TOS-Remastered Review of “The Cage” w/ Video & Screeenshots | TrekMovie.com
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TOS-Remastered Review of “The Cage” w/ Video & Screeenshots May 2, 2009

by Jeff Bond , Filed under: Review,TOS Remastered,TOS-R Screenshots/Video , trackback

CBS has chosen the weekend before the release of the new Star Trek movie to put out the remastered version of the original Star Trek pilot "The Cage" (check local listings). This is the last new episode to air in syndication for the Star Trek Remastered project, and so we now present you with our final TOS episode review.

 

 

REVIEW: THE CAGE
by Jeff Bond

[note: review and caps based on Season 3 Star Trek Remastered DVD]

Star Trek wouldn’t exist without “The Cage.” In fact, that applies right down to JJ Abrams’ new Star Trek, which takes one of its key characters not from the familiar Enterprise crew headed by Kirk and Spock, but by their predecessor, Captain Christopher Pike.

Pike was the captain of the Enterprise in the original Star Trek pilot—in effect, he was the lead character in a show that did not sell to the network and never got made. It was Gene Roddenberry’s second attempt at a Trek pilot, “Where No Man Has Gone Before,” written by Samuel Peeples, that sold the series. So Pike’s Enterprise might have been some obscure footnote to the Star Trek phenomenon had Roddenberry and his production team not been so short on time and money that they had to write a story around the “Cage” footage to create a special two-part episode, “The Menagerie,” in the original series’ first season.

In “The Cage,” Pike’s Enterprise picks up a distress signal from survivors of a spaceship wreck on Talos IV, and Pike takes the Enterprise to the planet to rescue them. Pike is a starship captain in the midst of an identity crisis—he’s weary of command, obsessed with what he sees as his own mistakes and flawed decisions in running the ship. He’s tired of getting people killed and wants to chuck the whole thing—as he tells kindly ship’s doctor Boyce, maybe he’ll retire to a peaceful life on Earth, or go into business on the frisky Orion colonies. Those Green Orion Slave women aren’t going to sell themselves.


Boyce makes a mean space martini

Once the ship arrives at Talos IV Pike and his landing party find a shipwrecked crew, mostly old men, but with one comely blonde woman named Vina. She tells Pike he’s a “perfect specimen” and after they both disappear into a rock outcropping Spock and the remaining landing party men realize “there are no survivors on Talos IV…this is all some sort of trap.” The trappers are the Talosians, classic big-brained aliens who communicate by telepathy, control illusions they can project into the minds of their subjects—and who are a dying race desperate to repopulate their world, even if their own race won’t be the future Talosians. Pike is set up with Vina to be the new Adam and Eve, and Pike experiences a series of illusions that take him back to his old life, to a high stakes battle he was involved in, and to the possibilities of an exotic new life—all to help him bond with the ultimately pathetic human woman Vina.

“The Cage” has always made fascinating viewing for fans. It’s Star Trek in fetal form, very different from what the show would become yet with most of the familiar elements in place: the Enterprise, transporters, warp drive, Spock… yet the differences stick out. The computer produces paper print-outs; a transporter technician wears glasses; a couple strolls through the corridors in bathing suits and Bermuda shorts. This is the Star Trek that was “too cerebral” for NBC, an oft-repeated description that’s a bit funny given the gigantic alien brains on display in every scene with the Talosians. Still, despite some moments of humor and character interplay, this Trek is notably colder, more closely related to Golden Age hard SF as well as its clear antecedant, MGM’s 1956 space opera Forbidden Planet. Less than 10 years after the C57-D’s flight to Altair IV, some things have changed: the Enterprise crew is co-ed if not yet quite multi-racial, although early on Captain Pike still grumbles that he’s not used to having a woman on the bridge. Roddenberry clearly loved the titillation factor of a mixed-sex crew, something that reverberated throughout the series to come. But Christopher Pike doesn’t have Jim Kirk’s mix of discomfort and appreciation for the opposite sex. He’s just uncomfortable. In retrospect, Jeffrey Hunter is better in the role than I’d remembered—he’s realistic and convincing as a commander, reticent yet believable unloading on his ship’s doctor. It’s only later when he has to start bellowing the Roddenberrian pronouncements about freedom and human nature that he comes off stiff and mechanistic. His earlier reticence seems derived from character—Pike is entirely bereft of Kirk’s sense of fun. He’s a reluctant commander ready to turn in his tunic and leave the service. You can see how Hunter might have worked for the first few episodes of the series, but it’s hard to imagine how he could have pulled off the wild theatricality required of Shatner in episodes like “The Enemy Within” or the freewheeling, sometimes rigid, sometimes playful quality Kirk had.

Leonard Nimoy’s Spock is, of course, only partially formed here. His makeup is haphazard—his hair strangely mussed, eyebrows bushy and angled sharply upward, his precise diction not quite worked out (you have to wonder if Zach Quinto’s performance in the new movie echoes this intentionally or accidentally). And he smiles. Majel Barrett’s Number One has some of his unemotional qualities, but she remains an opaque character that Roddenberry evidently preferred to leave mysterious. John Hoyt’s Philip Boyce too is little more than a typical Fifties-style rocketship scientist (a character type Hoyt played many times), with only his early “doctor/bartender” scene with Pike hinting at the dynamic Roddenberry would get from DeForest Kelley’s Bones McCoy.  Laurel Goodwin’s Yeoman Colt is adorable—a wide-eyed teenager compared to Grace Lee Whitney’s worldly Yeoman Rand. But her character role is the same—an attractive young woman to distract and tempt an overworked starship captain. It is interesting, however, to see how Colt and Number One are kept strongly involved in the story’s final minutes, with Number One herself making the brutal decision to end all of their lives by overloading their laser weapons.


Spock isn’t Spock yet in "The Cage"

“The Cage” has always existed in truncated versions since its original “airings” at science fiction conventions before finally turning up in special showings in Star Trek’s syndication runs. The new “restoration” looks as gorgeous as any of the original series transfers, with fantastic color (for the first time I noticed that Number One has her nails done) and detail. Most of the “lost” footage is reinserted fairly seamlessly. There’s Pike’s first creepy sight of his fellow captives in the “zoo”—mostly Project Unlimited “bears” borrowed from The Outer Limits, although seen in color here for the first time. The tusked “wild boar” alien that Meg Wylie’s Keeper transforms into later in the show is sighted first, adding some context to its later appearance—there’s also a “bird man” (shown with the film running backwards to give it an odd, alien quality) and the shadow of a “spider-thing” mentioned in the script but not shown. There are also some interesting added bits of conversation—Spock theorizing that the Talosians are studying Pike to see “how human beings are put together”—another line that echoes in the story’s sickening payoff of Vina’s plotline. Another nice, mordantly amusing touch is Vina’s code talk about her “headaches” when Pike refuses to play by the script when he’s transported via illusion back to Old Earth—and Pike’s line that any children they might have would likely inherit the same headaches. And when power goes off on the Enterprise there’s Spock’s line explaining that “without batteries we’d lose gravitation.” It’s all the hallmarks of an exceptionally well-thought-out story and series concept, right down to the sly humor of the Talosians pointing out Pike’s “primitive fear/threat reaction” to their superiority. What “The Cage” ultimately lacks is the warmth and humanity that made the best episodes of the series to come such gripping drama. Vina’s situation is tragic, and Susan Oliver is effective at putting across the idea of a woman desperate to trade her freedom and dignity for companionship. But that’s just it—it’s an idea, and “The Cage” is more “fascinating” than dramatic.


Star Trek’s first space babe

This was the last Star Trek Remastered episode to be done and as such it has a strange, Moebius strip relationship to the final third season episode “Turnabout Intruder.” In that episode the Enterprise flies off into a picturesque magenta nebula, and that same nebula makes a cameo appearance here in a brand new, retooled and retro title sequence for “The Cage” (the original pilot didn’t have the conventional Sixties TV “teaser” but opened with its title sequence). The nebula adds color to the sequence, although the effects technicians behind the original title sequence could never have composited the Enterprise over a gauzy nebula with this kind of success. There’s a spectacular movement into the episode proper as a side angle of Pike’s Enterprise (nacelle spikes and all) slides into the familiar down angle shot zooming in on the ship’s bridge, with a beautifully smooth transition into the live action bridge, just as if the camera were moving through a clear dome on top of the ship. “The Cage” is not an effects-heavy episode but CBS-D makes some interesting contributions and decisions, including aspects they elect NOT to change. As Pike has his crew scan ahead, debris and asteroid rubble flashes past the screen—CBS-D handles this as well as a digital take on the odd screen “focusing” effect as the ship moves through a radio wave (which is a rather odd idea in itself).

Later in Pike’s quarters we see the stars moving past the ship through the window next to the Captain’s bed. When Pike decides to go to warp and head for Talos IV we get the first, decidedly offbeat depiction of warp drive—with the bridge going “transparent” and giving us a view of the stars rushing past the actors and set to the tune of Alexander Courage’s theme music. There’s no digital manipulation here but it’s a fascinating visual idea that probably would have driven viewers crazy had it been employed in every warp drive scene over the course of the series. In the first cut to an exterior shot in the sequence the Pike Enterprise drifts close to the camera in profile, giving us a good view of the spiked engine nacelles with their oddly textured red forward domes.


Stars in window is a nice touch

Talos IV is depicted as a beautiful emerald world with gray and white clouds, much more in keeping with the banded, multicolored planets seen throughout the original series. This is no “Earthlike planet” as depicted so often by CBS-D yet it’s convincing, with viewscreen close-ups that seem to show impact craters among the geography. There’s a nice shot of the Enterprise sliding into orbit from an unusual angle, gradually tilting from left to right as it aligns itself with the planet’s equator. The planet exterior shows up in a well composited shot in the briefing room as Spock, Number One and their officers discuss the Talosians and Pike’s kidnapping. Interestingly, the signature effects shot in “The Cage”—and indeed one of the signature images from the Star Trek series, is not changed: Albert Whitlock’s spectacular castle painting of the surface of Rigel VII. If there’s any work done on this image it’s very subtle clean-up, and it’s great to see this beautiful sci fi planetscape retained.  

Pike’s next illusion takes place on Earth near Mojave, and CBS-D does a great job of finessing the fairly simple backdrop painting used in the scene of his “picnic” with Vina. There’s a focus change and a great deal of rotoscoping with the set’s trees, and Jeffrey Hunter, placed very effectively in front of the digital matte painting.


Another great matte from CBS-D

While an early bridge data screen uses the original composites and information, CBS-D adds new material (much of it in color) for the late-in-the-game “fly swatting” scene in which the Talosians begin to rapidly draw information from the Enterprise computers (a sequence duplicated almost verbatim in Star Trek The Motion  Picture). It does look better but given the new schematics of space shuttles and other NASA equipment you’d think CBS-D could have thrown in at least one post-1978 piece of technology as an easter egg. It’s a nice touch, though, to end the episode with a reverse of the pull-in shot from the opening, this time pulling away from the bridge as the Enterprise sails away. There was a lengthy series of shots in the original presentation showing the Enterprise moving through space and we do get a few good shots of the Pike Enterprise making some final maneuvers before the retro end credits finish.

