previous episodes perhaps, as it is rather difficult to identify with the space brain and neglect the Alphans, the space brain point of view seems to be what is stressed in the epilogue.
Apart from the obvious visual and mechanical references to RING AROUND THE MOON, SPACE BRAIN also seems to drain on BLACK SUN. In RING AROUND THE MOON the Triton space probe was presented and maintained as an enemy throughout the episode, in SPACE BRAIN there is a certain ambivalence concerning the brain that reflects aspects of BLACK SUN and COLLISION COURSE, I think. The religous experience in BLACK SUN, in particular, seems to correspond to the sort of feeling Penfold seems to try to communicate in the Alphans penetration and destruction of the mind.
More on that later. Unlike the previous Penfold aliens this one actually wants to work with the Alphans to avoid a pending collision. Chrichton, who has a magic touch with Penfold's stories in my opinion, turns a quaint little thinking man's story (not Penfold's best)into a space epic. Great fun no matter how many people actually believe the overflowing dishwasher. More on this later too.
Penfold spoke about his good rapport with Crichton concerning the view on characters in the series. Perhaps there is an equal amount of abstractness in their view on the world and the process of filmmaking that makes the Penfold-Crichton episodes work so well. To me this seems to be a perfect match, just like Byrne-Tomblin and di Lorenzo-Austin.
Apart from the three first episodes of SPACE:1999, BREAKAWAY, MATTER OF LIFE AND DEATH and BLACK SUN, I think the episodes that worked the best were perhaps the three constellations above.
I suppose that it was only a matter of time before Shane Rimmer showed up in 1999. [....] Actually, his Kelly character is not all that awe inspiring. Like FORCE OF LIFE, it was interesting to see a married couple on Alpha. However, I just didn't think Kelly and Melita were as fleshed out as Anton and Eva - whom I earlier accused of not being fully developed characters. Sure Kelly may have been a friend of Alan but there should have been a lot more there. Also, give us some reason why Melita is standing by her man.
Quite interesting, yes. One of the things that makes RING AROUND THE MOON work so well with me is the contrast in Helena's character when she is taken over and when she is her normal self. This is partly contained in the episode in itself by letting her display a wide varity of emotions in response to different situations. In the case of Kelly, we get very little information on what kind of a person he really is, and whatever our impression is, it does not seem to contrast this very much when his brain is being taken ver. In fact, it is difficult to say if he is being programmed or if he is handling on his own behalf.
In some ways Kelly reminds me of Baxter in THE END OF ETERNITY, who could also have benefitted from being more developed. Melita is almost a non-person, I feel, her character contributes very little to neither the dramatic nor the psychological aspects of the episode as I see it.
I rather like the idea of the Space Brain itself. TV series budgets usually limit aliens to be humanoid characters or at least fake rubber creatures. This time, budget and the effects department combine to give us what can be best described as a living space phenomenon. A galactic being probably eons old and home to many worlds. This is probably the most original part of the otherwise not-so-original Penfold plotline.
One aspect I like very much with SPACE BRAIN is how Penfold is constantly letting Victor and Koenig chop off Helena's lines. I don't know why he does this, but it ha a rather interesting effect of diminishing Helena's authority, quite contradictory to episodes like COLLISION COURSE and THE LAST SUNSET where it is almost the other way around.
No talk about this episode is complete without bringing up "Mars, the Bringer of War" by Gustav Holst. This is surely the best use of library music in the entire series. The fairly dramatic score helps make Chrichton's job easier. A scene which could have been slow paced or rather comical is suddenly intensified. A space epic is unfolding.
For some reason I think Mike Hankinson's "The Astronauts" was a better illustration than "Mars, the Bringer of War". Perhaps Crichton or the musical editor was struck by the Holst-like character of Hankinson's piece when making WAR GAMES, and wondered what it would sound like using Holst. Personally I think "Mars, the Bringer of War" works okay in SPACE BRAIN, but, actually, I believe it would perhaps have been even more at home in the context of WAR GAMES, first act.
One nice thing about Holst is that he seems like an obvious predecessor of Barry Gray. If one where to characterize Gray's impressionistic and partly expressionistic style of writing music, I believe Holst would be a very good candidate, perhaps with a little touch of Ravel, Stravinsky and other composeres from the beginning of the century.
