Season 2, Episode 4
Prod #8205
THE CYBORG
Written by William Read Woodfield and Allan Balter
Directed by Leo Penn
Admiral Nelson is visiting Dr. Ulrich of International Bionics, who shows him his human looking "cyborgs." Ulrich holds Nelson prisoner and copies his knowledge into his new, super-powerful computer. He creates an exact duplicate of Nelson and sends him, with the computer, to Seaview. The plan is to convince the crew that the USSR has launched first strike and that they are to retaliate. The missile strikes will devastate the Earth, leaving it free for Ulrich to take over, using his cyborgs to run the world.
The synopsis does not do this episode justice; it is one of the strongest of the entire series. It is important, when viewing shows like Voyage or Star Trek or any series of a different era, to watch them in context of their time. Otherwise, they would seem hopelessly passé and even laughable. Politically, socially and technologically, Voyage is a dinosaur. However, if you watch it with the eyes of someone in the mid-1960's, these shows are incredibly enjoyable. You can put aside the end of the Cold War, huge computers with reel to reel tapes, telegrams, weeping women and mechanical men in slacks. It's vital, because, for the most part, these are the only issues to detract from the story.
There is no padding in this episode, no "we're short five minutes so make up some unnecessary business." The pacing is tight, the acting spot on. Richard Basehart, who is always excellent, is in every scene and his performance is central to the success of the episode. Yet, a hero is judged by the kind of enemies he must face, and he is ably challenged and dramatically supported by Victor Buono as Ulrich.
There is no padding in this episode, no "we're short five minutes so make up some unnecessary business." The pacing is tight, the acting spot on. Richard Basehart, who is always excellent, is in every scene and his performance is central to the success of the episode. Yet, a hero is judged by the kind of enemies he must face, and he is ably challenged and dramatically supported by Victor Buono as Ulrich.
Buono is extremely entertaining, always eating something and mentioning how much of an appetite he has (thus introducing the "fat joke" to the Voyage universe). He gives Ulrich a boyish enthusiasm and is impossible to hate. He isn't evil, he's simply out of his mind, and totally unconcerned with the collateral damage his plan requires to succeed. He is a man of refinement and taste. There is a moment when he pulls a gun on Nelson and when he realizes he is stooping to such a low, he sheepishly puts the weapon away. He'd prefer to use his marvelous technology to restrain and/or kill the admiral. It is a layered and well considered performance.
There is a degree of disbelief that must be suspended to accept the events of the episode; mostly involving the technological advancements necessary to create an absolutely perfect cyborg replica of Nelson (so perfect he even has a Band-Aid on his index finger at the climax!). It is far more advanced than the early 70's (when this episode takes place) would prove to be, but in the Irwin Allen universe, time travel was possible in 1968 (see The Time Tunnel). There is a moment of tension where the Nelson cyborg does not recognize the "Tish" nickname for his radio operator. However, the correction is sent via Ulrich's cyborg control, so the information had to be there. And since Crane has called her by this before (I assume in front of Nelson since he does so without qualification here), this information should have been in the cyborg's memory bank. It is a small flub, which does not ruin a well written and acted scene.
The atmosphere on the Seaview as this plays out is wonderfully oppressive. A feeling of hopelessness hangs over the crew as they believe the US has been obliterated by nuclear weapons. Even though the audience is aware of the subterfuge, the crew believes it. Everyone, from David Hedison down to the two non speaking actors crying at the helm, totally sell it. The score by Alexander Courage pushed it way over the top, and it is some of his best TV work. The entire underscore is amazingly good, very spooky, sweet, depressing, and hopeful when needed. He plants hints of Gundy's true nature by overlaying an electric violin on the gentle music which plays during her conversations with Nelson. When we find out she was just another cyborg, we don't see her body, however the impact is felt. Nelson was fooled, as we all were, and the sweet, gentle girl who never truly existed dies as a consequence of helping Nelson save the world. Brooke Bundy is excellent in a role that could have been forgettable.
There are some continuity errors in the editing, which is par for the course in a Leo Penn episode. He was an excellent director and his work is always compelling. He directed episodes of Lost in Space (There Were Giants in the Earth) and Star Trek (The Enemy Within), both of which were considered among the best of each series. Yet he had a habit of shuffling scenes which, while working fine overall, created small glitches. Nothing particularly large happens here, and whatever mistakes that do occur are no doubt due to the hurried filming schedules. Yet, in the climax, it is obvious the machine gun shots fired at the periscope island are out of order: we see them hit and penetrate, leaving holes. A moment later, the holes are gone, and then they're back to stay. Crane is shot in the arm in this scene, but it's easy to miss the way it's filmed.