CBS-D also touches up a few of the Talosian illusion transitions, particularly late in the game where they add the rippling dissolve effect associated with these transitions over the monster the Talosian leader transforms into when Pike has it pinned down on the floor of the cage. There’s also work done on the final reveal of Vina’s actual appearance. Like McCoy’s healing from the plague in “Miri,” this was done the old fashioned way that can trace itself back to Dr. Jeckyll and Mr. Hyde and The Wolfman: makeup applications that are modified while the actor stands still, film is run, and the footage is later dissolved into each successive stage. It was the only way to do such effects before the age of latex bladder effects and later CG, and often the actors moved during shooting or the abrupt changes between makeup stages spoiled the illusion. Thankfully CBS-D avoids further dating the look with any outrageous CG morphs, instead carefully blending the transitions between shots to help the effect along.

All in all this is marvelous, subtle work, likely done in a rush as the Trek Remastered project came to a close. While many people will have seen this episode on the Remastered DVDs, it’s interesting to put the episode out in syndication now, so close to the premiere of the new film—a film that, amazingly, features Christopher Pike in action again.

 

 

 

SFX VIDEO


SCREENSHOTS

Remastered v Original

Extras


It’s a freakin’ giant laser


Who are you callin big head?

 

Comments

1. Howard Seltzer - May 2, 2009

Looks Good! No detail is too small. First?

2. P Technobabble - May 2, 2009

So, now that TOS-R is finished, what’s next?

3. Anthony Pascale - May 2, 2009

I just want to thank Jeff Bond for all the great reviews over the years…I always learn something and see things from a new light through his eyes.

And I want to thank all the other reviewers, like Daren, Mark, Jason, Dennis and all the others

And thanks to Matt for all the work putting these articles together and to Kelvington for the vid caps and anyone else I am forgetting.

And the TOSR coverage isnt completely over…there are still more blurays to do!

Oh and I konw there is some audio sync issues with the video…my fault…will try and get matt to help fix that

4. Phil 123 - May 2, 2009

I just can’t but the CG Enterprise they use. it just looks too smooth and clearly computer generated. The Defiant in Enterprise (In a Mirror, Darkly) looks better to me.

5. He Who Shall NOT be Named - May 2, 2009

Sweet

I like the clean up

I would have liked to see a few eps with Hunter in charge then maybe Season 2 starring The Shat. Would have made for a great five year mission.

6. He Who Shall NOT be Named - May 2, 2009

BTW…

Those red domes are the Bussard Collectors. Why the spikes? Dunno. Dumb Idea.

For those that don’t know: Bussard Collectors are huge electromagnets that create a magnetic field similar to the Van Allen belts that protect the ship from radiation while collecting Hydrogen/Deuterium/Tritium for the matter/antimatter collectors.

This is why the engines are not rockets…

7. Cheve - May 2, 2009

#6 So, the nacelles pull from the Enterprise instead of pushing it forward?

8. John Gill - May 2, 2009

Dang, I wish I could see this full episode on TV, but the local TV station here shows the remastered episodes at “random”, some weekends they show it, some they don’t, more often they don’t, even though TV Guide lists it at 12 midnight on that channel every Saturday night…

9. Trekkie626 - May 2, 2009

Maybe we will start seeing TNG-R….

10. Jamjumetley - May 2, 2009

I’m not so sure about the stars in the window. From what I see on the compared pictures the hull might have been that thick – that is why you can’t see stars from that angle.

11. Max Choi - May 2, 2009

There’s one error that no amount of remastering is going to fix: Vina claim that “They found me in the wreckage, dying, a lump of flesh. They rebuilt me. Everything works. But they had never seen a human. They had no guide for putting me back together.” It’s an interesting idea–but it made sense only in Roddenberry’s original script, where the Talosians were supposed to look like crabs or spiders. Having this kind of alien on a 60s TV budget would have been too expensive, so they went with the humanoid Talosians we know today. But the Talosians are put together basically the same way as humans, so they really shouldn’t have been confused about how to fix Vina, should they? Moral of the story: revise carefully.

On the other hand, maybe she meant that the Talosians had never seen a human as drop dead gorgeous as Susan Oliver’s Vina, and they couldn’t help botching the job . . . :-)

12. Duane - May 2, 2009

Would have been great to see a photo of Captain Archer (around 5 minues into the FX clip) when the Enterprise’s computer records were being scanned.

13. CmdrR - May 2, 2009

Guy Walking into Turbolift: played by C.G. Iteration.

Now, we just need a few Trek novels about his back story.

14. NimoyDog - May 2, 2009

It looks that, from the dome shot of the bridge, that the bridge stations are too “centered”…note the position of the turbolift doors thru the dome, and the position of that little addition to the back of the bridge dome on the ships exterior. Makes more sense (to me) that the ‘lift doors on the interior should be aligned with this exterior landmark…

15. Steve - May 2, 2009

@ 12

Yeah, that actually would’ve been a nice touch.

16. The Last Maquis - May 2, 2009

#6. He Who Shall NOT be Named

Why the Spikes on the Nacelle Caps???, I believe Khan said it best when he said “It is very cold in Space.”

“I like this ship, it’s Excited!!”

17. Eric - May 2, 2009

Sometimes i laugh when i think of G Roddenberry as a visionary. The Trek concept was fantastic, the communicator/cell phones, big report pads that Kirk was always signing/ laptops, transporters, etc. but he couldn’t for see that the military would give the XO position to a woman in under two hundred years, there’s even a third season episode where someone sais Star Fleet dosn’t allow for woman CO’s. Seems a bit odd for someone who has the rep of being such a great visionary.

18. Captain Quail Hunter - May 2, 2009

Where is the remastered shot of the Phaser Cannon trying to blast thru the doors?

19. Telly1138 - May 2, 2009

Eric, look at the age Gene was writing from. Women were just barely entering the work force, and to great resistance. They were making smaller wages and doing, more or less, secretarial jobs. There were still very strong feelings about black and white people being integrated. Racism and sexism was rampant. It was time when Number One, Lt. Uhura, and Janice Lester were outlandish concepts. Gene knew that, challenged it, but at the same time knew that wouldn’t change overnight.

His statements that women were still not starship commanders could be taken as a dig at current society, just like the various Vietnam parables made during season two.

Of course, then Enterprise had to screw that up and make Archer’s ex girlfriend a captain. But what didn’t Enterprise screw up?

20. HesDeadJim - May 2, 2009

Not a fan..the new effects seem out of place and weird…I don’t like remastered stuff, gimme the orignal

5 DAYS!!! Huzzah!!!

21. Mister Man - May 2, 2009

17 – Star Trek was a product of its time, not our time. 19 touched on that. Moreover, Turnabout Intruder, while bear Gene’s name in the credits, was produced on Fred Freiberger’s watch as line producer and was designed to tell a specific story. There is no evidence necessarily that women as a whole were excluded from starship command duty, but it’s definitely indicated that Janice Lester’s self-destructive personality may have occluded her from serving in Starfleet altogether.

In fact, one of the fights Gene had with NBC in pitching this first pilot was that they demanded that he get rid of both Number One as XO and Mr. Spock. And, as Gene put it, “I couldn’t save both of them, so I gave Mr. Spock the woman’s logical, unemotional qualities, created the Vulcan bac kground and so on and Leonard Nimoy stayed on the show. I then married the woman, but I obviously couldn’t have done it legally the other way around.”

16 – Nacelle cap spikes, the higher bridge dome, larger deflector dish and no sparkles on the ramscoops were part of the original Enterprise’s pilot design. You’ll also see that in the “Where No Man Has Gone Before” Enterprise.

6 – there was some deliberate vagueness about which part of the ship was the “rocket engines” Spock referred to when trying to blast the ship out of orbit to escape Talos IV. But yes, the original Enterprise model was shot in 1964 and some of the later special effects or nacelle cap designs may not have been available. I do agree, though, that putting the same antenna spikes on an engine component that was in the center of the big dish was somewhat strange. “Spike TV” anyone?

Personally, the other thing I like about moving from both of the pilots into the regular season was the fact that the crew got even more diversified ethnically by the time the first episode hit the screen. Other than Number One and Spock, the crew of the Enterprise – other than boasting an Irish/Hispanic character in Jose Tyler – was still largely white. Montgomery Scott and Mr. Sulu were added in the second pilot and Lt. Uhura made it onboard during the makeover phase when more color was added to the bridge and season 1 got into full swing. Still, more of the more “colorful” supporting characters in the second pilot all came from the ship (maybe a budgetary concern) and were decidedly anglo with Gary Mitchell, Dehner, Lee (I’m being strangled by a piece of the Lost in Space set) Kelso and the precursor to Janice Rand, Yeoman Smith.

Of course, just having Uhura, Sulu, Scotty, Spock and later on, Chekov, was ground breaking… and a far larger endorsement of diversity than anyone in makeup or a rubber suit could ever be. Although, my heart still goes pit a pat for Yvonne Craig in the green body paint.

22. HesDeadJim - May 2, 2009

CHECK THE CIRCUIT!

CANT BE THE SCREEN THEN!

lol shouting Spock….

23. Christine - May 2, 2009

#19 :: “…Of course, then Enterprise had to screw that up and make Archer’s ex girlfriend a captain. But what didn’t Enterprise screw up? …”

Hey, I don’t think that’s particularly fair. I personally loved the fact that Hernandez commanded the NX-02 Columbia even if it did violate one… small… canon… detail. And Enterprise as a whole had some really fine moments. Season four was excellent, if you ask me, and the special effects and CGI were second to none in the franchise.

#12 :: Haha, yeah, that would’ve been somethin’. xD A little nod to those who were brave enough to watch both TOS and ENT. (I personally adored both to death.)

24. crazydaystrom - May 2, 2009

#17-
‘Visionary’ does not imply perfect foresight.

25. Ralph F - May 2, 2009

Would love to see a TNG-R.

And at the risk of getting my teeth kicked in, a TAS-R.

26. Paul B. - May 2, 2009

19. Telly1138 – May 2, 2009
Of course, then Enterprise had to screw that up and make Archer’s ex girlfriend a captain. But what didn’t Enterprise screw up?
*******************

Hey, Enterprise didn’t screw up when it came to picking a theme song! ;)
(*tongue planted firmly in cheek*)

27. JJ_roddenberry - May 2, 2009

Actually they could get two birds with one stone, and make TAS-R into that animated series from about 10 years ago that never got off the ground.

28. D - May 2, 2009

It makes far more sense to take Janice Lester’s comments as part of her delusional rage.

“You’re not being accepted for Command Training.”
“WHY, because I’m a woman?!”
“No, because you’re nuttier than an Andorian Fruit Cake…”
Pause…”It’s because I’m a woman isn’t it!”

Enterprise didn’t screw that up…it just confirmed why Lester wasn’t accepted for Command Training…because she has what doctors would call…issues…

29. D - May 2, 2009

I’ve always figured that the Enterprise’s nacelle spikes were some kind of early sensor equipment for that particular mark of Warp Nacelle. Later on, as the technology improved, they were no longer needed and removed.

Could also be a test flight rig, left over from the days when the Enterprise was one of the two Constitution prototypes…

30. Christine - May 2, 2009

#26 :: “…Hey, Enterprise didn’t screw up when it came to picking a theme song! ;)
(*tongue planted firmly in cheek*) …”

Pfffft. Believe it or not, I absolutely loved that song, especially the Season 3-4 remix. And I loved the end credits song. And I keep hearing my mom humming along when I watch it at 4 PM after school every day, hahaaa.

