Episode 1: The Cage (Production number 6149-01)
Plot
WARNING: SPOILER ALERT
The year is 2254 and we find ourselves on the starship USS Enterprise. The crew is facing an imminent threat, which turns out to be nothing more than a distress call, which Captain Pike decides to ignore and continue on his way. It is understood that the crew has suffered some losses during the previous mission and are on their way to a colony to take care of their wounded. However, this trip is interrupted, because, as it turns out, a second distress call speaks of survivors, whose presence Captain Pike cannot ignore. Therefore, the Enterprise reaches Talos IV, an Earth like planet, to mount a rescue mission. On the planet the away team finds the survivors, but very soon the officers realize that everything is a trap. Captain Pike is lured into it by the planets’ actual inhabitants for a very specific purpose. He is kidnapped by the Talosians and kept in an underground cell, while his crew members understand that everything they encountered up to that point was an illusion created by the Talosians. Pike figures it out for himself too; he also finds out that he is part of a strange collection of alien creatures the Talosians have captured over the centuries. The Talosians begin their strange experiments on Pike, with the assistance of Vina, a survivor of the SS Columbia. The goal is simple: force Pike to feel passion and possibly love for Vina and convince him to start a new kind of people, who would then populate the surface of the planet. While Pike tries to fight against the illusion the Talosians create for him, the Enterprise crew tries different methods of rescuing their captain. Every attempt is met with failure, until both Number One and Yeoman Colt are also kidnapped by the Talosians. In the meantime, Pike has figured out how to effectively block the Talosian telepathy and eventually manages to free himself and the women and they all reach the surface of the planet. The Talosian Magistrate explains what the purpose of everything was: to create a new species that would thrive under the guidance of the Talosians, ensuring the survival of their dying race. However, information gathered from the Enterprise’s computer on how humans react to slavery and oppression changes the plan. The officers are allowed to return to the ship. Before sending Pike back on the Enterprise the Talosians allow him to see Vina’s true form: a disfigured and ugly woman, the result of “cosmetic” surgery in the Talosian tradition… The Talosians also create a Pike copy for Vina to make her life more pleasurable on Talos IV. The real Pike returns to the Enterprise and resumes his life as if nothing happened.
Analysis
The episode begins in ‘medias res’ – as our Latin friends would say; meaning: there is no exposition of events and no “proper” introduction of the main characters. However, one can understand pretty quickly that this is not the Enterprise’s first space (ad)venture. The “radio wave” that seems to be attacking the ship poses no threat after all and Captain Pike finds some time to retreat in his quarters. Here we see a human side of the good Captain, who clearly has been doing this job for a long time and the burden of choices he made over the years – and over the exact previous mission on Rigel VII – weighs heavily on him. It is an interesting and very surprising way to introduce your main character like that. It is unexpected because one wants the Captain to be certain of himself, firm and of solid convictions. But Pike is going through a phase of self-doubt and questions his own decisions to the point of considering resignation and living a peaceful and carefree life. Doctor Boyce is a nice addition to this scene; obviously these two go back a while. However, his character is underdeveloped in this episode. He gains our sympathy because of the “folk wisdom” he endorses and the typical 60’s humor he displays. Obviously this is not an episode focused on the Doctor’s character.
The other male character the stands out is Mr. Spock. From beginning to end of this episode we never learn which species he represents. Also, his character is somewhat blunt and the only moment where he becomes slightly sympathetic is when Pike and he touch the singing plants on Talos IV. Other than that, he gives the impression of an arrogant, but committed scientist. No actual conflict arises between him and any other crew member – a clear indication that Mr. Spock is a fully integrated member of the Enterprise and his alieness is perfectly acceptable. It would have been interesting to see how he feels about being the only alien on board, but again, this was a pilot episode of a would be series. Obviously history meant for other things to happen. What is rather striking, is his decision to abandon his Captain and first officer so quickly on Talos IV. The “safety of the crew” excuse he uses is rather lame, considering that we are talking about two high ranking officers.
