With the assistance of the Enterprise crew, Admiral Kirk must stop an old nemesis, Khan Noonien Singh, from using the life-generating Genesis Device as the ultimate weapon. The Enterprise crew must help them escape to thwart a conspiracy aimed at sabotaging the last best hope for peace.
When an alien spacecraft of enormous power is spotted approaching Earth, Admiral James T. Kirk resumes command of the overhauled USS Enterprise in order to intercept it. Captain Kirk and his crew must deal with Mr. Spock's long-lost half-brother who hijacks the Enterprise for an obsessive search for God at the center of the galaxy. With the help of long presumed dead Captain Kirk, Captain Picard must stop a renegade scientist willing to murder on a planetary scale in order to enter a space matrix.
When the crew of the Enterprise learn of a Federation conspiracy against the inhabitants of a unique planet, Captain Picard begins an open rebellion. The Borg travel back in time intent on preventing Earth's first contact with an alien species. Captain Picard and his crew pursue them to ensure that Zefram Cochran makes his maiden flight reaching warp speed. The Enterprise is diverted to the Romulan homeworld Romulus, supposedly because they want to negotiate a peace treaty.
Captain Picard and his crew discover a serious threat to the Federation once Praetor Shinzon plans to attack Earth. In the 23rd Century, Captain James T. Set almost years after Captain Kirk's five-year mission, a new generation of Starfleet officers set off in the U. Enterprise-D on their own mission to go where no one has gone before.
In the vicinity of the liberated planet of Bajor, the Federation space station Deep Space Nine guards the opening of a stable wormhole to the far side of the galaxy. In the wake of Spock's ultimate deed of sacrifice, Admiral Kirk and the Enterprise crew return to Earth for some essential repairs to their ship. When they arrive at Spacedock, they are shocked to discover that the Enterprise is to be decommissioned. McCoy begins acting strangely and Scotty has been reassigned to another ship.
Star Trek III: The Search for Spock - Wikipedia
Kirk is forced to steal back the Enterprise and head across space to the Genesis Planet to save Spock and bring him to Vulcan. Unknown to them, the Klingons are planning to steal the secrets of the Genesis Device for their own deadly purpose. Kirk then finds out from Sarek Mark Lenard, who had a brief, unrecognizable role in the opening of "Star Trek: The Motion Picture" as an ill fated Klingon Commander and played a Romulan before playing Spock's dad catches up with Kirk and tells him that there's a chance at resurrecting Spock, who's mind and spirit are housed in McCoy's brain while his body is on Genesis.
Feeling obligated to return the favor for saving them all at the end of 2, Kirk and the gang hijack the Enterprise and rush towards the Genesis planet to rescue Spock "in whatever form he may still be alive. Considered by some to be trash and by others to be the only good odd numbered Star Trek film, this is a sufficiently entertaining bit of science fiction yarn that continues following the theme of what happens when you mess with mother nature. Good performances as usual, with Lloyd giving one of his best as the Klingon Commander Kruge, who becomes oddly sympathetic in light of his blood thirsty actions when you consider that he was just looking out for his own brood and was willing to spare the crew of the USS Grissom.
Shatner's brawl with Lloyd is also fun to watch, and the film still has that great James Horner music. Don't miss Shatner kicking Lloyd in the face shouting "I An Earth bar and the Klingon medical bay were redresses of the Enterprise sickbay. The most drastic change was made to Spock's quarters. Adding local color to the Klingon bridge was a ragged doglike creature the effects team derisively called "Fifi Rebozo".
During filming, Sosalla and crew sprinkled the creature with water to make it look more unpleasant. For the animal's demise during the Klingons' fight with the Enterprise , an additional "dead" puppet was created, but Ralston used the "live" one for the scene instead. George and artist Phil Norwood collaborated on many of the prop designs, creating updated and sleeker versions of the original series communicators and phasers.