31. Dm - May 2, 2009

17. Eric: I suspect that’s because Gene Roddenberry was doing these things less as some great ‘vision’ than out of devilment. It would make waves and get him noticed!

32. thereare4lights - May 2, 2009

You gotta be kidding

33. SB - May 2, 2009

One thing that very few people ever focus on when assessing “The Cage” is Susan Oliver’s performance.

Jeff gives her a nod when he says that “Susan Oliver is effective….” but it goes far beyond that; she’s what makes the whole show work. Her Vina is very intelligently played, and very human: by turns vulnerable, devious, seductive, playful, frustrated, despairing, and sometimes just downright petty (her hissy fit when confronted with Number One and Colt is hilarious), she’s the only character in the story we can truly feel for and empathize with. (I dare anyone to remain unmoved when, during the Mojave dream sequence, she bursts into tears, unable to carry her burden any more.) She’s also surprisingly good at taking the enormous chunks of plot exposition that Roddenberry stuffed into her mouth, and making them work as believable dialogue spoken by a human being. (Gene had his brilliances, but I’m afraid this was always one of his failings — a great drinking game for STAR TREK: THE MOTION PICTURE would be counting how many times Bill Shatner simply STOPS to explain the plot to the other characters. “We’re locked in an alien vessel, three hours from Earth orbit…”)

Pike is the hero, and “The Cage” is supposed to be about his journey back from disillusionment, but Hunter is (as Jeff noted) simply not a strong enough actor to carry it off….and while the rest of the cast tries very hard, they’re simply not given much to do beyond keeping the plot moving forward. In the final analysis, “The Cage” is Vina’s story, Vina’s tragedy, and Susan Oliver’s triumph. She was a hell of a lady, a hell of an actress, and she died too young.

34. Capt Mike of the Terran Empire - May 2, 2009

To me the Cage is a great show. It gives us a bit of insight into Spock and his early years. I ca see that maybe Quinto and Nimoy used elements of that episode in the new Movie. With Spock smiling or being angry and of corse in those years he was just getting hi emotions under control. Should be interestijg to see how quinto does this in the Movie.

35. Christine - May 2, 2009

#34 :: That’s a thought, but also keep in mind that over the course of TOS, especially in later episodes, a flash of embarrassment would always cross his face whenever his emotions would show. We don’t really see that in The Cage.

36. AJ - May 2, 2009

26:

“Hey, Enterprise didn’t screw up when it came to picking a theme song! ;)
(*tongue planted firmly in cheek*)”

Without that song, ENT might have gone 7 seasons. I’ve heard many complain that “Faith of the Heart” was a real channel-changer for those looking for real Star Trek.

37. SB - May 2, 2009

#35… Agreed. Nimoy has stated several times that Spock’s character wasn’t really locked down when the pilot was shot; most of his backstory was not established until the show went into production. Nimoy has told the story, many times, of how he first got a handle on how to play Spock while shooting the first episode to go into production, “The Corbomite Maneuver.”

Even then, throughout the early part of the first season you can see Nimoy trying various approaches, and he even smiles noticeably several times without any sign of embarassment. (Check him out during Uhura’s musical number in “Charlie X,” and catch the sardonic grin on his face when he ushers Harry Mudd and his women into Kirk’s quarters…)

38. Andy Patterson - May 2, 2009

Have I mentioned I miss the days of this part of the site? Looking forward to the new stuff and Jeff’s good reviews. You always do a great job.

And after having watched this again recently….I realize how much great music Alexander Courage wrote inside this episode. We always cite his theme….. but man! He wrote some great cues in this one. That far out tuba puffing out those 16th note runs as Pike fights the alien to save himself and Susan Oliver. Who would have thought of using that instrumentation in a fight scene? And so effectively. All of his eerie cues also. They re-used a lot of Courage’s music from this episode. I never realized. He did good work.

39. Smitty™ - May 2, 2009

TOS-R gave the Pike Enterprise something it didn’t have before.

Lights!

The model used in the first pilot was not wired for lighting.

-cs™

40. Chadwick - May 2, 2009

Not that the people at CBS didn’t do a fantastic job, I wonder if ILM would ever consider opening up a studio to work on television, think of how mind blowing some of those fx would be.

I cant wait to see this on blu-ray. As a teenager I used to find TOS boring as well especially The Cage, but I love it so much now, probably my favorite of the all the series. I am not sure how they are doing it this round but I wish it were on the season one disc set and not season three, in my opinion this should be the first episode #1 on season one, regardless of the fact the pilot was canceled, regardless of the fact TOS is the missions of captain Kirk, the Cage should be the first episode on disc one season one.

@ 2. P Technobabble. Lol TNG is next up. After watching season 1 of the original series on blu-ray may god I could not belive how “rich” it is, the color, sound, graphics. I could only imagine what TNG would look like with the million-dollar upgrade. DS9 and Voyager still look great and so does most of TNG, but still could use some cleanup. Mainly it is some of the planets that look terrible, very blurry. The thing I hate to loose is the model shots of the ship updated to all CG. The 1701 D looked great in the final episode of Enterprise but the scene of realism was missing because there was no model used. I know it is no longer practical, I mean with a model you still need to build it, set it up in a room, film it, edit it, where CG all that is done right on the computer screen but I still say using a model and throwing a layer of CG over top is the most realistic. I am expecting the new movie to change me opinion on that.

After watching Star Trek on DVD it’s hard to watch it on cable because so much quality is lost. Then I saw what Star Trek looked like when it was broadcast in the 60′s and 70′s and could not belive how horrible it looked compared to today’s cable broadcasting. But the step up to blu-ray, the people at CBS did a wonderful job.

41. P Technobabble - May 2, 2009

I’d like to reiterate Anthony Pascale’s sentiments and say what a great job his writers and team does on this website. Maintaining any website is hard enough, and when you consider all the content that goes into Trekmovie… well, you should simply be blown away (and if you’re not, there’s definitely something wrong with you).

I have to disagree with those who call for a TNG-R. First, I believe that the nature of how it was originally shot prohibits the possibility. Also, I don’ t think there is any reason to tamper with the FX shots in TNG. For TOS, it was justifiable, because the keepers of TOS wanted to upgrade the look for a younger audience who was already used to those big Hollywood blockbuster FX in movies like Transformers, and it was apparent that the 60′s-era FX were hardly very far ahead of stone knives and bearskins…

As for an animated Trek, I think the recent Star Wars animated series is the kind of animation I prefer over the TAS-style animation… but that’s just me…

42. AJ - May 2, 2009

I think Quinto plays young Spock as emotional, as well he should.

The fact that Nimoy’s Spock in “The Cage” and “WNMHGB” is emotional plays well into his character arc as a whole. He struggles for years, endures and fails the Kolinahr, and finally realizes after contact with V’ger, that emotion is a central part of who he is.

I haven’t seen the film, but the clip with Kirk and Scotty shows him seething with rage. This will obviously lead to the fight with Kirk that will have him relieved of duty.

Surprisingly enough, I think ‘Enterprise’ did a lot to reveal that even pure Vulcans struggle with their emotions. T’Pol was the only one in the show who seemed to have emotions, and her compatriots all seemed quite conflicted.

Spock’s dad, as portrayed so well by Mark Lenard, also was quite a train wreck at times, so it makes sense for Spock to have a head full of conflict.

43. AJ - May 2, 2009

40:

Chadwick:

ILM did work on TNG.

44. Jeff - May 2, 2009

I understand you folks that get the remastered series at inconvenient times. The Cage airs here Sunday morning at 4AM … a week late. I have to tape it.
I’m hoping after the movie is released to great success , they will air is a much better time.

45. dep1701 - May 2, 2009

As a hardcore fan of the original Starship Enterprise,,, I’d like to add a couple of observations:

I know i mentioned this before, but i’m surprised no one else has commented on the see through ‘neck’ dorsal, and the fact that you can see the rear edge of the saucer through it as the Enterprise does that otherwise nice approach to the nose over into the bridge dome. Maybe it only bugs me, but i find it distracting…especially since that ‘nose-over’ shot was first seen clearly ( reworked with Kirk’s Enterprise ) at the beginning of “The Corbomite Maneuver”, and the dorsal looked perfectly opaque in that shot. I wonder what happened and how it slipped past the CG team?

Another nice detail that Jeff doesn’t mention, is that you can see the original rectangular details on the rear nacelle caps recreated on the CG version ( see the last shot of the original model above ). However, one nitpicky detail I noticed on both the the “Cage” and “Where No Man…” versions of the ship, which was not faithfully recreated in the CG versions, is the fact that the two “NCC-!701″ registry numbers on the underside of the saucer were original facing the opposite directions than they would appear when the model was redetailed for the series ( they were switched to make them more readable from the most commonly used camera angles ). The CGI versions of the ship have them facing the way they later appeared.

And if you REEEAAALLY want to get nitpicky, in “Where No Man…” the navigation lights on the underside of the saucer were originally further back ( where the three dots appear on the model ), and not next to the two “NCC-1701″s ( there was also a third nav light that blinked in time with the others on the front of the bow…where the three round ports are ) To see what I’m talking about, just look at any – non-cgi – second season opening credits sequence, which oddly enough, only uses stock footage shot of the “Where No Man…” version of the model.

I know…”obsessive much?”

46. New Horizon - May 2, 2009

40. Chadwick – May 2, 2009

Also, cleaning up TNG would be a much larger task since TNG was transfered to video and all the editing was done there. They would have to locate all the original negatives, scan them, clean them up, re-edit the epsidoes, insert the music again, and put all the effects back in. Oy. It would be like completely redoing the show again. They could never do it on the budget they had for TOSR. In order to do all 7 seasons, they would need to increase the budget by 2 1/4 what TOSR had, right off the bat, and then double that to do all the extra work. Well, if they intend to do it properly that is.

47. Chris M - May 2, 2009

Cool, new effects look great!

Perfect timing as well with the new movie coming out in a week. I’ve always thought Captain Pike deserved more than just a one episode cameo which is why I think it was a great idea to use the character in the new movie! I think I might get out the DVD of “‘The Cage” an watch it before I go to see Star Trek! :)

48. sean - May 2, 2009

#19, 28, etc

Rodenberry admitted the line was simply sexist. But he also didn’t write Turnabout Intruder, and was barely involved in the show at that point. The script he *did* write included a female XO, though even The Cage had Pike saying he couldn’t get used to a woman on the bridge. Star Trek, like anything else, was a product of the time.

One thing that always bothered me about this episode was the beginning with the radio waves. Treating them as such exotic material that even an advanced starship could mix them up with a solid object was just absurd. For goodness sake, certain STARS emit radio waves. Were they going into Red Alert every 5 seconds at warp? Totally minor and insignificant nitpick, but for some reason it gets me every time.

49. Dan - May 2, 2009

That looked good and all, but did they restore the Keeper’s original voice?
Malachi Throne supplied the voice, and it was altered for the Managerie. They need to restore the voice.

50. enterprise1965 - May 2, 2009

I am wondering are the events of The Cage before or after the timeline change in the movie?

51. Andy Patterson - May 2, 2009

Also…after having watched this again I agree with John Byrne when he said Jeffrey Hunter would have been perfect as Mr. Fantastic had they done a Fantastic Four movie back in the day. In fact I’m not so sure Kirby didn’t remodel him after Jeffrey Hunter. He became a more fully formed creation around the time of this episode. And I’ve always heard Kirby was a Star Trek fan…. and also drew in front of the TV on all those long nights at the drawing board. It makes sense to me.

