Tag Archives: Patrick Stewart

My Thoughts on: The Hollow Crown ‘Richard II’ (2012)

There are many film adaptations of Shakespeare that I enjoy, but my favorite would have to be The Hollow Crown, a BBC production of Shakespeare’s second tetralogy of history plays. The story begins with the reign and downfall of Richard II (grandson of Edward III) and concludes with the reign of Henry V as he attempts to conquer France. The series features an all-star cast and is a must see for fans of Shakespeare’s history plays.

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Richard II stars Ben Whishaw (the new Q in the James Bond films) as the titular king in the last few years of his reign. Richard, in my opinion, believes that he is a good king, but his actions are so ruled by his whims that it eventually drives the kingdom into rebellion against him. This rebellion is led by his cousin, Henry Bolingbroke (Rory Kinnear), the future Henry IV, who is incensed that, after his father John of Gaunt (Patrick Stewart) died, King Richard ransacked his estate to pay for a war in Ireland. Henry returns from exile ostensibly to claim his birthright as Duke of Lancaster, but it quickly turns into an outright war for the throne of England itself. Stewart’s role as John of Gaunt (a younger son of Edward III) is well-played but ends rather quickly. It’s a shame, because it’s a pleasure to see Patrick Stewart performing Shakespeare.

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The contrast between Whishaw’s Richard and Kinnear’s Henry could not be more striking. Richard is presented as preening, elegant, almost effeminate. For most of the play he wears immaculate white robes, and on the one occasion that he does wear armor, it’s gold-plated (not exactly practical for fighting). Henry, by contrast, is burly and muscular, not afraid to get dirty if the job requires it. It is emphasized that Henry does not want to hurt Richard (who is his cousin after all), but is only doing what he believes is best for the kingdom. In the course of a monologue, Richard finally concedes the crown to his cousin and Henry is crowned Henry IV of England.

There are several liberties taken with the depiction of certain characters, most notably with Richard’s queen. Presented here as a grown woman, in truth she was only 10 years old at the time of Richard’s death (they got married when she was 7). There is also an appearance by David Bradley (Walder Frey in Game of Thrones) in the small role of a gardener.

In conclusion, Richard II is a good start to The Hollow Crown, one that I highly recommend. If you’ve seen Richard II, what did you think about it? Let me know your thoughts in the comments below and have a great day 🙂

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The Music of Star Trek: The Best of Both Worlds (1990)

This post is part of The Music of Star Trek Blogathon hosted by Film Music Central (me!!!)

You don’t often think of television episodes having great musical scores, but such is the case with “The Best of Both Worlds”, a two-parter that consists of the season 3 finale and the season 4 premiere of Star Trek: The Next Generation. The events of these episodes form the basis of Star Trek: First Contact (1996) and had huge ramifications for the Star Trek universe. Given the massive size of this story, I am actually going to focus on Part 1 for this blogathon.

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At the start, the Enterprise is dispatched to a Federation colony that had reported they were under attack. The Enterprise arrives only to find that the entire colony has been wiped off the face of the planet (leaving only a huge crater in the ground). Everyone immediately suspects the Borg, an alien species first encountered in the season 2 episode “Q Who?” The Borg could easily be considered the most dangerous foe ever encountered by the Federation. Unlike other alien species, that might give up after a show of resistance, the Borg never stop. They will come on relentlessly until they reach their goal of assimilating any and all cultures they come into contact with into their “collective.” That’s the other thing about the Borg, they  function as a group mind. There is no individuality, no freedom of expression, nothing. There isn’t even the concept of “I”. If the Borg were to ever reach Earth, it would be disastrous, so the Enterprise is dispatched to engage and stop them.

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“We have engaged the Borg”

Now I mentioned that this two-parter has a great musical score and it really comes into play once the Enterprise locates the Borg ship (a massive cube structure). The music here has an almost cinematic quality to it (a rare thing in television these days). Composer Ron Jones gave an ominous theme to the Borg (mostly consisting of synthesized choral voices), to emphasize the fact that the Enterprise is up against a very dangerous opponent.

“We Have Engaged the Borg”

How dangerous? Well, after an initial attack leaves the Enterprise locked in a tractor beam (that they barely manage to break away from), the ship spends several hours hiding in a nearby nebula, as a ploy to distract the Borg from going after anyone else. See, the weird thing is, the Borg are demanding Captain Picard (Patrick Stewart) be handed over to them, which is weird (even for them) because hitherto the Borg haven’t shown any interest in individual beings. And despite best efforts, the Borg have this way of getting whatever it is they want. Case in point: Picard’s kidnapping scene. The Borg chase the Enterprise out of the nebula and manage to knock their shields back down.

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No sooner does this happen then several Borg begin beaming over to the bridge of the Enterprise. Note the music when this happens, it becomes very mechanical and rigid (and somewhat repetitive). This is symbolic of the unrelenting nature of the Borg. Despite the fact that they are cyborgs (part human/machine), they firmly reject the parts of themselves that were once human.

Picard is kidnapped by the Borg

If you’ve ever heard the phrase “resistance is futile” THIS is where that comes from. Actually, to hear the Borg tell it, anything other than immediate acquiesence to their demands is futile. Even DEATH is irrelevant (which is kind of a scary thought when you think about it). Picard is determined to resist his captors anyway, but he doesn’t really have a choice in the matter. This is the last we see of Picard until the end of the episode (more on that after while).

“Strength is irrelevant, resistance is futile”

The Enterprise has a really big problem on their hands (even bigger than Picard being kidnapped): the Borg cube has set a direct course for Earth (also known as Sector 001, the Terran System). Under no circumstances can that cube reach Earth, so while the Federation fleet gathers at Wolf 359 (which is a real star by the way), the Enterprise sets about delaying the Borg ship at any cost, not just to give the fleet more time to prepare, but also so they can try to rescue Captain Picard (before they’re forced to try and destroy the Borg ship).

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Inside the Borg ship

Beaming aboard, the away team encounters no resistance at first (the Borg typically ignore lifeforms if they don’t think they’re a threat), but when Dr. Crusher hits on the idea to take out an increasing number of power stations (to force the ship to slow down and repair itself), the Borg take action. Borg begin attacking from every direction, and they have a distinct advantage. There’s one more detail about this species I forgot to mention: they have the ability to analyze and adapt themselves against any attack. What does that mean? Well, in Star Trek you generally attack with phasers, right? With the Borg’s adaptability, you MIGHT get off two or three shots before the Borg (collectively) learn how to shield themselves from the blast. In other words, if you can’t destroy them before they adapt, you’re screwed. The away team has reached the point where all the Borg are adapting, meaning they need to leave ASAP, but then Dr. Crusher sees someone familiar…it’s Captain Picard…or is it?

“Captain Borg” (Soundtrack only, reveal of Picard as Borg)

The “Captain Borg” cue (link above) is the reason why I chose this episode to share with you. The pivotal moment when Picard faces the camera to reveal the Borg implants on his face is haunting, shocking and remains one of the pivotal moments in all of Star Trek history!!! The part I really want you to hear begins at 0:54. First you hear the synthesized ominous Borg theme, followed by a twisted rendition of the Enterprise theme (in the full scene “Part 1 Cliffhanger”, this comes right after Worf yells “Captain!” and is approx. 1:15 in the soundtrack version). The message couldn’t be more clear: Captain Picard has been “corrupted” by the Borg (hence the mutated Enterprise theme). The crew is unable to rescue Picard at this time because he’s surrounded by a force field and they are subsequently forced to withdraw.

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“I am Locutus of Borg”

“Part 1 Cliffhanger”

The shocked team returns to inform Commander Riker that Picard himself is now a Borg. At the same time, a report comes in that a new weapon capable of destroying the Borg cube is ready to fire. Doing so would kill Picard, but at the same time save the Earth before the Borg cube is able to resume the journey to the Solar System. Arguments are made as to why they should or should NOT use the weapon, but just as Riker makes up his mind, the Borg ship hails the Enterprise with a message….and so begins one of the most enduring, iconic scenes in all of Star Trek: The Next Generation. The Borg Picard steps forward and addresses his own crew:

“I Am Locutus of Borg. Resistance is Futile. Your life, as it has been, is OVER. From this time forward, you will service US.”

Cue shocked faces from everyone on the bridge!!!!!!

The music here is practically exploding with tension, but it’s about to get worse. As the camera turns to zoom in on Riker’s face, the music rapidly builds to a fever pitch as he utters the command: “Mr. Worf, fire.”

And what happens next??? Oh, I can’t tell you that, the cliffhanger does a much better job (so make sure to watch “Part 1 Cliffhanger”, it had me screaming at the TV by the end).

It almost goes without saying that THIS was the episode that finally got Star Trek: The Next Generation over with the original Trekkies. Before this, Star Trek: TNG was still considered something of a red-headed step-child, it was alright, but it could never live up to the original series. And then THIS episode happened, and “all hell broke loose.” Fans everywhere were hooked, begging to know what would happen next. The funny thing is, even the writers didn’t know at this point, as they’d literally written themselves into a corner and had no idea how to get out of it.

Hope you enjoyed this look at my favorite Star Trek: The Next Generation episode (the full episode is readily available on Hulu and Netflix). Have a good weekend!

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A Random Thought on “Star Trek: Nemesis” (2002)

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Having the music of Jerry Goldsmith on the brain (yesterday being his birthday), I couldn’t help but think about one of his final film scores: Star Trek: Nemesis (2002). Billed from the outset as the final adventure of the Star Trek: The Next Generation cast (most of whom had been in their roles since 1987), there was a heightened sense of excitement as the release date for this film approached. Everyone wanted to see what would happen, how would the series end, etc. And then the film came out…

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I was only 14 when I saw Nemesis for the first time, and I remember loving it just as much as Insurrection. But as I grew older, I began to read that Star Trek: Nemesis had been rather poorly received, that it was even considered the worst of the films (a strong statement given that Star Trek V: The Final Frontier usually receives that dubious distinction). But what hurt me the most was the criticisms I heard about Jerry Goldsmith’s score for Nemesis. People were saying that this film was “not his best effort” and that the themes were “overly simplistic.”

With all due respect, anyone who says these things about a work of Jerry Goldsmith does not understand how the man worked. By 2002, Goldsmith had been working in Hollywood for over fifty years, his skills honed into a finely tuned art. He knew, more than anyone else I suspect, what kind of music Star Trek: Nemesis needed. Since this film marked the end of an era (the reboot not being planned yet), Goldsmith created a score that was intentionally somber. Of course the music ends on a hopeful note, but the tone is meant to be sad; the long-running adventure is finally ending, companions are parting ways, all of this should evoke a sense of impending loss.

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And as for the themes being overly simplistic…listen to the soundtrack album, or even part of the album, without dialogue or sound effects, and try to tell me that the music is “simplistic.” (I particularly recommend “Ideals” from the soundtrack).

Maybe I’m just biased because I grew up watching Star Trek: The Next Generation…but I hear nothing wrong in the scores Goldsmith created. Just some random thoughts.

*Film poster is the property of Paramount and is only being used for illustration

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