Many props were created out of wood and embellished with small pieces from model kits. While the Federation tricorder was created using a model race car body, the Klingon props were intended to look dirtier, with sharp surfaces that looked uncomfortable to carry. George was insistent on using the shapes and materials, rather than blinking lights, to suggest the props were real and manufactured.
Robert Fletcher , costume designer for the previous Star Trek films, was responsible for The Search for Spock ' s wardrobe. Fletcher's job was to sketch outfits, choose the necessary fabrics, and complete the fittings for principal characters. He collaborated with costumer Jim Linn, who clothed extras and managed the logistics of cleaning, repairing, and tracking costumes. Most of the Starfleet uniforms had already been designed for the previous film, but Fletcher wanted to dress the main characters in civilian clothes. The designer and production staff were satisfied with the feudal Japan-inspired Klingon costumes Fletcher made for The Motion Picture , but they had to make new versions; [38] of 12 original costumes, half had been destroyed during publicity tours.
In addition to his costume chores, Fletcher designed the Klingon and Vulcan makeup. Makeup artist Thomas R. Burman suggested that Fletcher was asked to help because the studio neglected to contract the work out; Burman received a contract only three weeks before the start of photography. There had never been a good marriage between the forehead appliance and the actor's faces.
We tried to keep them in character rather than have these obtrusive things on their heads," Burman said. The resulting Klingon makeup took two hours to apply. To guard against leaks that had prefigured Spock's death during production of The Wrath of Khan , [n 2] Paramount took precautions to secure the sets. Security guards checked the picture identification cards of production staff. Any mention of the production was removed from stationery and documents, and "Trois" three, in French was written as a code word. Offices and workshops were bereft of identifying signage, with doors double-locked for extra protection.
The Search for Spock ' s scripts were chemically treated so that copies could be traced to the original; [43] as a further canary trap , subtle changes in wording distinguished each copy.
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Principal photography commenced on August 15, The film allowed Correll latitude in choosing a broad range of exposure indexes. Many of The Search for Spock ' s dialogue sequences feature tight close-up shots. During Kirk and Sarek's mind meld, Nimoy chose cuts that focused on accentuating the dialogue; "Instead of watching people's faces, all you see is the mouth or the eyes and you have the tendency to hear better," Correll explained. Feeling that recreating everything on set resulted in a fake look, the cinematographer suggested that Genesis be filmed on Kauai in Hawaii, [18] and that Red Rock Canyon stand in for Vulcan.
He preferred to treat these as actual locations inside the ships; although the sets' ceilings were designed to be removed so that lights could be rigged in the rafters, Correll used other lighting methods. In the Bird of Prey, he used fluorescent tubes to pick up the walls' metallic paints, and kept the set smoky to convey a dirty atmosphere. Before McCoy is arrested by security, he attempts to charter a spaceflight to Genesis in a bar. The scene opens with two officers playing a World War I -era dogfight video game. The wireframe biplanes were created using black lines on clear paper printouts placed on an overlay cell.
Much of the lighting was provided by tables rigged with fluorescent tubes to provide an effect different from other parts of the film. Correll could not add smoke to the scene to enhance the bar "feel", because the disturbed atmosphere would have made ILM's game hard to insert. The scene was intended to end in a barroom brawl when security tried to take McCoy into custody; Nimoy decided that "it didn't feel right" and there was not enough time or money to achieve the scene successfully. Since the doomed planet was no longer a paradise, the art director, Nimoy, Bennett and Correll considered constant changes to the colors on the scenes, but decided not to get "fancy photographically".
To get the fire to reflect on the actor's faces, Correll used a variety of tricks with normal lights; using natural fire would not have provided the required intensity. A significant feature of the Genesis planet are the alien worms that rapidly evolve from microbes on Spock's coffin. The creatures start as small, slimy crawlers, then grow to lengths of 8 feet 2.