52. dep1701 - May 2, 2009

“That looked good and all, but did they restore the Keeper’s original voice?
Malachi Throne supplied the voice, and it was altered for the Managerie. They need to restore the voice”

When it was altered for “The Menagerie” it was still Throne’s voice. They had hime re-record the dialogue to add the extra lines to Captain Kirk at the end, and since he was doing the role of Mendez as well, the sped up the keeper’s voice so the two would not sound exactly alike. For the remaster they simply digitally sped up the small bits from the black and white version to match the existing voice track, and it sounds pretty much the same. Just listen for the lines; “A curious species. They have fantasies…”, “Although she seems to lack emotion…”, and “Since our life span is many times yours, we have time …”. These are perfect examples of the digital matching technique, and you can clearly hear that they match the inflections of tThrone’s re-recorded dialogue for “The Menagerie”.

53. Commodore Redshirt - May 2, 2009

This is the “First Generation”.
I’ve always wished for more from this era in the Trekverse and I had hoped JJ would have gone here to “re-start” Trek…
When asked I will always say without hesitation that this is my favorite episode.
BTW: 1:00 AM tonight channel 11 Seattle

54. Karl - May 2, 2009

Is it me or does the model ship in Picard’s ready room look a bit like the USS Kelvin?
http://www.ex-astris-scientia.org/gallery/artoftrek/ed-readyroom.jpg

55. Scott Gammans - May 2, 2009

Oooh, lots of starship pr0n here. I’m still annoyed that CBS Video didn’t include “The Cage” in the season one Blu-Ray box set, but you better believe I’ll be watching this episode this weekend (or whenever TiVo captures it… I think Trek now airs at 2 AM Monday mornings in Washington DC’s syndie market…)

56. cpelc - May 2, 2009

54 – Cool especiall kirk holding the mini kelvin model

55 – That’s the stargazer with 4 nacelles

57. Smitty™ - May 2, 2009

@55 Karl

A bit if you blurred your eyes.

That’s it! They can retcon the Kelvin as the design forebear of the Stargazer!

-cs™

58. I am not Herbert - May 2, 2009

51. Andy Patterson: Nice! Thanks, for the Kirby-Trek connection!! =)

59. Closettrekker - May 2, 2009

#19—”His statements that women were still not starship commanders could be taken as a dig at current society…then Enterprise had to screw that up and make Archer’s ex girlfriend a captain. ”

Only if you take the words of Janice Lester as literally true in the first place.

Given her obvious instability, she is hardly a credible source. I take her claim to represent her own feelings of persecution as a defense mechanism, shielding her from bearing any responsibility for failing to measure up. And her assertion that women are not permitted to be starship captains is never coroborated at any point, therefore the character of Erika Hernandez is not really a contradiction, but merely affirmation that what Janice Lester said was untrue.

60. Benjamin Adams - May 2, 2009

Y’know, the Mojave picnic is the first quibble I’ve had with any of the new matte work. The original shot, with the city of Mojave all a-glow with lights, makes the scene’s studio-bound lighting make more sense . . . it’s twilight, and Pike and Vina are out there for a picnic under the stars. The new shot, while having a more realistic-looking city, loses that lighting effect from the original matte, giving the scene the appearance of just taking place on a cloudy day.

61. Ian Watson - May 2, 2009

Fabulous.

Keeping my fingers crossed for TNG Remastered.

62. Cobalt 1365 - May 2, 2009

What, no spoiler tags at the top??? Darn it, the whole episode is ruined!

63. The TOS Purist aka The Purolator - May 2, 2009

The Remastered version of “The Cage” is NOT the first time we’ve seen the other caged creatures “in living color,” as NBC used to say. The DVD version which came with the TOS Season 3 box set had the full color version of “The Cage” (as well as the half black-and-white, half color version), and we got to see those creatures in color then, too.

Why the issue with the transporter technician wearing glasses? Nobody seemed to have a problem with glasses when Kirk wore them in “The Wrath of Khan.”

I don’t know why the teaser (or lack thereof) was defined as a “Sixties TV teaser,” as if it was only something that was done in the 60′s – most TV shows today do the same thing.

64. Karl - May 2, 2009

Fine, I concede that model is indeed the Stargazer in Picard’s room. You just usually see it from a side-on angle so I thought “hey, that looks like the kelvin” yesterday while watching Cause and Effect and after noticing it a few other times…

65. I am not Herbert - May 2, 2009

6. He Who Shall NOT be Named: “For those that don’t know: Bussard Collectors are huge electromagnets that create a magnetic field similar to the Van Allen belts that protect the ship from radiation while collecting Hydrogen/Deuterium/Tritium for the matter/antimatter collectors.”

Although the Bussard Collectors ARE a set of coils which generate a magnetic field to collect interstellar hydrogen atoms for fuel… I believe the DEFLECTOR SHIELDS are emitted from the ship’s navigational deflector dish, or from a network of “grid” emitters laid out on the ship’s hull.

66. The Invader (In Color!) - May 2, 2009

Of course one thing that remains inaccurate in both versions is that the turbolift door and the tubolift shaft don’t line up. Look at the clear dome shot and you’ll see what I mean…

67. Ben IV - May 2, 2009

#6
“BTW… Those red domes are the Bussard Collectors. Why the spikes? Dunno. Dumb Idea. For those that don’t know: Bussard Collectors are huge electromagnets that create a magnetic field similar to the Van Allen belts that protect the ship from radiation while collecting Hydrogen/Deuterium/Tritium for the matter/antimatter collectors.
This is why the engines are not rockets…”

1) The spikes were on there originally. They were removed later.
2) The Bussard collectors do not protect the ship from radiation. The deflector shields serve that purpose. BTW, Bussard collectors don’t work well in terms of the energy balance for traveling faster than light, even with matter/anti-matter annihilation, unless the mass of your fuel is far greater than the mass of your space craft… and in Star Trek, it is not.
3) That’s not why the engines are not rockets. The engines aren’t rockets because they warp space time. Whereas the impulse engines do not technically “combust” their fuel — they use nuclear fusion, although some do consider fusion/fission engines to be a form of “rocket” engine.

#45
“but i’m surprised no one else has commented on the see through ‘neck’ dorsal, and the fact that you can see the rear edge of the saucer ”

I know! like what did they screw up to make that happen? I was sitting there thinking it would be all awesome and stuff, and then boom, see-through interconnecting dorsal! I get the feeling they rendered the saucer separately so they could set the bridge video in it, and then composited it over the rest of the ship, and forgot to let the dorsal poke through or something. But, like you say, the zoom into the bridge is so much better than it was originally.

#54
“Is it me or does the model ship in Picard’s ready room look a bit like the USS Kelvin?”

It’s the U.S.S. Stargazer, which had 4 warp nacelles, not one like the Kelvin. Or didn’t you ever watch TNG? Oh, y’all already corrected that thanks..

68. RD - May 2, 2009

HEY JEFF!!

I can’t believe I am going to say this since I was so vocal about the delay of this review since the episode was released on DVD back in November.

However, because Trekmovie made the decision to postpone it until it actually aired, over 6 months later, you’ve brought this on yourself: “[note: review and caps based on Season 3 Star Trek Remastered DVD]” – REALLY!?! YOU HAVE TO BE SH*TTING ME! LOL

NOW THAT IT HAS ACTUALLY AIRED, would you PLEASE UPDATE this review to include those elements cut from the actual broadcast?

I know this is some interest to many of us who have been following this topic since the beginning. The Cage has a running time of 63 minutes, way over that of even the length of an average 1960′s TV episode. “Where No Man Has Gone Before” was cut down to an average of 50 minutes (8-10 min. commercials) when originally aired. In syndication they have cut at least 8 to 10 more minutes out of it (down to 40 or 42 minutes). For the Cage that means they have cut almost 23 minutes out of it for syndication!!!!

Part of these reviews, if based on actual broadcast, should present some commentary as to how effectively an episode was cut down for syndication – which I believe I saw a time or two in past reviews. Obviously, cutting 8-10 minutes out of something has significant impact whether done badly or not, but none is affected as much as the Cage will be. Wouldn’t it be sad if syndicators cut the stuff out that was already cut out of the Menagerie, leaving us with essentially the same story in syndication? LOL I don’t know who’s doing the cutting, but if they knew little about Star Trek, they might do exactly that!

69. Closettrekker - May 2, 2009

#63—”Why the issue with the transporter technician wearing glasses? Nobody seemed to have a problem with glasses when Kirk wore them in ‘The Wrath of Khan.’ ”

I’m not sure anyone has a problem with it at all, since it has since been established that some patients are allergic to the 23rd Century alternative (TWOK). It is only mildly noteworthy in the review of “The Cage” because it is the only time we see a member of Starfleet wearing them in TOS.

70. Check the Circuit - May 2, 2009

@ 51

I’m pretty sure it’s documented that Jack Kirby was a Star Trek fan…or at least a regular viewer. I read somewhere that the story arc in Fantastic Four #91-#93 was influenced by “A Piece of the Action.” The Thing is abducted by Skrulls and taken to a planet they have patterned after the people/culture of the Chicago mobs of the ’30s.

71. Check the Circuit - May 2, 2009

also @ 51:

I also understand that Jack Kirby was NOT a fan of Star Wars because of all of the “similarities” to elements of his Fourth World Saga; The Source, Darksied, an interstallar conflict between the forces of good (New Genesis) and evil (Apokolips).

72. Rblaine - May 2, 2009

Dr. Lester had a couple of issues? I think she had the whole subscription!

73. Closettrekker - May 2, 2009

I’ve always preferred “The Menagerie” to “The Cage” as a story. I think that many of us view “The Cage” out of mere curiosity about the show that might have been…but never was.

Pike’s visit to Talos IV is (IMO) better suited as the substory in “The Menagerie”, with the added element of Spock’s demonstration of loyalty and human compassion toward his former captain and the drama that unfolds as a result providing what was lacking in “The Cage”.

As for Spock not yet being developed as a character—–I also wondered why, during the editing of the footage in the original pilot for its inclusion in “The Menagerie”, they chose not to take a mulligan on “Happy Spock”. That image of Spock with a big grin could easily have been dumped, and that decision would have made perfect sense to me, since by the mid-first season his character had become far more like the one we saw throughout the Original Series.

I wonder if any thought was given at all to that—-ironic, since we are now about to see a young Spock who is depicted as having a clear lack of relative control over his emotions in ST09. The inclusion of “Happy Spock” in the footage reused for “The Menagerie” certainly left the door wide open for that interpretation.

74. Peter F - May 2, 2009

@51, Byrne has obviously always been a Trek fan — I’ve always felt that the Dark Phoenix Saga was at least partly inspired by “Where No Man Has Gone Before”…

“Kill me… while you still can…”

75. GarySeven - May 2, 2009

I just want to thank Jeff Bond for his reviews. I always found them informative, well-written, balanced, and just plain good.

76. AJ - May 2, 2009

74:

“I also wondered why, during the editing of the footage in the original pilot for its inclusion in “The Menagerie”, they chose not to take a mulligan on “Happy Spock”. That image of Spock with a big grin could easily have been dumped, and that decision would have made perfect sense to me,”

Awww, c’mon, Closet! Let Spock be happy without spores once in a while!

