In the decade preceding the release of Star Wars, the space opera was moving in an interesting direction. After the space race and John F. Kennedy’s promise of a new frontier motivated things like Star Trek and 2001: A Space Oddysey to imagine space exploration as a potential vehicle for scientific enlightenment and international understanding, the petty differences of the past being obliterated (and militaristic ambitions belittled by) by new comprehension of the vastness of space. But if Space: 1999 is any indication, Kubrick’s antecedents were less interested in the profound ideas that he was speculating about and more interested in his taste in brightly colored and highly utilitarian furniture (which doesn’t look all that different from the decoration in highly mod films like Blow-up). From Gerry Anderson, creator of swinging puppet adventure Thunderbirds, comes Space: 1999, a show that looks to boldly go where Star Trek went before, but without that show’s sense of interpersonal drama or, unfortunately, its modern appeal.
Far into the future (in the year 1999, in fact), the moon serves as a depository for the Earth’s nuclear waste, which is overseen by the residents of Moonbase Alpha. When the residents start to become sick, Commander John Koenig (Martin Landau) is sent to make sure that this does not interfere with the scheduled launch of a probe to a distant planet which could support human life (which they only have a narrow window of time to reach). Doctor Helena Russell (Barbara Bain) is convinced that this is the result of radiation poisoning (what with all of them living in a giant nuclear waste dump and everything), but recorded levels of radiation appear to be normal. All too late, however, they find out that it is in fact the magnetic radiation that is affecting them, and they are unable to prevent an explosion that sends the moon out of the Earth’s orbit and careening into space, with all 311 residents of moonbase Alpha trapped on it. Immediately, Koenig decides to abandon plans to return to Earth, and decides instead to look for new opportunities for sustainable life elsewhere in the universe.
The premise is, of course, ridiculous even by the standards of TV. Any explosion large enough to knock the moon out of orbit would kill everyone in at all close proximity immediately, and any one else left on the surface die from resulting fallout soon thereafter. But even going with it, Space: 1999 invites some unfavorable comparisons. The horror of falling into space without any clear direction is never fully imagined, either in the interplay of the actors (talented as he is, Landau is forced to convey nearly all emotions through gritted teeth and furrowed brows) or in any visualized sense of degenerating conditions (deep into space, there are no blemished faces or unpermed haircuts). While the sequences inside the command center are highly reminiscent of Star Trek, the show’s format itself better recalls Lost in Space, with the general emphasis being on the Moonbase Alpha crew coming into contact with different space phenomena and creatures. This injects a little bit of adventure into an otherwise rather stiff-lipped show, but even while wild-looking creatures show up, it’s not as if the show lets its hair down at all, cribbing it all in somewhat laborious dramatics.
What is left then for the modern viewer to enjoy? The technical aspects of the show are uniformly excellent for the period in which show was produced (which, given the amount of talent that they put into it, isn’t at all surprising), and the plotlines certainly aren’t beneath par for 70s sci-fi. But the most enthusiastic new converts will be those who can appreciate things on that level three steps beyond irony which might be deemed ‘fake enthusiasm’, a soon-to-be popular term that refers to the way that people somewhat deliberately alter their tastes to better enjoy things that will reward adjusted expectations. With its stilted acting (space adventure by way of mod thrillers like In Like Flint), broad swipes at social commentary, and its romantic notions about what being in outer space is like, Space: 1999 is an almost perfect candidate for such an approach. For the right viewer, it may not take much effort, and for others it may not take any. It’s a show hopelessly trapped in time, but that may be enough for it to solidify a new generation of fans asking why it wasn’t more popular.
Blu-ray Bonus Features
There are music only tracks on all but two episodes-"Breakaway" and "Dragon's Domain," which instead feature commentary by Gerry Anderson. There also two whole discs of bonus materials, including HD galleries of previously unseen stills and gum and cigarette cards, alternate opening and closing titles, Barry Gray's theme demo, deleted SFX scenes, alternate opening and closing titles, an interview with Sylvia Anderson, restored textless titles, and a Martin Landau and Barbara Bain US premier intro and outro. In addition, there are a number of featurettes, including "Memories of Space", "These Episodes", "Concept and Creation", and "Clapperboard", a two part special on the work of Gerry Anderson.
"Space: 1999 - The Complete First Season" is on sale December 14, 2010 and is not rated. Sci-Fi, Television. Directed by Bob Kellett, Charles Crichton, David Tomblin, Lee H Katzin, Ray Austin. Written by George Bellak, Art Wallace, Johnny Byrne, David Weir, Edward di Lorenzo, Anthony Terpiloff, Christopher Penfold, Elizabeth Barrows, Jesse Lasky Jr., Pat Silver, Bob Kellett. Starring Barbara Bain, Martin Landau.
