Audiences at the time had to deal with the shock of seeing the actors’ old faces in this weighty but fun threequel that dealt with the mysteries of matter, death and eternal life
orty years ago, the Star Trek movie franchise reached its Solaris stage with this mystic and melodramatic threequel, written and produced by TV veteran Harve Bennett and directed byhimself. The Search for Spock dealt with the mysteries of matter, organisms, death and eternal life.
This is a film about the passionate bromance between Kirk and Spock – and above all about sacrifice. In the previous film, of course, Spock had died, thus teaching future franchise creators a lesson about how a death can electrify the fanbase. This one begins by remembering his poignant farewell to Kirk in a small black-and-white panel in the centre of the screen; rather a coup de cinema.
But as the USS Enterprise comes home damaged, under the command of Kirk , after the fateful battle with Khan in which Spock had met his end, Dr McCoy starts behaving strangely, because Spock’s spirit has entered his body. On the distant planet Genesis, created by the Genesis device Spock’s body has been reincarnated in the form of a child, ageing rapidly as the planet itself begins to hyper-evolve towards its own destruction.
You will have to disregard the fact that Kirk and a handful of intimates manage to pilot the Enterprise on their own . But this episode is written and performed with muscular vigour and attack, and there are some nice moments, such as Dr McCoy’s louche appearance at a bar where people can play next-level video games – including a kind of VR hologram mini-table tennis, a very exciting looking device which we still don’t have in 2024.
How extraordinary to see what Kirk is prepared to sacrifice for Spock: the Enterprise and even loved ones closer than that. You can even forgive the franchise for cheating the issue of Spock’s death, though another death seems forgotten relatively quickly. The original cast members bring a certain gravitas.
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