They could have cut it out of “Amok Time” as well. And where would that leave us?

I like backing Spock’s character into the “Cage” and “WNMHGB” stages of his persona. It adds some unpredictability to Spock, and when he blows it in “Amok Time,” we realize just how close to the surface his emotions are.

Remember “Bread and Circuses?” When McCoy confronts Spock in the cell:

“Now I know why you’re not afraid to die, Spock – you’re more afraid of living. Each day you stay alive is just one more day you might slip, and let your Human half peek out. That’s it, isn’t it? Insecurity. Why, you wouldn’t know what to do with a genuine, warm, decent feeling.” (thanks, Memory Alpha).

The smileys in “Cage” and “WNMHGB” are fine segues into the TOS Spock we know well, and into the TMP/TWOK Spock he will become.

77. Simon - May 2, 2009

#40 – http://loseloose.com/

78. The Original Spock's Brain - May 2, 2009

Jeff & Anthony, did you notice in the opening shot zoom into the bridge that the guy getting on the turbo lift is CGI? I didn’t see it mentioned.

79. DavidJ - May 2, 2009

46

Not to mention the fact that the effects in TNG were often woven throughout entire episodes– you wouldn’t just be replacing exterior ship shots and the occasional phaser beam like on TOS, but all the effects the ACTORS interacted with too.

As much as I’d love to see those Ent-D shots redone (I was always frustrated at how rarely we got to see the ship do what was being described on the bridge), I think I’d be happy if they could just sharpen the picture up a little more.

80. BH - May 2, 2009

46. New Horizon – May 2, 2009

I’m guessing TNG was actually cut in linear video editing in early seasons and later on Avids. But most TV shows of the era with a decent budget like TNG still conformed the actual cuts with keycode/timecode to the original 35mm negative for a master.

It is the all the titles and composites like phaser blasts, transporter fx, digital mattes, CGI, etc. that exist solely on a video master but some of the 1701-D flybys and other ship shots exist as optical composites on film. (Some shots in the “Genereations” version of the 1701-D were done by ILM in CGI and looked amazing on the big screen)

True it is still a monumental task but all the creative decisions regarding the editing should be preserved on 35mm opening up the possibility of a glorious Blue-Ray release.

The point is TNG-R is a distinct possibilty save for the extra money of doing 7 seasons and with much more FX shots than TOS-R.
Only problem is that it would have to be “cinema quality” FX which is not possible on a budget anything near the TOS-R project.

81. Closettrekker - May 2, 2009

#76—-”Awww, c’mon, Closet! Let Spock be happy without spores once in a while!

They could have cut it out of “Amok Time” as well. And where would that leave us?”

It’s far more impactful to me in “Amok Time” if I ignore it in “The Menagerie”. Think about the two separate catalysts for Spock’s smiles in those episodes.

One is the understandably shocking revelation that his friend is alive instead of killed by his own hand…and the other is a pretty flower.

I would have preferred that “Amok Time” be the first smiley Spock.

And the “smile” in WNMHGB comes off more to me like a condescending smirk than anything else.

I love that speech by McCoy to Spock in “Bread And Circuses”, but again, it’s probably one that is even more impactful without the big grin in “The Menagerie” preceding it.

But it is what it is. They could have chosen a “do over” and left that scene out of the footage reused from “The Cage”—–but they didn’t. Its inclusion in “The Menagerie” makes it canon, and Spock’s apparent absence of that familiar facade of stoicism in that time period subject to further exploration.

I wonder if Dorothy Fontana ever made any public commentary on that aspect of Spock. We know how she imagined his childhood and his estranged relationship with both his father and, in many ways, his own half-human heritage——but I wonder what her thoughts on who he is in young adulthood have been.

82. Joe - May 2, 2009

does anyone know why The Cage isn’t listed for the New York area?

83. OneBuckFilms - May 2, 2009

I’d like to thank everyone involved with TrekMovie.com

We’ve had fantastic articles, occasional exclusives, reviews, accurate news free of fluff, a great community and a level of journalism and integrity rarely sustained.

This site has become THE place for Trek news, and it’s coverage of the new movie, and TOS Remastered, is second to none.

Well Done EVERYONE !!!!

84. Closettrekker - May 2, 2009

Spock’s tendancy to occasionally act upon emotion was his most endearing quality, but its impact to me was always set up by his usual reluctance to lower the mask of Vulcan stoicism.

When he acts (in disregard of the law) out of caring for Pike, it is impactful.

When he demonstrates emotional relief at the realization that Kirk is alive and not dead as he believed in the moment before—-it is impactful.

The look on his face after his mother slaps it is impactful.

Smiling widely over a pretty flower is void of such impact, IMO. That scene was always an enigma to me, and one of which the series could easily have been spared.

85. gatetrek - May 2, 2009

During the scene with the computer – I think I spied a picture of the ISS – easter egg maybe?

86. Enc - May 2, 2009

78

i think we need full video comparison

if you look closely as with all the comparison shots over all the remastered eps you’ll notice they are not screen grabs from the exact same frame in the ep. that part is hard enough to do for a simple review of the ep.

yeah they do tend to add things and make some cahnges.
but

in the shots above we also see
no. one has moved
the blue shirt by the engineering station
the person at communications
the yeoman by the door
the envirmental enginering officer

87. Iowagirl - May 2, 2009

#81
- I would have preferred that “Amok Time” be the first smiley Spock. -

Awww, we agree on that! Go figure…;-)

Spock slowly came to terms with his human, his emotional half by means of his friendship with Kirk. We can see that gradual development during TOS, and his reaction at the end of Amok Time most certainly can be classified as the most impactful expression of this process.

88. Dennis Bailey - May 2, 2009

There is no documentary evidence that when Jefferies first designed the nacelles of the Enterprise and included those spikes that he had any thought of the domes being “bussard collectors.” That’s a later retcon.

89. RD - May 2, 2009

It’s interesting how they chose to update the bridge dome which is much higher in the Cage than the series. It appears to be at least 2 stories tall in relation to the rest of the Enterprise proportions. In particular, they seem to have altered the interior image to reflect a single story and have softened the exterior surface details which are so clearly defined on the original, and REMOVED a very obvious black rectangle on the front which suggests and actual view-port through to the bridge from the outside. Interestingly this seems to be the exact approach they take in the new Abrams’ film – a real window to space from the bridge (no more Mr. LaForge running to the observation deck to take a “real look at it”), overlaid with projected video and a heads up display. ANYBODY who’s seen the film want to CONFIRM this?

Either way, with such care to maintain the original design with the opaque nacelles and spikes, etc, this seems to be an excessive and presumptuous, if not revisionist liberty. And if the new movie’s design does take its cue from this original design, that link has been lost to posterity for all but the ST purist.

90. Commodore Kor'Tar - May 2, 2009

I used to have the VHS of this with Gene Roddenberry speaking about it at the begining and end .

I am looking forward to seeing this update of the original classic pilot .

91. Tom - May 2, 2009

I just watched the broadcast here (Boston) and so much was cut, including some of the remastered effects. Where did the review version & effects clip come from?

92. Tony - May 2, 2009

A quick glimpse of NX-01 during the flyswatter computer sequence would have been fun!

93. Andy Patterson - May 2, 2009

70,71,74

Yeah,…but has anyone ever noticed the similarities in Jeffrey Hunter and the more fully formed/developed Reed Richards? When I saw the Cage on the big screen last year I really was struck by how many poses looked just like Mr. Fantastic. I think if I do the research I can cite exact samples. I’ve suggested this as an article to John Morrow at TwoMorrows publishing. I may submit it myself.

And again Jeff,…good review. You have an good insight.

94. BK613 - May 2, 2009

84
Perhaps it was kept because it is the only real personal moment between Pike and Spock that we see during The Cage. If you are telling a story about a normally stoic Vulcan kidnapping a former commander and are setting up loyalty etc as a motivation, I think it helps the process to show some interaction THEN to help sell the erratic behavior NOW. Unfortunately, as I said, this moment is all they had.

At least that’s my take on that scene

95. sean - May 2, 2009

Is this on any of the Blu-Ray sets? Or will it be on an upcoming one, if some aren’t out yet?

96. Simon - May 2, 2009

80 – Some shots in the “Genereations” version of the 1701-D were done by ILM in CGI and looked amazing on the big screen.

The only CG Enterprise-D in “Generations” was when it went to warp speed (2 shots). The rest were done using the original shooting model ILM built for “Encounter at Farpoint” with a new paint job and some additional surface detailing.

To save money, ILM also recomposited a couple shots using their original filming elements: the flyover during Picard’s log entry and the initial saucer separation shot. They had to heavily reprocess them since flaws and bumps that didn’t show up on a TV screen were readily apparent on the big screen.

TNG was shot on 35MM film and immediately transferred to D-1 Digital for editing. 4th season they switched to D-2.
TNG HD would require finding ALL the raw 35MM footage, rescanning it, and re-editing it from scratch.

97. SB - May 2, 2009

95:

“The Cage” originally turned up on the third season sets of both the DVD and DVD-remastered versions. Which almost certainly means it’ll be on the third-season Blu-Ray. And no, that hasn’t come out yet.

98. stephen - May 2, 2009

#11: The Talosians couldn’t make Vina pretty again? Well, it’s not like they’d gone to Harvard Medical School! Maybe they did pretty good considering they hadn’t been practicing, and maybe they had trouble finding the right instruments. They’re good at producing illusions, but not actual stuff.

#82:
Episode not listed in NY? Maybe it was already shown and you missed it?

Spock smiling at a flower:
In the 1970s some Star Trek fans produced a series of fanfic stories called the Kraith Series, which explained a lot about Spock, Vulcans and Vulcan society.

For a while, Spock did try to emulate humans, but gave up on it and soon after meeting Kirk he decided to emulate Vulcans.

http://www.simegen.com/fandom/startrek/kraith/

At the end, Pike tells the others Vina isn’t coming, and he can understand her reasons. It’s too bad Roddenberry overlooked the implication, that unattractive, deformed people can’t fit into Earth society of that time.

Maybe she had some psychological reason for staying, but they could have had her come aboard and go to the nearest colony to live.

But how would that affect the Menagerie two-parter?

A ST Enterprise episode claims Orion slave women are the real rulers. How plausible is that?

99. Trekkie626 - May 2, 2009

I have TNG S1 on DVD and I was surprised at how pink it looked, and the exterior shots for Encounter at Farpoint could use a touch up.(the nacelles glow purple)

100. Cervantes - May 2, 2009

I’d like to thank Anthony and all involved with the various ‘TOS:Remastered’ reviews, videoclips, and screenshots that made this fine site such required viewing throughout the ongoing ‘upgrade’.

The news that this iconic series was getting an FX upgrade was something I was looking forward to immensly, when I first heard of it. Unfortunately, while some things have turned out very well, other ‘creative choices’ by CBS-Digital have been a disappointment, and this worthy project has ended up very patchy overall.

There were so many possibilities that COULD have been achieved –

I’d hoped for additional backdrop CGI to replace the various studio-bound ‘cyclorama- backdrops, which would have given a greater sense of scale and epic-ness to the show overall.

I’d hoped for ALL handphaser-fire to be improved to the SAME standard throughout, rather than leaving some undone.

I’d hoped for more dynamic, BETTER-composed ‘Enterprise’ / ‘alien-craft’ shots than what we got, along with a ‘WHITER-looking’ Enterprise instead of the ‘grey-looking’ one that we ended up with!