One of the reasons I prefer the first episodes of the series to the later has perhaps much to do with musical scoring. Episodes like MATTER OF LIFE AND DEATH and BREAKAWAY are marvellous just on account of their aural value, I think.
Martin Willey wrote that the first six episodes were fully scored, for the rest they just recycled the music with addition of the library material. Of these I think the first four in particular are extremely well done, on EARTHBOUND and ANTOHER TIME, ANOTHER PLACE I feel the music is used very sparingly and less efficiently, just like later episodes.
Enough said for now. Just some ramblings on this episode. Overall not Christopher Penfold's most original scripts but one that I find to be executed very well. One of my favourite episodes but not the best one.
I don't know if I would consider it a favourite episode. It is definitely on the better half, however, and an interesting illustration of the joint work of Penfold and Crichton. I believe would rate it about equally interesting with THE LAST SUNSET, somewhat less spectacular than WAR GAMES. Philosophically, it is perhaps more interesting and understandable than DRAGON'S DOMAIN, but still not a masterpiece, neither in terms of Penfold/Crichton nor in the total context of SPACE:1999 as I see it.
Petter
From: David Acheson (dkach@hot47mail.com) Date: Thu, 16 Apr 1998 21:12:08 EDT Subj: Space1999: Dashing through the Foam (Space Brain Part Two)
Alphans:
Mateo and Petter both brought up the idea of similarities between RING AROUND THE MOON and SPACE BRAIN. Well, I do not see much similarity between them. Sorry. I tried to find them. As one who is not a fan of the former episode I may be biased though.
I agree with Petter that SPACE BRAIN is not Christopher Penfold's most original idea. In fact, I may even agree that, by this time in the game, Penfold was already entertaining ideas of departing from the project. Even without Fred Freiberger, would Penfold be willing to return for another full season overlooking the series? He certainly made more overtures to that than Johnny Byrne who appeared willing to go for a second round.
However, I believe its the execution of the story (whom I will credit Charles Chricton) that makes it the favourite I make it out to be. Petter puts in the better half of year one but only so. I will have to disagree with him on that and move it much higher on the scale. Chrichton turns a rather loose story into a tightly executed production and saves it from being a rather bland or incoherent entry. After all, Chricton couldn't even rely on an outstanding guest cast like some episodes had. Although I enjoyed THE LAST SUNSET I have to admit I liked this one more but maybe not as much as GUARDIAN OF PIRI and WAR GAMES.
I still say the use of Holst's "Mars, The Bringer of War" was an excellent choice. It would have been far too cliche to have it in something like WAR GAMES during a battle sequence. Putting "The Astronauts" in WG and "Mars" in SB was a beautiful switch in my opinion.
One thing I did not mention in my previous letter which I rather enjoyed was the underrated opening. A brief "day in the life of Moonbase Alpha....". Night shift, Koenig in office doing puzzle, skeleton staff holding down the fort in Main Mission. Weary eyed, Koenig walks out and small talks with staff before heading off to his quarters and some sleep. A rather nice personal touch we see too little of in year one but not hit-you-over-the-head obvious like the year two style.
Anyway just one man's opinions. I just happen to like this episode. Looking forward to the upcoming weeks. We are down to the last 4 episodes of year one. But then we get another 24 to follow. They will probably fly by just as fast as the discussions to date.
From: Petter Ogland (petter.ogland@dnmi.no) Date: Fri, 17 Apr 1998 08:23:33 +0000 Subj: Re: Space1999: Dashing through the Foam (Space Brain Part Two)
David Acheson wrote:
Mateo and Petter both brought up the idea of similarities between RING AROUND THE MOON and SPACE BRAIN. Well, I do not see much similarity between them. Sorry. I tried to find them. As one who is not a fan of the former episode I may be biased though.
Personally finding RING AROUND THE MOON to be one of the most exciting episodes of all, finding similarities between SPACE BRAIN and this should perhaps indicate a very high regard of SPACE BRAIN as well.
In RING AROUND THE MOON the Alphans are confronted with the eye-brain Triton probe, which they cannot escape. In SPACE BRAIN they are locked on a trajectory towards destruction by the space brain, which is quite similar in context, I feel, although perhaps even more similar to the scenario of BLACK SUN and COLLISION COURSE.