One other thing seems confusing; three different actors provide the voice of Sparks in this episode. Arch Whiting appears in a scene or two and he provides some off camera responses. However, once or twice, Basehart's stand in Ray Didsbury delivers Sparks' dialog over the intercom, followed by a third voice actor - the same actor delivering the lines of the cyborg on the radio at Ulrich's complex. It's slightly amusing that nobody notices the voice of the American radio announcer, the Russian announcer and the President are all the same, just with different accents.
For whatever reason, Chip Morton is not in this episode. Neither are Patterson or Riley. However, at the end, Nelson, Crane, Sharkey, and "some other officer" are sitting, smoking cigarettes and discussing Ulrich and Gundy. The other officer's uniform is extremely wrinkled and the person never moves a muscle, leading me to believe this is a mannequin.
Victor Buono, probably best known to my generation as King Tut from the Batman TV series, was a very highly regarded character actor. Well known for his heft, he appeared in a variety of roles through the 60's and 70's. This talented gentleman died of a sudden heart attack at the age of 43.
Brooke Bundy played Gundy as a shy, concerned young woman who is caught in a situation beyond her understanding. It never fully feels as if she comprehends the scope of Ulrich's plan, but there are times she is very much aware of her surroundings. For example, when Nelson sneaks a butter knife into his sleeve, she sees it, but says nothing. Until the shock reveal at the end, she is an enigma and Nelson is quite taken with her. In the climax, she finds herself unable to move as her newly developed feelings for Nelson prevent her from acting against him. Ms. Bundy plays this conflict perfectly, and her sweet self sacrifice adds a touch of pathos rarely felt in Voyage. She has had a long, varied career and was most recently seen in The Hunger Games.
Victor Buono, probably best known to my generation as King Tut from the Batman TV series, was a very highly regarded character actor. Well known for his heft, he appeared in a variety of roles through the 60's and 70's. This talented gentleman died of a sudden heart attack at the age of 43.
Brooke Bundy played Gundy as a shy, concerned young woman who is caught in a situation beyond her understanding. It never fully feels as if she comprehends the scope of Ulrich's plan, but there are times she is very much aware of her surroundings. For example, when Nelson sneaks a butter knife into his sleeve, she sees it, but says nothing. Until the shock reveal at the end, she is an enigma and Nelson is quite taken with her. In the climax, she finds herself unable to move as her newly developed feelings for Nelson prevent her from acting against him. Ms. Bundy plays this conflict perfectly, and her sweet self sacrifice adds a touch of pathos rarely felt in Voyage. She has had a long, varied career and was most recently seen in The Hunger Games.
Nancy Hsueh plays Tish Sweetly (apparently someone was a little enamored of the James Bond girl names) very...sweetly. She is quite beautiful and like all of Nelson's female assistants, is never seen again. However her reveal as a cyborg during the goodbye message was chilling. Unfortunately, Ms. Hsueh died of atherosclerosis in Boston on Nov. 24th 1980. She was 41.
Hedison plays Crane as patriotic, angry at the attack, but still willing to gamble something is amiss when he reads the Morse code message sent by Nelson to the cyborg's hand. His confusion is well done and the hand tapping, shot from below through the glass tabletop, is suspenseful and gripping.
There is a nicely understated bit of characterization thrown in as Kowalski is asked to translate the broadcast received from radio Moscow (possibly being of Ukrainian descent). While never mentioned again or elaborated upon, it is a nice touch for a character who was never blessed with a first name.
The writing team of Woodfield and Balter was at its best here. This is their tightest script for the series and Woodfield's favorite. It is the first straight sci-fi episode of the season with nary a spy or turncoat in sight. It is, as I like to say, a perfect "Voyage." That is, a story that wouldn't work as well in another type of series, such as The Man from U.N.C.L.E. or I Spy. The Seaview is essential to the plot and no bending of the format is necessary. There wouldn't be another pure science fiction episode until Leviathan, five episodes later. Until then, it would be back to the fun frolic of espionage.
There is a nicely understated bit of characterization thrown in as Kowalski is asked to translate the broadcast received from radio Moscow (possibly being of Ukrainian descent). While never mentioned again or elaborated upon, it is a nice touch for a character who was never blessed with a first name.
The writing team of Woodfield and Balter was at its best here. This is their tightest script for the series and Woodfield's favorite. It is the first straight sci-fi episode of the season with nary a spy or turncoat in sight. It is, as I like to say, a perfect "Voyage." That is, a story that wouldn't work as well in another type of series, such as The Man from U.N.C.L.E. or I Spy. The Seaview is essential to the plot and no bending of the format is necessary. There wouldn't be another pure science fiction episode until Leviathan, five episodes later. Until then, it would be back to the fun frolic of espionage.
The Cyborg is an unqualified success, a top flight adventure with a gripping plot, thoughtful performances, fine direction and an outstanding musical score. There are still many great episodes to come, and this season in general is excellent, but series would rarely hit these heights again.
No comments:
Post a Comment