I guess I expected greater things than was ever going to be achieved, considering the powers-that-be decided on such a restrictive effects-budget on a tight-deadline to begin with.

However, despite my own misgivings about a lot of what was left unachieved, it’s been great to see the actual PICTURE QUALITY clean-up that the whole show has been given. That alone has made the whole endevour worthwhile, as far as I’m concerned.

But….the fact that a lot of shoddy-looking, original handphaser-fire has STILL been left untouched, is probably the one thing that truly lets down whatever good work has been done on this remastering, and will always remain a distraction that disappoints. That is one element that SHOULD have been consistant. The ones that WERE improved on, turned out terrific, and I’d rather a little more love had gone into the rest of them, no matter what.

As to the future – Bring on the full-blown 16:9 W I D E S C R E E N version!
Just PLEASE re-do ALL those handphaser shots the next time….

101. Dr. Image - May 2, 2009

A Pike-era series of movies is what I had always hoped would be the next step.
Oh well, the fact that ST09 even acknowledges Pike is actually quite surprising, given the direction they chose.
Hey, the bridge chairs sorta look the same too!

I think Hunter would’ve kicked ass in the role, had his wife allowed him to continue.

102. John Sullivan - May 2, 2009

I’m watching it now, and can say that so far as I can remember, this is the first time that “The Cage” has ever appeared on National TV. I notice that the producers have even remained faithful to the twin vertical slots at the aft Warp engine nosecaps. Can’t wait to see how the next half hour goes. They did drop many important lines and scenes, but this is obviously the Magnum Opus of Okuda and crew – good job, guys!

103. KMKProd - May 2, 2009

85. – Yes, the ISS does appear in the viewscreen computer archives, right after the LEM and what lloks like the Soyuz or Voshtok Soviet capsules. A shot of NX-01, and other things from ENT would have been pretty cool as well.

104. John Sullivan - May 2, 2009

#88 – indeed that is a Rick Sternbach era TOS invention. Personally I always thought that the hemispheres at the front of the engines were always something I’ve always called “Courselators,” miniature black holes spinning within a faster-than-light snow globe, used to turn the ship at warp. After all, when you’re going so fast, you need something like that to offset the effects of inertia. It really does take a couple of spinning miniature black holes, with the axis offset like a rudder, elevon, and flap combination to turn a starship at Warp. In defense of TOS, they did have a little bump sticking out on the to of the Brussard Collectors which was illuminated that could also be considered the same. Once you warp the circle into something you see in TNG, VOY, ENT, DS9 etc then you in effect create an oval shape which looks great but which isn’t as functional. Same goes with the “astethic” ‘improvements’ of the warp pylons which MAY look better in the new movie, but which in fact are functionally inferrior according to the laws of physics against the pylons on TOS or even TAS. TNG’s pylons are still upon to scientific debate if only because of the clever use of the triangle in the overall design which does support physics when accelerating, but not when decelerating.

I do want to say I just watched this on TV and indeed I loved it. I now

ANYWAYS ..ant to go out and buy the Remastered DVD’s just to catch the episodes full-length. This one, in addition to being so great, did cut out too much to fit the commercials in, but the new scenes were great.

Looks like Pike’s quarters are on Deck 2, port side, right under the Bridge. That oval – shaped buldge above the top of the “primary hull” saucer was always awkward so far as ergonomics on the interrior, and unfortunately is missing altogether in the new movie.

105. Swollen Ballz - May 2, 2009

I have always loved this episode. Theres just something about it that is unique.

106. The Invader (In Color!) - May 2, 2009

Way too many cuts for syndication…ugh.

107. Andy Patterson - May 2, 2009

I do think it’s interesting (as a side note) that the guy who plays Dr. Boyce…who always played such a straight character, was evidently a pretty open, adventurous guy. Maybe I’m wrong, but I hear it said he played a part in an adult film called “Flesh Gordon” right before his death. That would be interesting viewing with a Star Trek crowd some night.

And in 93

I meant you have “a” or no article at all. That’s the one thing I wish I could do on here from time to time is fix my mistakes.

108. mntrekfan - May 2, 2009

I just watched it. The singing plants were taken out as well as ” The women!” I thought the ship looked good and I really liked the opening credits.

109. Donald G - May 2, 2009

105: John Hoyt (Dr. Boyce) appeared in “Flesh Gordon” in 1974. From 1982-1987, he played the grandfather on the Nell Carter series, “Gimme a Break”. He died in September, 1991. Hoyt had a long list of credits (dating back to 1946) in film and television running the gamut from costume dramas to westerns to film noir to science fiction and horror, not to mention situation comedy. He could be seen in episodes of “The Twilight Zone”, “Bonanza” (in an episode with DeForest Kelley), “Get Smart”, “Hogans Heroes”, “Kolchak: The Night Stalker”, among others.

110. Donald G - May 2, 2009

D’oh! May last comment was directed to Andy Patterson at comment #107. My apologies to the poster at comment #105.

111. James Heaney - Wowbagger - May 2, 2009

End of an era.

I’ll miss you, TOS-R! I’ll miss you, too, TOS-R reviewers!

112. mntrekfan - May 2, 2009

Wait! They completely took out the Rigel scene! WTF? That’s bogus. I mean, I’ll be honest, I don’t plan on buying the Blu-ray disks. Did someone say that it was released on the 3rd season of the remastered edition? You can’t rent those from Netflix.

113. Matt Wright - May 2, 2009

112 — It was taken out of the syndication broadcast (to make ~43 mins). It is complete on the season 3 TOS-R DVD and [future] Blu-ray release of course.

114. toddk - May 2, 2009

This pilot should make an interesting series!

115. LordEdzo - May 2, 2009

I can’t believe the TV version cut out the entire Rigel sequence! What a waste of time … I should have kept watching “Lost.”

Just once, couldn’t they have made this a 90-minute special? The original “Cage” is about 60 minutes w/o commercials. Cutting it up for TV completely disserves the bother of showing the remastered version.

What a disappointment … and on this week of weeks.

Otherwise, the picture looked gr8, as did the new VFX.

116. LordEdzo - May 2, 2009

Oh, and as gr8 a job as they did on the new “zoom in” through the top of the Bridge, it’s still painfully evident that the turbolift “peg” behind the Bridge does not align with the doors inside the Bridge.

After all these years, why is Franz Joseph the only one who’s still right about the Enterprise’s Bridge being off-center?

117. Geoff - May 2, 2009

One thing that should have appeared in the “fly swat” images would have fit perfectly with humans hating captivity. A shot of “Gabriel Bell” (Ben Sisko) during the Bell Riots in San Francisco in 2024. The people didn’t like being cooped up in the Sanctuary Districts, even with food and medical care.

A shot of the Shuttle Challenger’s smoke trails, one of the World Trade Center on fire (indicating the human proclivity for violence), would have been good to include. I suppose we could assume they appeared while the camera was showing Kelso, Spock and Boyce.

118. Geoff - May 2, 2009

I watched the show on WPIX New York (channel 11, I think), a superstation carried on cable across Canada.

119. TheBigCW - May 3, 2009

The could have done a better job cleaning up and noise reduction of the soundtrack taken from the B&W 16mm print segments!

120. Geoff - May 3, 2009

A colour print of “The Cage” was discovered in the Paramount vaults in the late 80s. It came out after the black-and-white version was incorporated into the mid-80s VHS release of individual episodes. I don’t know if that find in the vaults included a soundtrack, because I believe the sound on the colour print was just as bad as the B&W VHS release.

And I second the comment about the time slot. For “The Cage”, it should have been a 90 minute slot, 80 at the very least. I wouldn’t have minded a two-part airing, starting or finishing with a documentary about the remaster and reactions of the original cast and production staff.

TNG may eventually have to be remastered, because it won’t convert to high-definition without the FX looking lousy. I hope “Enterprise” (2001-05) was done in HD to begin with, so that it won’t have to be remastered for at least a couple of decades. If TNG, DS9 and VGR are remastered, I hope they do them with a 40 or 50-year life in mind when there’ll be even more improvements in home video quality.

As to ANI, smoother animation, richer quality, better variety in shots, a better variety of music tracks, but it ain’t gonna happen, is it?!

121. Eddie - May 3, 2009

I must say most of the Remastered TOS were great I have a problem with them in syndication. I’ve started to get these on DVD and hope to complete my collection soon.

I was rather disappointed with The Cage in Syndication. Completely cut up, shrunk and many details lost. This episode should have been 90 minutes long and in true HD (Next Time WPIX, put these shows in HD). I still have the original version on video but I will be getting the new version soon. Overall the syndication version, very bad.

As for the effects and restoration, very good. Could have done a few scenes differently but overall, first rate.

122. Stanky McFibberich - May 3, 2009

I’m disappointed that my local station apparently decided to not show “The Cage” last night, although it had originally been scheduled.

123. John Sullivan - May 3, 2009

You guys seem a lot more in the know than I am … I really want to go out and buy the Remastered Star Trek … is it on sale, and is “The Cage” somewhere in it?

It would take a lot of work, but imagine if they would go on to “remaster” 100% of TAS … that would be worth my money, when so little of what Paramount puts out these days is.

124. Matt Wright - May 3, 2009

120 — All four season sof Enterprise are HD ready, it has been broadcast in 1080i on HDNet for quite a while.

The production tream knew HDTV adoption was on the rise as they made the show. The first 3 seasons were filmed in 35mm and then edited in a high defintion digital workflow (as is the standard for most productions now) and season 4 was actually shot on professional Sony HD digital cameras directly.

121 — It’s not the station’s fault it isn’t in HD. CBS isn’t distributing them in HD to any station currently, AFAIK. They go over a satellite service that is for SD syndication distribution.

125. Matt Wright - May 3, 2009

123 — Asked and answered in this very thread. We also have a nice TOS-R page here at TrekMovie.com with an overview of DVD releases and a FAQ section. Check it out: http://trekmovie.com/tos-in-hd/

126. AJ - May 3, 2009

123:

If you want “The Cage” remastered right now on DVD, go out and buy TOS-R season 3 (red box). It’s on the last disc, Blu-Ray will be coming later.

127. Gary - May 3, 2009

You’re not going to see relatively “new” images in the fly swat computer sequence because while it would be cool so show Jonathon Archer, showing Scott Bakula means paying him residuals.

After all, why was T’Pau changed to T’Pol and why was Robert Duncan MacNeil playing the same character on Voyager that he played on TNG with a different name?

128. Nelson - May 3, 2009

I saw The Cage and it was broadast in HD, first time I saw syndiccated Trek in HD on my local station.

It was so cut up, it was funny. They cut out the warp factor scene, the singing plants, the fight with the warrior on Rigel and many other little bits. If I was a fight time viewer, I’d be a little confused!

This will look very good on blu ray, as S1 does now.

129. Jon B - May 3, 2009

Great review. A fitting end to TOS-R. I missed the episode, but it looks great. Glad it finally premiered.