The similarities of the fate of Kelly and Helena in each episode, respectively, is also striking, I feel. Then there is the idea of the eagle being sent towards the brain which is returned. This makes me think of three instances in RING AROUND THE MOON where they missioned eagles towards the probe.
Well, in RING AROUND THE MOON there seemed to be a message about conflicting parts in our lifes concerning our search for knowledge, our need for socialising and how the fanatical researcher Helena turns almost into a machine when she abandons society. In some ways RING AROUND THE MOON seems to be a forerunner of THE INFERNAL MACHINE in its philosophical discourse, and much more effective as I see it.
SPACE BRAIN does not seem to concern itself with philosophical issus to a great extent, I feel, apart from the idea of the space brain in itself, a point which is emphasized in the epilogue.
To a certain extent I feel that SPACE BRAIN follows the plot of FANTASTIC VOYAGE (1966), where a miniature submarine travels inside the human body, climaxing in a fight against antibody if I remember correctly.
Anyway, this seems to fit with Penfold's view of the human race as a virus in the body of the universe and makes sense out of the otherwise odd epilogue where Koenig talks about the destruction of the brain in terms of devastation for all the galaxies dependent on it. Penfold seems to ask the audience to have a look at Alpha from the point of view of the universe, as a contaminating organism, rather as to identify with Koenig, Bergman and Helena.
If the eight episodes Freiberger had a look at in order to evaluate the series were mostly the Penfold and Byrne written material, I understand he might have felt a little bit estranged from the Star Trek perspective on sci-fi. On the other hand, it grabs much of the essence of the SPACE:1999 perspective on sci-fi, I feel, right from masterpieces like BREAKAWAY, MATTER OF LIFE AND DEATH, BLACK SUN, RING AROUND THE MOON and onwards.
I agree with Petter that SPACE BRAIN is not Christopher Penfold's most original idea. In fact, I may even agree that, by this time in the game, Penfold was already entertaining ideas of departing from the project.
I seem to remember that Penfold had already left before the completion of SPACE BRAIN. Watching the epsisode for the first time a long time after it was completed, he was partly satisfied, I think I've read somewhere, still being content with the central idea of the space brain, but not too happy with some of the execution, perhaps finding the foam a bit too silly. I don't know about the foam actually, it work fine by me, but I know that some have found it somewhat distracting.
Even without Fred Freiberger, would Penfold be willing to return for another full season overlooking the series? He certainly made more overtures to that than Johnny Byrne who appeared willing to go for a second round.
Penfold was specially invited to write a script for Year Two, and he deliverd what turned out as DORZAK. While I don't find this the worst of all Year Two episodes, I seem to remember to have read that Penfold felt that the script was totally ruined after Freiberger had gone through it and made his adjustments.
However, I believe its the execution of the story (whom I will credit Charles Chricton) that makes it the favourite I make it out to be. [....] Chrichton turns a rather loose story into a tightly executed production and saves it from being a rather bland or incoherent entry.
SPACE BRAIN certainly has a Crichton feel to it, which is perhaps a nice thing in itself, Crichton's seemingly military style of direction has maybe brought some of the nervousness to the set that perhaps was an aquisition to the series. At least in collaboration with Penfold this seemed like a splendid solution, working on a Terpiloff script, like DEATH'S OTHER DOMINION, this approach seemed very less successful, but perhaps better with a small margin than the even less satisfying Tomblin effort with THE INFERNAL MACHINE. More on this next week, however.
I still say the use of Holst's "Mars, The Bringer of War" was an excellent choice. It would have been far too cliche to have it in something like WAR GAMES during a battle sequence. Putting "The Astronauts" in WG and "Mars" in SB was a beautiful switch in my opinion.
You may have a point there, David. The use of Albinoni was also not a cliche the way it was used in DRAGON'S DOMAIN, is it perhaps whould have been using The Blue Danube or Also sprach Zarathustra, quite to the contrary Albinoni's Adagio contributed to make some of the best special effect sequences the since the prologue to BREAKAWAY, I feel.
Most of all I felt that Alan Willis choice of music matched extremely well with the general feeling of the episode. In fact, I think he scored much better in this one than in THE INFERNAL MACHINE (prologue music) and THE TESTAMENT OF ARKADIA ("Picture Of Autumn") which I feel wer less fortunate.