The small worms were created by injecting molten "Hot-Melt" vinyl into epoxy polymer molds that were immediately put into cold water to create a translucent product. The resulting hundred or so creatures were painted and coated with methacyl, [7] [51] a slippery, slimy coating.
Each worm was attached to an elevated platform by a piece of fishing line; the lines were tied to rods underneath the set. Offscreen helpers pushed the rods or pulled fishing line to create motion; the scene required many takes because the fishing line would periodically flash at the camera. Similar to The Wrath of Khan ' s parasitic Ceti eels , the worms featured cobra-like cowls and a ringed mouth of teeth.
ILM built one of the worms with more articulation than the others; Ralston operated the creature through a hole in the set floor with his hand stuck inside the creature. The other worms were animated using pneumatic bladders that caused air to pass through hoses in sequence, creating an undulating motion. During the scene, the worms attack Kruge, who kills one of them. The usual method for achieving the effect of the creature wrapping itself around Kruge would have been to film the sequence in reverse, but this posed problems: ILM's solution involved rigging the worm with fishing lines that were pulled in a choreographed fashion by multiple off-screen helpers to simulate the wrapping movement.
The fiery breakup of the Genesis planet involved fire, smoke, and earth upheaval. Trees were rigged to fall and start fires," Correll explained. This entire sequence was completed in three weeks. The Vulcan stairs were filmed at Occidental College —the production's only location shooting. The location's blue-grey sky was replaced with a matte painting that covered the top half of the stairs shot. The background of the set was simply a painted piece of canvas; Nimoy had the background out of focus in all the shots as a way to hide the shortcomings of the scenery.
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The scene was cut because the procession dragged on for too long. Production on the film was temporarily shut down after a fire destroyed several soundstages at Paramount Studios, one of which was adjacent to the set for the Genesis planet. Initially, the set's pyrotechnics were suspected of causing the fire, but the cause was ruled to be arson. Shatner was among the cast members who grabbed fire hoses to stop the flames. While most of the set was undamaged, holes in the side of the building had to be covered with heavy black curtains to prevent outside light from leaking in.
As with previous Star Trek films, time and money were major constraints for special effects. The effects artists were concerned about producing the right look no matter the time involved. The constant travel took a toll on Ralston, who began to forget which airlines he was taking and what city he was in. As a pause in work meant wasted time, effects editors Bill Kimberlin and Jay Ignaszewski produced usable effects shots for the live-action editors at Paramount; these half-finished, monochromatic composites gave the editors an idea of scene pacing.
ILM filmed starships using motion control for timed and computer-assisted model movement. The ship models required multiple camera passes because different parts of the ship and its lights were filmed at different exposure levels. The Excelsior required eight passes to supplement the main "beauty pass", the Enterprise six. ILM could have combined passes with multiple exposures, but not without risk; "If anything got out of synch, or somehow we dropped a frame, we would have to reshoot—and then you're stuck.
You've ruined two pieces, two elements," Farrar said. The Klingon Bird of Prey's cloaking device required a new effect. The original concept featured the layers of the ship forming up from the inside out, requiring a series of overlaid elements filmed with an Oxberry animation camera. ILM decided the effect appeared too "animated-looking", and defied common sense: The supervisor decided on subtlety, throwing color separations out of sync to create a blurry ripple effect. While simple, the sequence was more effective than the elaborate planned scene. Effects such as the destruction of the merchant ship were created using projected explosions, a technique perfected during the production of Return of the Jedi.
The result was an explosion that moved with the model. The most laborious effects sequences took place inside Spacedock; months were spent completing the station's interior shots. The effects crew tested different looks to make sure the dock interior seemed appropriately vast.
To create a slightly degraded look, the crew used blue color gels for lights and shot through smoke for fill shots. They switched to diffusion filters for light passes, as using smoke for longer shots would have required time-consuming smoke level monitoring. Due to difference in the scales of the dock and ship models, it was impossible to film the Excelsior and Enterprise inside the set. Massive fans were used to keep equipment cool and prevent the lights from melting or warping the dock's interior artwork. The realism of the dock scenes was heightened by live action footage of a cafeteria, with windows overlooking the dock interior.