Janice was nutty. Blame her for the women not serving gaffe, not Enterprise. I bet there were plenty of TOS era captains. We just didn’t see them. :)

130. The future begins...May 7/8th - May 3, 2009

#11 you assume the Talosians were humanoid… we saw them that way but with their illusory abilities how can you be certain they weren’t crab/spiderlike in reality? after all in the missing footage there was that spiderlike shadow…

131. RD - May 3, 2009

#128, it wasn’t actually broadcast in HD as it was only delivered in SD in syndication. It’s been 3 years (a standard syndication sales window), so my guess is there is a 16:9 1080i coming after the DTV transition, and the release of the third season blu-ray, building on the success of the film. Perhaps as early as this Fall. Then by Christmas a 16:9 blu-ray DVD set will come out — LOL those greedy bastards!

I agree 20+ minutes out of the original Pilot is too much. While they could have trimmed it down to the standard network runtime of 50 minutes like the rest of the series, cutting it down this much simply loses too much of the narrative that is different from that included in the Menagerie. Even “Where No Man Has Gone Before” exists as a 55+ minute Pilot and was cut down to 50 without any substantial loss. A two parter would be a good idea, but that would result in almost 10 more minutes of commercials per episode, even with recaps and extra titles. For this episode there is simply no good solution for syndication. A 20-minute documentary is not a bad idea, except it doesn’t really work in syndication for any audience who doesn’t really care and just wants to watch some sci-fi. Perhaps a better re-cut? I would have to sit down and look at both versions side by side to know if a better and more different cut than the Menagerie could be produced. THAT’S WHY I WANTED JEFF TO UPDATE THE REVIEW TO COMMENT ON THE EFFECTIVENESS OF THE EDITS (which are just as relevant if not more-so than the remastered effects).

My MAIN COMPLAINT about this restoration is that they chose to go with the MENAGERIE’S KEEPER’S VOICE. It has been revealed here earlier that the original Cage actor’s voice was merely modulated up, not replaced for the Menagerie, which is how they were able to convincingly duplicate the vocal quality with the original unchanged CAGE footage all these years later. With available technology, the entire isolated voice elements track surviving from the Menagerie could have just as easily been modulated down and restored.

I imagine this was done to maintain continuity with the Menagerie in syndication. Imagine the uninitiated ST viewer watching this and then the Menagerie saying, “What happened? It’s the same story in flashback but with a different voice on the Keeper”. Never mind that TALOS IV HAS A DIFFERENT COLORING from the Menagerie! LOL (seriously they really should fix that at some point, then again it is close enough).

Hopefully, this might be addressed with a SECONDARY AUDIO TRACK in a future release of the Blu-ray disks, just like you can switch between original sfx and re-mastered video, though I understand the rationale for syndication.

132. Kirk's Girdle - May 3, 2009

Yeah, I remember seeing the Cage with that clip where the Keeper talkes about Number One having fantasies about Pike. The clip was in black and white and the Keeper spoke in that creepy she-male voice. furthering the notion as stated in the dialogue that the Keeper was a “he”.

Just watched it onTV. Cutting the entire Rigel sequence does indeed make the following scenes totally confusing.

133. RD - May 3, 2009

RELATED THOUGHT:

I would actually go for an edited version of The Cage for syndication purposes only where the last sequence with the Keeper ENDS BEFORE the reveal of “illusion” Pike with Vina going to live their life together, just like in the Menagerie. When Pike says, “you’ll give her back her illusion of beauty” and the Keeper says “and more”, cut to the stock shot of Vina on the surface restored and smiling and the Keeper continues with “she has an illusion and you have reality, may you find your way as pleasant”, then back to the Enterprise. This preserves the reveal of Pike for the Menagerie. Or not. I guess the same thing can happen once as an illusion only and the second time as a reality/illusion, it just takes some teeth out of it.

Another change I would have made for syndication only, and I can’t believe I am going to say this: is to add a Star Wars like text introduction which indicates this episode takes place 11 years or so before Capt. Kirk assumed command of the Enterprise. Perhaps even pay Shatner to come in and record a capt’s log-type intro. This would cement the Cage as part of the franchise rather than an interesting historical footnote for the casual viewer.

134. toddk - May 3, 2009

The deal with the tom paris charecter in voyager was that if the charecter was reused from “TNG’s “the first duty” then paramount would have to negotiate with the writers of that episode. I was confused about it at first as well.

135. I am not Herbert - May 3, 2009

25. Ralph F: “Would love to see… at the risk of getting my teeth kicked in, a TAS-R.”

I would LOVE to see a Cage/TOS/TAS REBOOT done by Pixar in the style of WALL-E!!

That would be EXCELLENT!!! Make it so!!!

136. Blowback - May 3, 2009

I never realized that shots of the Big E were taken from both sides in the pilot…. Something they could not do once they wired the model for lighting…

137. BK613 - May 3, 2009

129
Agreed. I would much rather go with what Kirk said later during the “trial,” where he is being brutally honest, than what he said earlier in the episode, when he’s by the bedside of a patient who presumably shouldn’t be agitated.

“Yes. To get the power she craved: to attain a position she doesn’t merit…
by TEMPERAMENT or TRAINING. And most of all, she wanted to murder James Kirk, a man who once loved her. But her intense hatred of her own womanhood…made life with her impossible.”

138. BK613 - May 3, 2009

136
It is my understanding, based on the things I have read over the years about the history of the shooting models, is that the 33 inch model was used in all shots for The Cage with the exception of the opening bridge shot. The 11-footer wasn’t ready until near the end of the production.

Also, certain aspects of the 11-footer preclude shooting from the port side:

-The secondary hull has no port-side detailing, not even the groove-and-box set-up where the Starfleet pennant is displayed.
-The dorsal has no port-side detailing.
-The inboard side of the starboard nacelle does not have the deep channel that runs almost the whole length of the port nacelle.

Anytime you saw the 11-foot Ent from the port side during TOS you were actually seeing the starboard side with reversed decals or matte shots.

139. wkiryn - May 3, 2009

If those plants are weird enough to get Pike to feel them for the effect I don’t see any problem with someone potentially more sensitive to whatever the plants are doing like Spock grining because of it.

Frankly I’ve always been more facsinated by just how logical Spock is behaving since allegedly those were meant to be No. 1′s traits.

140. Jorg Sacul - May 3, 2009

I enjoyed seeing the show until the brutal edits started happening. NO BATTLE ON RIGEL?? C’mon… that’s stupid. Let’s have Romeo and Juliet where Paris and Tybalt don’t fight, too. Too many edits, the story was disjointed. Ugh. I was sitting on the edge of my seat waiting for, “THE WOMEN!!”.

141. Magic_Al - May 3, 2009

The Keeper voice in “The Menagerie” is not Malachi Throne. With Malachi Throne acting in “The Menagerie” Vic Perrin over-dubbed the Keeper’s voice and that dialog track is retained in “The Cage” restoration because the master sound recordings of the trims not used in “The Menagerie” are still lost. The color trims that were found and restored are picture only. The sound in the restored scenes continues to be the inferior recording from the Roddenberry black-and-white print. To use Malachi Throne’s original readings throughout would mean dubbing the Roddenberry copy over Vic Perrin, which could adversely affect the sound quality of those scenes. A logical solution would be to re-record all the Keeper’s lines again, which would be a decision creatively consistent with bringing in Vic Perrin in the first place. They should have thought of this 20 years ago but Malachi Throne is still alive.

Regarding cuts for commercials, you can actually see more of “The Cage” in a broadcast of “The Menagerie” than you can in a one-hour “Cage” broadcast. “The Cage” has to cut 20 minutes for syndication, but “The Menagerie” parts 1 and 2 together only need 12 minutes cut for commercials. Fascinating.

142. Father Robert Lyons - May 3, 2009

I lament the fact that this will probably be the last time we see the original Enterprise on-screen in new footage. (Well, until 3D TV comes, but that may be after I kick the bucket.)

Rob+

143. Andy Patterson - May 3, 2009

Just watched the Cage and am reminded of another little bit of trivia I’ve never heard anyone mention. The voice of the buzz cut, Marine drill seargant looking guy who was the transporter chief in this episode had his voice dubbed by Bob Johnson. Johnson was was the voice on the tape recorder that delivered Jim Phelps his orders on Mission Impossible every week.

Your mission Mr. Phelps,…should you decide to accept it….
http://en.wikipedia.org/wiki/Bob_Johnson_(actor)

144. Billy Bobby - May 3, 2009

The Cage gets better with each viewing. It is definitely cerebral. Unfortunately, the new Star Trek movie probably isn’t cerebral. Don’t get me wrong, I bet the movie is excellent. However, it will most likely have lost some of the elements that made it so popular (i.e., morals). Oh well, I guess if Star Trek is to survive it must appeal to modern audiences. Star Trek was never an action franchise but with people’s attention spans these days, it looks like Star Trek must adapt. Captain, they’ve adapted!

By the way it is good to see some familiar faces (names).

145. Billy Bobby - May 3, 2009

I love how the title shot uses the same nebula from Turnabout Intruder. It was a nice little way to connect the first and last episodes.

Why did the effects crew put in a computer animated guy walking into the elevator at the beginning? If you look at the original, the guy walks into the elevator from Scotty’s station, not Uhura’s.

146. Donald G - May 3, 2009

141 Magic_ Al: The claim that Vic Perrin overdubbed Malachi Throne’s voice in “The Menagerie” was, to my knowledge, first put forth in Alan Asherman’s STAR TREK COMPENDIUM. I originally read Asherman’s claim in the first edition back in 1980 and believed it for more than twenty years, but no longer believe Asherman’s speculation is accurate.

147. James Dairy - May 3, 2009

Malachi Thorne was flirting with my 2 1/2 year old daughter at Wonder Con, the bastard. Actually, it was cute, but he was a little pushy about my buying a signed photo of him. I was all like “Back off Commodore Mendez, I don’t have enough money for both you AND the guy who played Wheelchair Pike!”

148. cd - May 3, 2009

Wow. They cut Spock smiling, the whole Rigel sequence, and “The Women!”! This really should have been shown as an hour and a half or two hours, so they could show even more lame technical school commercials. Amazing.

149. Andy Patterson - May 3, 2009

146

You’ve got to admit………..Throne did an excellent job at dubbing her lines. That’s an art unto itself and he really did well. He has a talent for that. He draws any long vowel sounds out like she did.

“We had not thought this possible. Your species shows a remarkable hatred of captivity.” “You were our last hope”.

He gets it right down to beginning AND ending consonants. For years I assumed it was her voice. That’s impressive.

I’m still waiting to see if anyone noticed Bob Johnson’s voice in the transporter room but me. I may be color blind but I can tell voices.

150. I am not Herbert - May 4, 2009

DAMMIT!!! I had The Cage all set to record at it’s regular time on the “CW”, then it disappeared, replaced by “Without a Trace”. WTF!!!

I guess I’ll have to wait for the rerun, if they don’t f*ck that up too… =(

Damn you CW!!!

151. I am not Herbert - May 4, 2009

Man, I love The Cage! …just classic.

Back when I was a kid, we used to call the Talosians the butt-heads ’cause they had a nice “crack” down the back of their heads, heh! ;-)

152. Jorg Sacul - May 4, 2009

Ironic.. as kids we called people Talosians because we got in trouble for calling them butt-heads!

153. Phil O. - May 4, 2009

The screenshots note the update/replacement of images drawn from the Enterprise computers by the Talosians. One of the more interesting changes was the substitution of a stock shot of President Lyndon Johnson with the infamous shot of his swearing-in aboard Air Force One. I’m sure they wouldn’t have used that image in a pilot made less than a year after Kennedy’s assassination.