The three women receiving attention are a different story. Number One – a radiant and ever gorgeous looking Majel Barrett – is incorporating an ideal that for the 60’s was certainly unique and foreboding and in our times is almost a necessity for every woman in a leading position. She is smart, to the point of being brilliant, has leadership skills and occasionally displays some “mother-hen” treats, especially when it comes to Pike. Number One is definitely an experienced officer, with hundreds of flight hours behind her and her somewhat rational way of thinking about things, proves it. She displays great emotional control and is definitely not a quitter. Also, it is apparent – from a small remark Pike makes in the beginning of the episode – that the men of the ship regard her more as a “guy” and not a “gal’”…
Yeoman Colt on the other hand has a naiveté about her that grants her scenes some comic relief. She is new to the job – replacing the dead yeoman from Rigel VII – and obviously has a crush on Pike. The most interesting thing about both these women? They are not blond! Because, obviously again and according to 60’s standards – only the object of (erotic) desire to the protagonist had that privilege.
And guess what: Vina is indeed blond! Vina’s character is somewhat erratically depicted. She is desperately trying to gain Pike’s attention, gets frustrated when it doesn’t work out and in the end she loses everything. At least, she is rewarded by being allowed to continue life in the illusion created for her by the Talosians, but that resolution is free and open to interpretations. Probably without intending it, Gene Roddenberry and his script advisors, make a tragic reference to another woman of illusions from Ludovico Ariosto’s “Orlando Furioso”. Just like Vina, the sorceress Alcina (the names kind of rhyme too) is in reality an old woman, ugly and terrible to look at. Only through magic does she maintain the illusion of beauty. Ariosto’s reader gets to see Alcina’s true visage, just as Roddenberry’s audience gets to see Vina’s transformation into an ugly human being. The make-up and prosthetics department did a tremendous job with that scene!
The Talosians too, again without intention I suppose, are a reference to another character from Ariosto’s epic: Atlante. He too is a sorcerer and his only goal in the epic, is to preserve the life of Ruggiero. Therefore he keeps him in captivity; however this captivity is not unpleasant to Ruggiero. The Talosians too are seeking for a life form that will help them survive extinction. They capture alien beings and observe them. And they keep their captives happy; or so they say. Their illusions however are not prepared for Christopher Pike’s resilience and resistance. Their admission, after finding out more about humans and their relationship to captivity, is almost heartbreaking. By letting the humans go, the Talosians are effectively condemned to death; just as Atlante fails to protect Ruggiero. In any event, the Talosians provided an interesting point of view on captivity and freedom, as well as the back draws stemming from technological advances.
I suppose that what makes something “classic” is the way it remains concurrent with events even after a long time has passed from its original conception. Without intending it, “The Cage” is a perfect metaphor for what is taking place in the whole of Europe right now. The “benevolent” keepers are none others than the German politicians; the specimens they experiment on to preserve the European Union are the Greeks, the Portuguese, the Spanish, the Italians, the Irish and so on and so forth. But these specimens object to the “mind control” of the keepers. Especially in Greece, where I happen to be living, the objections might soon result in revolution and bloodshed. The moral of this comparison is: there are no benevolent keepers. A captive beast will always be a captive beast, no matter how good the illusion of freedom is constructed around it. And one cannot subdue someone else’s potential and skills, just out of scientific interest or the preservation of unity.
What makes Star Trek so unique, even from this pilot, is the acceptance of everyone’s good and bad sides. Yes, there will be conflict; yes, there will be bloodshed. But never to eradicate a personality treat we find obnoxious. And there is also something else to be learned from this episode: impose not your will through lies and deception, but by being honest about your intentions and goals; you will find more people willing to help, if they believe that your cause is just…
Acting – Directing
It’s always fun to delve into the acting and directing traditions of bygone eras. What in the beginning of the 21st century may seem as unnatural and perhaps excessive acting, in the 60’s was rather normal. And we are talking about television, not films here. So yes, there is a certain gravity in the performances of everyone involved. But the script is also a rather dramatic one, so I for one can’t blame them. I have to say I loved Jeffrey Hunter as Pike. It’s his eyes – apart from the overall great looks – that arrest my attention. And his acting is serious, almost theatrical, but I feel for the character. Perhaps it is my classical training that makes me see it like this. Susan Oliver as Vina has moments were she strongly reminds me of Audrey Hepburn; the pose, the looks, the tone of her voice make her a Hepburn wannabe. I did find her somewhat irritating, but perhaps the inconsistencies of the plot are also a reason for that. However, her transformation scene covers for every moment I disliked her; it is a totally tragic moment and I admit, I am a sucker for such moments. Nimoy’s Spock is obviously still under development. The almost juvenile and sometimes arrogant disposition of the alien being is inevitable: the character that Spock evolves into is not on anyone’s mind at this point. Majel Barrett is simply marvelous! The woman was light years ahead of everyone! The “grand-dame” of Star Trek delivers in a simple, yet effective manner; but nothing can prepare the audience for her star performances in future shows of the franchise… John Hoyt’s Doctor Boyce is probably the only realistically portrayed character in the entire episode. His comments are of course somewhat pedantic, but he delivers them with conviction and his character is so human, it is impossible not to like him. Laurel Goodwin as Yeoman Colt was also very good in her scenes. It is not easy to do comedy, especially embedded in a drama. Her sense of timing – the most important thing in comedy – is impeccable and her lines… almost legendary! The Talosians are definitely fun to watch (all played by women, whose voices were dubbed by men). The make-up and prosthetics department must have had a real blast out of making these huge heads with moving veins… Disgusting, yet intriguing at the same time. And there was science behind this particular design as well, since it made sense that Talosians, a telepathic alien race, would have enlarged brains.
