Star Trek II: The Wrath of Khan (1982)

It is difficult to fully appreciate the impact that Star Wars had upon the film industry when it was released in 1977, or the flurry of frantic activity it triggered in Hollywood as studios rushed to capitalise on its massive success. Without Star Wars we might not have witnessed the unbearable tension of Alien (1979), the twists and turns of The Empire Strikes Back (1980), or the surreal sight of James Bond engaging in an outer-space laser battle in Moonraker (1979). But perhaps the most intriguing sci-fi film to follow Star Wars was one that banked on audience nostalgia as well as the new space-craze:  Star Trek: The Motion Picture.

Unfortunately, the transition from small screen to large screen was not a smooth one for the Starship Enterprise. The Motion Picture is not without merit - the special effects and sense of epic scale remain impressive to this day – but the script was painfully low on action and often left the highly capable cast with nothing to do except literally stare into space. While the film did sufficiently well at the box office to guarantee a sequel, it was clear that drastic changes were in order. Enter director and screenwriter Nicolas Meyer.

Meyer’s philosophy for Star Trek II: The Wrath of Khan seems to have been to strip everything back to the barest essentials, and that is reflected in the streamlined plot. Khan Noonien-Singh (Ricardo Montalban), an insane, genetically engineered superman from the 20^th Century who was exiled by Captain Kirk (William Shatner) to a planet named City Alpha 5 in an episode of the original series, has escaped, and wants revenge on Kirk for banishing him to a planet that subsequently became uninhabitable. He has also stolen a Starfleet ship and a potentially dangerous piece of technology called Genesis, which can create life on even the most barren of planets – or destroy life on planets that are already populated. Kirk, who is leading a crew chiefly comprised of trainees on a simple training cruise, is lured into a deadly game of cat and mouse with the unhinged yet brilliant Khan.

Star Trek II’s intention to distance itself from its ponderously-paced predecessor is made abundantly clear right from the opening scene, which is worth describing in detail. The Enterprise is under attack, and the camera pans across the bridge, which is bathed in a sinister red light. All of the familiar faces are there, all except Kirk; in the captain’s chair is Kirstie Alley’s Lieutenant Saavik. The attack on the ship intensifies and a series of explosions rock the ship, and one by one all of our favourite characters fall to the ground, apparently dead. What is happening? Where is Captain Kirk? Just then the alarms die down, the front of the bridge opens up, and there stands Kirk, visible only in silhouette. It was all just a training exercise. This one action-packed scene immediately communicates to the audience that this is going to be a very different film from The Motion Picture, and establishes a tense, claustrophobic atmosphere that remains throughout the rest of the movie. It’s flawless.

Fortunately, the rest of The Wrath of Khan lives up to this superb opening, as we are swiftly introduced to the evil villain of the title. Khan is clearly a brilliant man, but has been so consumed by his hatred for Kirk that he has gone completely mad; you really get the sense that he has spent every moment of his exile festering and stewing over what he perceives as Kirk’s betrayal of him. Ricardo Montalban gives a layered performance in what could easily have been a totally one-dimensional role, and he plays Khan with an evil relish and perverse charm that makes him a joy to watch. As good as Benedict Cumberbatch was as Khan in 2013’s Star Trek Into Darkness, you just can’t beat the original model.

But despite Montalban playing the title character, this is really William Shatner’s movie. Often unfairly written off as a shameless ham, here he gives a wonderfully understated performance that perfectly contrasts with Montalban’s more theatrical turn. A running theme of the film is Kirk coming to terms with middle-age, and this results in some great subtle moments, like the scene in which Kirk self-consciously puts on a pair of reading glasses while straining to read a computer monitor on the bridge. His final scene with Leonard Nimoy’s Spock at the film’s climax is just wonderful, and remains incredibly moving no matter how many times you see it. All of the regular cast give top-notch performances as usual, but Shatner is the heart and soul of this movie.

If the original Star Wars was a space-western, then Star Trek II: The Wrath of Khan is a space pirate movie, with the Enterprise as a naval vessel and Khan and his crew as a band of villainous rogues. Indeed, the film is replete with nautical terms and allusions, and you can even see a dog-eared copy of Moby Dick perched on Khan’s straining bookshelf. Some may prefer the films that feature more exploration and a less militaristic tone, but Star Trek II: The Wrath of Khan firmly cemented Star Trek as a big screen force to be reckoned with, and set the template that the series continues to follow to this day.