Ralston, who considered the Enterprise ugly and the model hard to shoot, delighted in destroying the ship. The first part of the ship to be destroyed was the bridge, a separate miniature with stars added to the background. The shot switches to the Bird of Prey moving away as the top of the saucer burns, where explosions filmed upside down to simulate the absence of gravity [27] were superimposed over a motion control pass of the ship.
The camera cuts to a closeup of the ship's registration number being eaten away by inner explosions. George created a light Styrofoam model that was dissolved by acetone dripped on the saucer from above. By shooting at less than one frame per second and keeping light off the model, the drips were not visible in the print. Stuntmen used spring-loaded platforms to launch themselves in the air. For the final destruction of the Genesis planet, footage from the Paramount set had to be carefully matched with ILM effects footage. ILM simulated Kruge's demise, a long plunge into the pool of lava, with the help of a stop-motion puppet.
Lloyd fell a few feet onto a black mattress; during a lightning flash the actor was replaced by the puppet that fell the rest of the distance. When the crew of the Enterprise learn of a Federation conspiracy against the inhabitants of a unique planet, Captain Picard begins an open rebellion. The Borg travel back in time intent on preventing Earth's first contact with an alien species.
Captain Picard and his crew pursue them to ensure that Zefram Cochran makes his maiden flight reaching warp speed. The Enterprise is diverted to the Romulan homeworld Romulus, supposedly because they want to negotiate a peace treaty. Captain Picard and his crew discover a serious threat to the Federation once Praetor Shinzon plans to attack Earth. In the 23rd Century, Captain James T. Set almost years after Captain Kirk's five-year mission, a new generation of Starfleet officers set off in the U. Enterprise-D on their own mission to go where no one has gone before.
Star Trek III: The Search for Spock
In the vicinity of the liberated planet of Bajor, the Federation space station Deep Space Nine guards the opening of a stable wormhole to the far side of the galaxy. In the wake of Spock's ultimate deed of sacrifice, Admiral Kirk and the Enterprise crew return to Earth for some essential repairs to their ship.
When they arrive at Spacedock, they are shocked to discover that the Enterprise is to be decommissioned. McCoy begins acting strangely and Scotty has been reassigned to another ship.
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Kirk is forced to steal back the Enterprise and head across space to the Genesis Planet to save Spock and bring him to Vulcan. Unknown to them, the Klingons are planning to steal the secrets of the Genesis Device for their own deadly purpose.
Even the movie's key scene, the destruction of the Enterprise, is delivered in ho-hum fashion. It turns out Spock is still alive, mind-melded into the doctor's body while his own physical state is currently regenerating on the planet Genesis why Spock would do this without knowing his body would be regenerated is pretty harsh, considering the schizoid mental problems McCoy begins to suffer from.
Thus, Kirk disobeys his superiors, hijacks the Enterprise, and goes on a quest to mend Spock's body and mind together. Highlighting the movie's biggest flaw is the horribly unconvincing soundstage that represents Genesis. Most of the visual effects are quite good, but any scene set on that planet's surface throws all "reality" out the window. The film also moves at a painfully slow pace, never delivering much in the way of taut suspense, and the plot fails to conjure up any intriguing ideas or surprises.
Star Trek III - The Search for Spock
This Trek was a necessary installment, and at least the follow-up, The Voyage was superior, but this is one movie that's hard to plod through, and I'm a Trek fan. Start your free trial. Find showtimes, watch trailers, browse photos, track your Watchlist and rate your favorite movies and TV shows on your phone or tablet! Keep track of everything you watch; tell your friends.
Full Cast and Crew. Admiral Kirk and his bridge crew risk their careers stealing the decommissioned Enterprise to return to the restricted Genesis Planet to recover Spock's body. Share this Rating Title: