Read Destination: Moonbase Alpha Online
Authors: Robert E. Wood
Johnny Byrne:
‘“Black Sun” was a very interesting experience. Again, there wasn’t that much knowledge about black holes at the time. But I remember long sequences of Koenig and Bergman just sitting there, talking. It was amazing. Freddy [Freiberger – Year Two producer] would never have allowed that. Well, you see, the dictates of plot-plot-plot, relentless story-story-story deny you that.’
Bloopers:
How does Alpha manage to see the side profile view of Ryan’s ship as it flies toward the Black Sun?
In the scenes of the survival Eagle, compare the effects shots with the interior shots of the pilot’s section. Specifically, watch for Carter’s helmet visor – it’s down for the effects shots and up for the interiors.
Observations:
On the technology front, viewers are introduced to the watch-like vital sign monitors worn by everybody on Alpha. Their presence has previously been inferred in ‘Breakaway’, and the devices will appear again in future episodes.
Review:
The rewards of this episode lie in the Alphan characters quietly biding their time – talking, playing guitar, sharing a drink and some philosophy. There are interesting parallels between the plight here of Moonbase Alpha and that of the
Titanic
. As the Moon is about to sink into the depths of the Black Sun, they even go so far as to launch a lifeboat in the form of the survival Eagle.
Some of the special effects in this episode are a bit unconvincing. There are several instances that stand out, including the shot of the laser beam firing into the Black Sun, as the two elements appear entirely out of proportion to each other – the Black Sun too small and the laser beam too large. As well, the superimposed explosion of the Eagle is entirely unconvincing. But these lapses are forgivable, especially in light of the overwhelming quality of the character drama; and other effects are absolutely stunning, including most of the views of the Black Sun itself.
This is an episode that allows the entire cast to shine brightly. ‘Black Sun’ is really a character piece. It focuses sharply on the people of Moonbase Alpha and stays there through most of the hour, and by doing so it provides the greatest wealth of subtle, rich characterisation to be found in the entire series. It is virtually unimaginable that the episode could have been more successful in portraying human warmth between the Alphans.
The relationships between the characters are continuing to develop. Paul spends what he believes to be his last moments playing guitar, and is joined by a lonely Tanya, trying to cover up her fear as she wraps herself in a jacket to keep warm. It’s one of the most sexually charged scenes in the series. Oh yes, and Sandra gets to faint – something that actress Zienia Merton quite correctly felt was inappropriate for a supposedly highly trained professional on Moonbase Alpha.
The long discussion between Bergman and Koenig leading up to their encounter with the Black Sun is compelling, and their toast (‘To everything that might have been …’ ‘… To everything that was,’) constitutes the single most memorable moment of
Space: 1999
. Not only that, but it’s a wonderful way to look at life.
The actress who provided the voice of God in the Black Sun was un-credited and her identity has long been a mystery to fans of the series. While this is not a confirmed fact, it has been suggested that Joanna Dunham might have performed the voice-over. She was at Pinewood Studios filming her role in the upcoming episode ‘Missing Link’ while ‘Black Sun’ was in post-production. Did she provide the voice of God? Listen to her performance as Vana in that later episode and compare it against the voice in the Black Sun: there is a marked similarity.While ‘Breakaway’ was constructed around Koenig and ‘Matter of Life and Death’ focused on
Helena, ‘Black Sun’ is primarily a character study of Professor Bergman. So much of his character is fleshed out here, as are his relationships with Koenig, Helena and Kano. It is obvious that the amiable Bergman is unimpressed with Alpha’s Computer and considers the human mind superior. ‘I ought to know better than to ask you,’ he says to Computer before shutting it off and doing some calculations himself. He also grows impatient with Computer’s slow calculations and says, ‘One jump ahead of you, Computer.’ Viewers are introduced to the fact that Bergman has an artificial heart – a plot device that will be used again in future episodes, although never to its full potential. Here Bergman is saved from electrocution by virtue of his mechanical heart. One of the most beautiful little scenes in the series features Bergman and Helena, just before her departure on the survival Eagle; he gives her a jacket, a kiss and a smile, and then they walk away, with neither of them having said a word. It’s incredibly touching. Bergman’s wisdom shines through the darkness of the Black Sun and shows him to be somewhat more of a metaphysical professor than a cold, hard scientist.
The science of ‘Black Sun’ has often been the subject of scorn from critics, but it is all quite convincing within the context of the episode itself. The descriptions of the Black Sun are in reference to what is commonly called a Black Hole. It can be surmised that the writers selected the term ‘Sun’ instead of ‘Hole’ for use in the
Space: 1999
universe as an artistic, almost poetic, choice. Call it what you will, it doesn’t change what it is. This ‘Black Sun’ terminology will continue to be used in later episodes (‘Dragon’s Domain’ and ‘Seed of Destruction’), providing a very welcome element of continuity.
