Star Trek II: The Wrath of Khan is a fantastic film. It is quite rightly lauded as the finest Star Trek film to date. From start to finish it enfolds at a vigorous pace, is filled with excellent character development and exploration, touches on a number of profound themes, features an iconic villain, and contains incredibly riveting action sequences. The best news of all is that you don’t even have to be a Star Trek fan to enjoy and appreciate this film. It easily transcends not only the franchise, but the genre as well. But if you do happen to be a Trekkie, this is the movie that you had been waiting for – a true continuation of the mission to boldly go where no one has gone before.

The movie is, in large part, a journey for the character of Admiral James T. Kirk who longs to be back in command of a starship – and yet through his own feelings of growing old, does little to change matters. Instead, he is in charge of training new officers. This is accomplished by a simulation called the Kobayashi Maru – nicknamed the “No Win Scenario” because it tests how potential commanders might react when faced with insurmountable odds and the deaths of crewmembers. Thematically, this plot device is the beginning of Kirk’s journey. As we later learn, when Kirk once faced the test he simply reprogrammed the simulation to make it possible to save the ship. In other words: he has never truly had to face death.

By the end of the movie, he will.

Running concurrent to Kirk’s stagnation is the subplot about the Genesis Device: an invention that is designed to “create life from lifelessness.” Put simply, if the Genesis Device works, the Federation could terraform planets within minutes. Of course, the flipside of this is the danger – namely that if the Genesis Device were to be used on an already populated planet, the pre-existing life would be utterly obliterated in favor of the new life. Creation and destruction are two sides of the same coin. And if we look at Kirk’s character at the beginning of the film, his life is certainly in need a metaphorical resurrection.

The film’s agent of destruction and creation is Khan, a supervillain that was first introduced in the Original Series episode titled, “Space Seed.” In the movie, Khan manages to commandeer the U.S.S. Reliant (on which Chekov serves as an officer) and uses the starship to seek out the Genesis Device and the exact his revenge on Kirk. As a character, Khan works exceptionally well. He pushes the limits of his depravity almost to caricature status, but never quite crosses the line (though, I concede that some may not entirely agree with that assessment). In fact, his character becomes the perfect foil for the unsuspecting Kirk who happens to be just tagging along as part of an inspection crew while Captain Spock and the Enterprise head out on a training cruise.

But when Spacelab Regula-1 is attacked by Khan in the hopes of obtaining the Genesis Device, Kirk takes command and heads off to investigate. This transpires following one of the best scenes of the movie in which Kirk and Spock briefly debate about who will command – Kirk is, at first, hesitant. But Spock’s comments about being Kirk’s friend ring true and capitalize on the strong bond built between the two characters during the Original Series.

Also building on the Original Series is the camaraderie between Kirk, Spock, and the rest of the crew, including Dr. McCoy, Sulu, Scotty, Uhura and, later, Chekov. Unlike The Motion Picture, each character has a chance to play a significant role within this movie. And it’s all for the best as it becomes a display of just why the Enterprise and her crew have become legendary.

This is particularly important following Khan’s devastating surprise attack which nearly cripples the Enterprise. Afterwards Kirk and Khan play a deadly game of cat-and-mouse with two very powerful, yet damaged starships. The sequences are grand, majestic, and gripping – evoking the feeling you would get watching two ships of war firing broadsides at one another during the Age of Sail. The movie certainly doesn’t pull any punches and the casualties are high on both sides.

This kind of traumatic exchange then becomes the process by which Kirk faces and conquers his inner demons. To up the ante a bit, we get the addition of Dr. Marcus and her son, David – who just so happens to be Kirk’s son. Dr. Marcus and Kirk have a strained relationship at best, but it is with David that Kirk’s real test of self begins. Kirk must find a way to bridge the gulf between father and son – all while Khan is maniacally blazing a trail of retribution toward Kirk.

The film’s climactic battle takes place within the Mutara Nebula – which, symbolically, is a bit like delving into the fires hell to purify one’s soul. The Enterprise is triumphant in the battle, but Khan plays his last card, the Genesis Device. With the Enterprise crippled from battle, it is hopeless to escape in time.

Enter Captain Spock.

Spock’s sacrifice for the sake of his ship, his crew and his friends is perfectly handled. This was no contrivance merely to get a cheap rise out of the audience. Rather, Spock’s sacrifice fits with the thematic elements introduced by the Kobayashi Maru – how does one face a no-win scenario? Spock’s solution saves everyone – except for himself. And yet, as Kirk and crew mourn (in some very poignant scenes), the Genesis Device explosion has resulted in the birth of a new sun and planet. Spock’s death was by no means in vain – and it was by no means a result of overindulged vanity.

As far as aesthetics go, the movie still looks and sounds phenomenal. The visual effects were state-of-the-art when the film was released, but they blend so seamlessly that it doesn’t matter one bit that they utilized models rather than CGI. The re-redesigned Enterprise and updated uniforms are slick and purposeful. And the soundtrack, within the film, works very well – perfectly augmenting the on-screen action (though, admittedly, as a standalone piece, it isn’t quite as strong).

Star Trek II: The Wrath of Khan manages to be a character study, despite its emphasis on action sequences, big explosions, and visual effects. Kirk’s “rebirth” after the death of his friend is truly compelling. But more importantly, this movie isn’t just about the Enterprise or her crew. Rather, it’s the story of how we must be true to ourselves, to not let our inner talents go to waste – otherwise it is to the ruin of all around us. Indeed, it was only through conflict and trauma that Kirk could regain his direction and sense of purpose. About the only real fault in the film comes from the newly released “Director’s Cut” which includes many superfluous scenes that do more to break the pace and rhythm of the movie than to provide any real insight.

Filed under: Feature Films, Original Series