154. Andrew - May 4, 2009

One more complaint about the syndication cuts:

The Rigel scene, gone (although at least I didn’t have to listen to what might be the series’ worst piece of incidental action music that accompanies this scene).

Spock’s two great emotional scenes (stopping the singing plants and “THE WOMEN!”), gone.

The view of the other creatures held by the Talosians, gone.

“They could swat us like a fly” — “prepare to be swatted”, gone.

155. Star Trek Guy` - May 4, 2009

#154

Yeah. That sucks. That’s what I hate about syndication. The original “Cage” was about 66 minutes long. Since 2007, a one hour TV show is 42 minutes without commercials. That means that they had to cut 24 minutes of footage from the original to make it fit into a standard 1 hour slot. The last time I saw “The Cage” on TV was when G4 was airing the Star Trek 2.0 series. And it was cut to shreds. I do remember that the entire Pike/Boyce scene out. As well as a lot of other stuff. Syndication sucks!!

156. Danpaine - May 4, 2009

I have to agree. It was so cut to shreds, it was barely even enjoyable.

157. Planet Pandro - May 4, 2009

#122 I feel your pain, Stanky. I was excited to see this, but even though my channel menu said “the cage”, it was “where no man…” instead. Of course if it was chopped and edited horrendously, maybe we didn’t miss out on too much after all? Either way, it was a dissappointment not to see it.

158. Billy Bobby - May 4, 2009

Does anyone else think that Paramount never found the color footage reel of “The Cage”? You can definitely tell where The Cage footage ended and The Menagerie footage began. The audio is also weaker in The Cage footage. Could this be the audio from the black and white The Cage pasted over the fake color footage?

159. Nate - May 4, 2009

Agreed. The editing of the syndicated episode was irritating. However, that is indicative of ever episode aired on your local affiliate.

The color video trims of “The Cage” were recovered, but not the audio. Instead the audio is from Roddenberry’s 16mm print which explains the drop in quality.

160. Billy Bobby - May 4, 2009

Why didn’t Paramount use all of the “rediscovered” color footage instead of combing it with The Menagerie? The Menagerie + “Rediscovered” The Cage was not a good combination because it was not consistent. It kind of makes me wonder if those bastards at Paramount just added color to the black and white film and sold it as “rediscovered”. We all know how Paramount is when it comes to Star Trek.

Has anyone else thought of his conspiracy theory?

161. Kahless - May 4, 2009

re: the Keeper’s voice

Every time I hear the voice of The Pope, to my ears it sounds just like the Keeper. Is that eerie … or blasphemous?

:)

162. Billy Bobby - May 4, 2009

Why does Talos IV look different in The Menagerie? It shouldn’t be like this because The Menagerie showed the exact events of Pike’s mission.

163. SB - May 4, 2009

160:
“Why didn’t Paramount use all of the “rediscovered” color footage instead of combing it with The Menagerie? The Menagerie + “Rediscovered” The Cage was not a good combination because it was not consistent. It kind of makes me wonder if those bastards at Paramount just added color to the black and white film and sold it as “rediscovered”. We all know how Paramount is when it comes to Star Trek.

Has anyone else thought of his conspiracy theory?”

No, probably because, like most conspiracy theories, it falls apart if you think about it for three seconds. Since you didn’t bother, let me help:

1. That’s right: the uncut color print of “The Cage” is NOT consistent: it’s of lower quality, both in picture and sound, than the parts that were used in “The Menagerie.” Which is WHY Paramount decided to use as much high-quality footage as possible — “The Menagerie” — and only use the rediscovered color copy when there was no other available source for the footage. Or, to put it simply, they chose to give you a LOT of good footage coupled with A LITTLE slightly damaged footage, rather than use an entire print of lower quality. Yeah, boy… they have a lotta nerve, huh?

2. The “bastards at Paramount” (what did they ever do to you?) did not use colorized black and white footage. How do I know? Because I’ve SEEN colorized black and white footage, and it looks terrible… far, far worse than any of the footage used in the current, complete version of “The Menagerie.” All of the film used in “The Cage—Remastered” is clearly and undeniably color film. Take five minutes to look at any colorized black & white movie and you’ll see what I mean.

3. “We all know how Paramount is when it comes to Star Trek.” Uh, yeah… they’re the owners of a property that makes them money, and it’s in their best interests to see that it does as well as it possibly can, and makes them as much money as it possibly can. If you can tell me what’s wrong with that, I’d be fascinated to hear your reasoning.

164. Billy Bobby - May 4, 2009

Wow. I didn’t expect that kind of response. All I did was ask a question about the “lost footage”. I just added the conspiracy theory line to get someone to answer the question. Unfortunately, that someone had to be you. Everyone knows Paramount loves ripping off Star Trek fans. They overcharge everything related to Star Trek and re-release the series almost every other year. Can I get an amen?

As for the footage, why was the “lost reel” different from the footage used in The Menagerie? They were reels of the exact same Cage footage. Shouldn’t it be the same? Or was a different mm used? I don’t know. I was hoping that someone would respectfully answer it. But no, you had to be a real jerk about it. I will pray for your angry soul tonight SB.

165. Jeff Bond - May 4, 2009

Conspiracy theories notwithstanding, it would cost Paramount incredible amounts of money to convincingly colorize black and white footage, probably at least as much as they spent redoing effects for this project.

Here’s my conspiracy theory–I’m willing to bet James Doohan redubbed the voice of the Keeper. The new Keeper voice is similar to some of Doohan’s alien voices done both for the original series and the animated series–Doohan was “on staff” and available to do this sort of thing and was quite good at it.

166. Daoud - May 4, 2009

#165 Interesting, but I think Chris Doohan can dispel that theory.

#147 Maybe it wasn’t Mendez, but just an illusion! ;) Actually, I was there, that wasn’t Mendez, it was Senator Pardek in disguise as a human! ;)

#others Having Malachi come in and redub all of the Keeper voice would have been an interesting concept. Wonder if the Okudas considered it!? Mike? you still around?

Leads into the idea before Shatner, Nimoy, Takei and Nichols aren’t available of redubbing and adding lines and expanding TAS with CGI and using Remastered type space scenes… what a fun project that would be… but unlikely now.

At least if more McCoy lines were needed… Urban’s shown he can channel!

167. GNDN - May 4, 2009

I remeber the G4 cut of this episode and it was really, really funny. It made no sense, but it was a hoot.

This current iteration at least is coherent. By excising the entire Rigel sequence, the episode is at least intelligible. It also allowed for at least portions of the so-called lost footage to be shown.
Any time you try to shoehorn a film originally meant as an hour and a half special into a 60 minute slot, editorial choices must be made. While losing Rigel was regrettable, the greater good of an intelligible presentation was maintained.

As an aside, I saw the Roddenberry work print in Detroit in 1980. That was Malachi Throne on that print and it is Malachi Throne, albeit pitched up and otherwise modified, in “The Menagerie” and the restored print. As if the actor who voiced the Keeper was coincidentally hired to play another character in the two-part episode. Logic alone dictates that since you are already paying Throne for “The Cage,” it would make sense to pay him for the few extra lines needed as the Keeper in addition to his work as Mendez.

Asherman’s book, which formed the basis for a generation’s understanding of Trek, has been sadly exposed. Many of the claims made were spurious and without any support. Books by Solow, Justman, Shatner, and Nimoy agree on many of the production details that contradict Asherman’s

168. RD - May 4, 2009

#141 Magic Al, you could not be more wrong, for reasons as pointed out above and as follow:

MALACHI THRONE DID IN FACT OVER DUB THE KEEPER’S VOICE IN THE CAGE AND THEY PITCHED UP AND RESUED THE VERY SAME TRACKS FOR THE MENAGERIE. The pertinent detail you are missing from your argument is that B&W work prints do not have sound striped on them. Further they discovered the 3 workprint sound elements which is why the sound is still so bad (workprints are several generations away from the originals). The audio evidence analysis is overwhelming. Not to mention the fact they could not have pitched up the Keeper’s voice to match the Menagerie processing in the “restored” sections of the “re-mastered” Cage without individual elements.

Go to this link and starting about entry #114 ENGON to the LAST you’ll get all the details:

http://trekmovie.com/2009/04/29/exclusive-interview-with-mike-okuda-talking-the-cage-tos-r-on-blu-ray-more/

169. swh1939 - May 5, 2009

167. GNDN – May 4, 2009
Asherman’s book, which formed the basis for a generation’s understanding of Trek, has been sadly exposed. Many of the claims made were spurious and without any support. Books by Solow, Justman, Shatner, and Nimoy agree on many of the production details that contradict Asherman’s

168. RD – May 4, 2009
MALACHI THRONE DID IN FACT OVER DUB THE KEEPER’S VOICE IN THE CAGE AND THEY PITCHED UP AND RESUED THE VERY SAME TRACKS FOR THE MENAGERIE. The audio evidence analysis is overwhelming. Not to mention the fact they could not have pitched up the Keeper’s voice to match the Menagerie processing in the “restored” sections of the “re-mastered” Cage without individual elements.

——-

I love you guys. Finally, I’ve seen evidence that I’m not the only one who has realized this. For myself, I re-edited “The Cage” using the original Keeper’s voice from a tape I made in 1985 at a convention where Gene Roddenberry showed the all black and white print. Sometimes I could use the voice from “The Menagerie” that I had pitched down myself, other times I used the convention recording (sometimes with the audience being a little noisy, lol). I also corrected several music cues and restored two lines of dialog, all of which have yet to see the light of day through Paramount. Please Paramount, now that you’ve given us the best quality versions, now please give us the raw materials: the entire B&W print and the entire “found” color print (which apparently has no soundtrack). We won’t care if they’re ‘inferior quality’ … we want them anyhow.

170. RD - May 5, 2009

#169. swh1939 – PLEASE make youtube videos of the changed sections and post them like these scenes deleted from “Where No Man Has one Before”

http://www.youtube.com/watch?v=1xe5SUxq25I

I would love to see it issued in its original pilot format as well.

171. Matt Wright - May 6, 2009

Finally watched the syndicated version on my DVR, man is it chopped up, looks nice though :-)

172. anonymous - May 9, 2009

I agree with the rest of you. It is annoying that the syndicated version was edited into a standard 60 minute episode. The original running time of “The Cage’ is 64 minutes. It is just the right length for a 90 minute timeslot (with commercials). I don’t understand why CBS didn’t just syndicate it as a 90 minute episode instead of cutting it down to 60 minutes.

173. Adam Bomb 1701 - September 14, 2009

The syndicated run of the re-mastered episodes appears to be over, after three years. “The Cage” was repeated this past weekend, and any more re-mastered “Trek” is nowhere to be found on my local (NYC) schedule. I’ll miss it, even though we had three stations running it in those three years.

174. MKSTEEL - October 23, 2009

Nice remastering and CGI work, sad to hear that scenes were clipped for broadcast though. I own the restored color TOS DVD version and it plays the FULL episode, hopefully they include the full episode in the TOS-R Blue Ray/DVD release for season 3 remastered.

175. Jeff Turnbull - March 3, 2010

very, VERY, small nit to pick on here. In looking at the admittedly gorgeous bridge intro scene, shouldn’t the axis be rotated somewhat to port? One can clearly see the turbolift directly aft the bridge, yet at the same time see the doors to the lift several degrees off to the side where we’ve all come to expect to see them. No room for a passageway and certainly none was ever defined in any plans of the ship.

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