One thing I did not mention in my previous letter which I rather enjoyed was the underrated opening. A brief "day in the life of Moonbase Alpha....". Night shift, Koenig in office doing puzzle, skeleton staff holding down the fort in Main Mission.
Does anyone recognise the motif on Koenig's puzzle. To me it looks like Flemish renaissance, a bit similar to Jan van Eyck. I assume it is one the great masters. Anyone else got a clue?
Anyway just one man's opinions. I just happen to like this episode. Looking forward to the upcoming weeks. We are down to the last 4 episodes of year one. But then we get another 24 to follow. They will probably fly by just as fast as the discussions to date.
I had a look at THE INFERNAL MACHINE last night in order to prepare for next weeks discussion. Not one of my favourites actually, but I know there are those who regard it very highly so I look forward to discussing it.
There are still many days left of SPACE BRAIN week, however. By the way, was Mateo's question regarding Paul/Dan Mateo in respect to THE TROUBLED SPIRIT resolved?
Petter
From: Tamazunchale@webtv22.net (South Central) Date: Fri, 17 Apr 1998 06:19:01 -0700 Subj: Re: Space1999: Dashing through the Foam (Space Brain Part Two)
Petter summed up my thoughts incredibly well--not an easy task as I had not actually communicated them to the list in any way other than an open-ended question! (Regarding the similarities between Space Brain and Ring Around the Moon--though I sheepishly admit I had not given the similarities much more thought than that of an external force utilizing Alphans as biological computer interfaces. Human Instrument Digital Interface?--groan--)
As to the Dan/Paul Mateo thing. Can someone check the final credits and see if a first name is listed. By the way, has any actor's name ever been misspelled so many ways--I don't even know what his real name is! Prette, Prente, Prete? I have seen it all three ways. Has this actor ever been in any other work that has been seen outside of Italy.
The set for Hydroponics was used in more than one episode. Does anybody remember which other episode features this set?
Mateo
From: jcg@vh2tag.net Date: Fri, 17 Apr 1998 12:10:28 -0400 Subj: Space1999: Space Brain
I like the quiet life scenes that start this episode...including Paul with his feet up at his post reading a book.
What is Koenig reacting to in the corridor before the symbols start appearing on the screen?
It looks like they had originally had the drumroll into the opening, but cut it (I'm guessing) for time reasons...cause it is not smooth...and it does not seem to me to be a deliberate hard cut.
Except for reasons of plot, what can Kelly do on a space walk that both men can't do on the eagle looking out the viewports?
"Orbital reference 397, that's where..." It is weak writing to have Koenig list two or three times the events at that point in space...or else they think we viewers are too stupid to follow the plot, so they keep explaining it to us over and over again. (It's also part of the complaint I've made before that they add dialog to show the character's thinking process, but they only endup stating the obvious, and in the case of this episode, several times over.)
"It's neither a sun, a star or a planet." It's not a car or an automoble. It's not an elevator or a lift. It's not light or illumination. It's not dessert or afters. It's not suspenders or braces. (Lord, please stop me before I come up with any more.)
A technical who cares nit, but the boarding tube between the two eagles would have sheared right off under the force of Koenig trying to redirect the runaway eagle.
Very dramatic to see the foam cover an eagle on the pad, but they leave an eagle on the pad? For that matter, they don't lower the pads and close the doors over the pads?
I have always loved the "through the brain" sequence, but how does inside pressure keep the moon itself from getting crushed, or the outside of the buildings, or the launch pads, or the...ah well, it is a favorite episode of a favorite series, so we forgive.
From: JSchill824 (JSchill824@aol4tag.com) Date: Fri, 17 Apr 1998 12:19:45 EDT Subj: Space1999: RE: Dashing through the foam
Petter wrote:
To a certain extent I feel that SPACE BRAIN follows the plot of FANTASTIC VOYAGE (1966), where a miniature submarine travels inside the human body, climaxing in a fight against antibody if I remember correctly.
Funny you should mention this Petter, when I was a kid I too made this comparison when watching Space Brain. (ala antibodies and such)
Space Brain though not on my top 10 favorite list, I still do enjoy watching it. I especially liked the unique filming style similar to parts in War Games whereby they show multiple overlapping images during dialogue. This took place in Space Brain when Koenig is hooked up to Kelly. While in the trance like state, Koeing seems to be looking at himself, the alien writing, lights and the brain together like a collage. I believe this "experimental or unique" film style is appropriate for sci-fiction. What a great opportunity to blend concepts and meaning with visually stimulating images that coincides with the overall story! Being quite fond of college artists such as Ernst, Heartfield and Elleoutet I can see why I enjoy this in the episode.