As for the direction of the episode, well, Robert Butler delivered in style. Yes, there are the usual close-ups on the characters to emphasize the scene and we also have some moments of contemplative silence. But generally the direction does a good job introducing something extraordinary to ordinary people. There are some scenes of course where the direction is simply off: like when Pike is struggling with the transformed Talosian magistrate and the women are not in the least bit shocked; well, they are, but their shock is very controlled… And some of the stunts during Pike’s fight with that hilarious warrior on Rigel VII – a combination of Tibetan, Arab and Viking culture, mixed with some animalistic treats – are childish; but that is only because our technologies have advanced so far, that a fist fight can be almost real on screen. There are a couple of obvious editing mistakes, but only someone obsessed with such details would cling to them. I for one do not, because they do not hinder the flow of the episode, nor do they make changes in the storyline.
Roddenberry’s script is somewhat pompous – for modern-day standards I think; but let’s not forget that his ideas resulted into THE cultural phenomenon of the century. And he was still trying out ideas in this first story line that were somewhat heavy for his time, but nowadays can be a matter of insightful analysis. We do get a fair idea of what he had in mind. And despite the fact that there isn’t much hands on action, the script is good.
Considering that this was a low budget production and the fact that it was shot in the 60’s, the special effects are simply incredible, which is why all I’m going to say about them is: kudos to the special effects team!
As for the music: the classic theme by Alexander Courage is – well – classic… The overall soundtrack used in this episode is not very interesting or innovative for that. But, in this particular episode, the music was only used as a background most of the times and never really played a significant part. So, it’s not surprising that, at this point at least, the only thing that sticks to mind is the theme.
Memorable lines
“Who wants a warm martini?” said the good Doctor to his Captain – and I add, “it has to be shaken, not stirred…”
“Sometimes a man will tell his bartender things, he’ll never tell his doctor!” again Boyce to Pike and he does have a point. Bartenders are great listeners!
“Now you’re beginning to talk like a doctor, bartender!” Pike to Boyce, when the latter remembers his true vocation, not his dream one…
“No offense, lieutenant, you’re different, of course…” Pike to Number One about women on the bridge and how they affect him. Number One’s look was really brilliant! Yep, that’s exactly what she wanted to hear from her Captain! Men…
“You appear to be healthy and intelligent, Captain; a prime specimen!” Vina to Pike when they first meet. I would add: “You are also devilishly good looking and I wouldn’t mind a little transgression with you…” Sleazy, I know!
“Well, I have to wear something, don’t I?” Vina to Pike again. Well, let’s see, maybe not, but it’s probably best that you do remain fully clothed…
“You will now consume the nourishment” said the Talosian to Pike, upon delivering a glass with a liquid. Clearly the Talosians do not appreciate the importance of an aesthetically appealing dish.
“We wish our specimens to be happy in their new life!” Talosian to Pike again. Yeah, right!
“No, let me finish!” Vina. No comment…
“Since you resist the present specimen, you now have a selection.” Talosian to Pike, after transporting Number One and Yeoman Colt to his cell, along with Vina. This line is simply brilliant.
“The female you call ‘Number One’, has the superior mind and would produce highly intelligent children. Although she seems to lack emotion, this is largely a pretense and often has fantasies involving you” Talosian to Pike explaining why Number One would make a good choice for a mate… Again a brilliant, yet totally hilarious and embarrassing moment!
“Sir, I was wondering… Just curious… Who would have been Eve?” Colt to Pike. Again, no comment!
“As in all ships doctor’s are dirty old men.” The Captain has to have the last word and it is a good one too!