Director Lee H Katzin was not invited back to helm any additional episodes after this one due to the fact that his segments were taking too long to film. ‘Breakaway’ had taken 26 days, while ‘Black Sun’ took 15. The aim was to complete episodes in nine days each, according to accounts from actor Barry Morse, although other sources cite an intended 12-day principal photography shoot. No matter how long it took, Katzin did manage to create a classic episode of science fiction television. There are marvellous aspects to his direction, including making effective use of the scale of the sets to amplify feelings of fear on the part of the Alphans in confronting the Black Sun – they are very little when they come face to face with the forces of the universe.‘Black Sun’ is one of the most metaphysical shows (if not
the
most metaphysical) in the series. Like ‘Breakaway’ before it, it owes a lot to
2001: A Space Odyssey
. The Mysterious Unknown Force (discussed above in the opening article on Year One) not only aids Moonbase Alpha in surviving its journey through the Black Sun, but it also mysteriously returns the survival Eagle to the base, safely, across the universe. (One question, though – why did the MUF not intervene to save Mike Ryan?) Then there is the conversation that Koenig and Bergman have in the Black Sun with God (or the Mysterious Unknown Force). Although it is never explicitly identified as such, the characters acknowledge the mysticism with which they are faced and consider the possibility that there is a cosmic intelligence looking out for them. As Helena states at the end of the show, ‘Something brought us home.’ The complete picture of the purpose of the MUF in the lives of the Alphans is never completely clear, but the concept of predestination is introduced to their journey.The episode only really falters in its earliest scenes with the character Mike Ryan. The character is irresponsible, the dialogue is weak (‘Sir, all it has is a lot of gravity’) and Paul Jones gives an amateurish performance lacking necessary depth.‘Black Sun’ is about many things – it is obviously an examination of belief, spiritual and metaphysical concepts, as well as the differences (or similarities) between science and religion. There are also significant themes of home and belonging as the Alphans begin to accept their situation and their lives on the Moon; this is the first reference to Alpha as ‘home’. All in all, ‘Black Sun’ is one of the most intriguing and important episodes of
Space: 1999
.
Rating:
9/10
1.4
RING AROUND THE MOON
Screenplay by Edward di Lorenzo
Directed by Ray Austin
Selected Broadcast Dates:
UK LWT:
Date: 17 January 1976. Time: 11.30 am
Granada:
Date: 30 January 1976. Time: 6.35 pm
US
KRON (San Francisco):
Date: 27 December 1975. Time: 7.00 pm
Credited Cast: Martin Landau
(John Koenig),
Barbara Bain
(Helena Russell),
Barry Morse
(Victor Bergman),
Prentis Hancock
(Paul Morrow),
Clifton Jones
(David Kano),
Zienia Merton
(Sandra Benes),
Anton Phillips
(Bob Mathias),
Nick Tate
(Alan Carter),
Max Faulkner
(Ted Clifford)
Uncredited Cast: Prentis Hancock
(Voice of Triton Probe),
Suzanne Roquette
(Tanya Alexander),
Andrew Dempsey
,
Robert Phillips
,
Michael Stevens
(Main Mission Operatives),
Tony Allyn
(Security Guard Tony Allan),
Quentin Pierre
(Security Guard Pierce Quinton),
Alan Harris
(Alphan),
Christopher Williams
(Medican Orderly Williams)
Plot:
Alpha finds itself enveloped in a ring of force projected by an alien probe that is using engineer Ted Clifford’s mind as an organic computer relay, eventually resulting in his death. From the planet Triton, these aliens are on a mission to collect information, and the next Alphan they select to use as a tool is Helena Russell. The race is on to stop the Tritonian probe before Dr Russell’s brain is burnt up like Ted Clifford’s.
Quotes:
Filming Dates:
Wednesday 27 February – Thursday 14 March 1974
Observations:
One type of Moonbase Alpha medical technology used quite frequently throughout the series is thermographic scans. From ‘Breakaway’ all the way through Year Two, these would provide a useful visual aid to explaining such medical conditions as the ever-problematic ‘brain damage’.
The set of the Medical Care Unit is re-used from ‘Matter of Life and Death’. This is unusual, because throughout Year One the Medical Centre sets were changed quite regularly. Rather than this showing a flagrant lack of continuity, it suggests the diversity of rooms or departments making up the medical section of Alpha – rather like a hospital on Earth.
Review:
The opening teaser is tense and dramatic. It demonstrates the clear and distinctive style of an early ‘pure’ Year One episode and is marred only by the stiff performance of Max Faulkner as Ted Clifford. The musical score adds greatly to the drama, from eerie sound effects to the up-tempo track accompanying the lunar walk sequence – there’s something oddly entertaining about disco sci-fi!
There are a number of visually dynamic stunts in the opening sequence alone, including the hurling of Kano across Main Mission, Paul leaping at Clifford and the shockwave from the Triton Probe’s force field sending those in Main Mission tumbling. The cinematography in ‘Ring Around the Moon’ is unique among the episodes of
Space: 1999
and is almost abstract or psychedelic in some of its depictions. Iconic series imagery abounds. It’s a very colourful episode, and the editing is sharp and distinctly adds to the proceedings.
A bothersome flaw in the episode is the expectation that Bergman or Computer should know something about the planet Triton – its location or other such information. This goes against the Year One emphasis on limited, imperfect and improvised technology and knowledge, and seems even to be out of place with much of this episode itself. This is knowledge the Alphans should not even consider having.
The interaction between Koenig and Alan Carter continues to develop. They are still tense and disagreeable, but even through the course of this one episode an astute viewer can sense the progression of their understanding towards each other, thanks to the writing of di Lorenzo and the performances of Martin Landau and Nick Tate. Landau is also outstanding during a scene (also featuring Bergman) set in the Medical Centre as Koenig is regaining consciousness. Aptly placed rapid-cut images of Helena intersect with Landau’s disturbed, weak and disoriented portrayal of Koenig – a marked contrast to the solemn certainty displayed by Barry Morse.Also interesting in terms of characterisation is a possibly disturbing aspect of Kano’s personality, touched on with his line, ‘It’s no use, sir.’ This displays a rather fatalistic and pessimistic side to him that contrasts with the good humour he displays at other times. It is a fascinating trait to consider, and will appear again in the episode ‘The Infernal Machine’. Clifton Jones effectively portrays these conflicting elements inherent in David Kano.