Lastly I'm happy they used Holst's "Mars, The Bringer of War" in S9. I've always like this piece and like it even more now, for whenever I hear it I think of Victor and Sandra watching the foam making its way to Main Mission! (Very Fun!!)
Janet
ps. Petter I think you're right, it does look like Van Eyck, however it has been some time since I've studied the Flemish and Dutch masters. Can anyone read if it says "Jan van Eyck was here" anywhere? Sorry artist inside joke :-)
From: Patricia Embury (Patriemb@sprint21mail.com) Date: Fri, 17 Apr 1998 20:19:16 -0400 Subj: Re: Space1999: Space Brain
This theme seems to be quite consistent in the Penfold plots, I think, a rather bleak view of the world that was also shared with Johnny Byrne it seems, highly coherrent with the use of music, lighting and general theme of the moon being hurled out into outer space.
At least in this episode, the focus seemed to be on our inability to communicate. The brain tried to help the Alphans, which is a big difference from Ring Around the Moon, and the neutral Black Sun. The Alphan's ignorance, and stubborness cost them the chance to alter their course to ssave the brain.
SPACE BRAIN seems like a footnote to earlier episodes, I feel, Penfold perhaps sensing that he has said what he wanted to say about SPACE:1999 at this point. While not as efficient as previous episodes perhaps, as it is rather difficult to identify with the space brain and neglect the Alphans, the space brain point of view seems to be what is stressed in the epilogue.
The brain's point of view is stressed, but it seems that the helplessness and guilt of having an innocent and valuable entity destroyed because the alphans failed to take Kelly seriously until it was too late, is the most important point. Helena feels bad because she left Kelly to die in the foam. Carter disobeyed orders and brought Kelly back because of stubborn loyalty that could have cost Carter his life or his sanity.
Apart from the obvious visual and mechanical references to RING AROUND THE MOON, SPACE BRAIN also seems to drain on BLACK SUN. In RING AROUND THE MOON the Triton space probe was presented and maintained as an enemy throughout the episode, in SPACE BRAIN there is a certain ambivalence concerning the brain that reflects aspects of BLACK SUN and COLLISION COURSE, I think.
Their experiences with the Black Sun seemed to temper their reactions in certain scenes. Koenig's speech to all hands in main mission tempered with the" Titanic"-like interior shots of all hands running for shelter as the hallways filled with the antibody-foam, inaddition to the soundtrack used, really set a somber mood, that was a nice contrast to the more "revelative" nature of Black Sun
In some ways Kelly reminds me of Baxter in THE END OF ETERNITY, who could also have benefitted from being more developed. Melita is almost a non-person, I feel, her character contributes very little to neither the dramatic nor the psychological aspects of the episode as I see it.
I agree. I would have liked to see the cut scene in which Carter and Kelly fight in the Eagle cockpit. There is a still photo of it in the novelization, and is included in the novel. If they had used the sequence in the novelization, I think the viewer would have had a better understanding of the Carter-Kelly friendship. Melita was a token screamer... I cringed as a health care professional during that scene in Medical Center when Kelly is about to be treated, and Melita comes in, only to have Koenig and the nurse shoo her out. Helena should have been able to speak to Melita. Although Koenig may not want Melita to know all the details, Medical Center is Helena's domain, and Koenig should not have butted in to patient care.
I had to wonder why they left the Eagle on the pad for the foam to crush. Venting a launch area is one thing, but why waste the valuable Eagle. Also, did anyone notice that Kelly and Carter's helmet's did not appear to have any oxygen connection? Granted, the backpack was different, but the jet pack should have fitted around the oxygen/life support pack.
From: Riccardo Iommi (r.iommi@mail22city.com) Date: Sun, 19 Apr 1998 23:03:48 -0700 Subj: Space1999: A question: Space Brain
Hi Alphans,
Who is the great poet seen on Koenig's puzzle in the opening scene?
Riccardo
Related Threads (in typical Thread Pages format):
Return to Episode by Episode
or to Space: 1999 Metaforms