Tag Archives: Star Trek: The Next Generation

Film 101: The Rashomon Effect

poster from Rashomon

It’s been a long time since I updated Film 101, so I decided to pick something that I’ve wanted to cover for a while: the Rashomon effect, which you’ve most likely seen even if you didn’t know it was called that.

First, the definition: The Rashomon effect occurs when the same event is given contradictory interpretations by the different individuals involved. The name derives from Akira Kurosawa’s 1950 film Rashomon, where the murder of a samurai is described in four mutually contradictory ways, with the final description presented as “the truth.”

If this sounds familiar, it’s because it appears a lot in crime shows (imagine episodes of CSI where different suspects are being interviewed and they each describe what happened from their perspective, but everything is different each time it is told). Another good example is the third season Star Trek: The Next Generation episode “A Matter of Perspective” where Commander Riker is put on trial for allegedly murdering a scientist. Using the ship’s holodeck, the events are recreated using each person’s testimony, with radically different interpretations of the same events.

Still from “A Matter of Perspective”

The Rashomon effect is interesting because it often forces the audience to ask themselves “what is the truth?” and even when the “solution” is given, there is sometimes an implication that there is no correct answer and the truth must be determined for oneself. As a side note, given that the characters involved give contradictory accounts of certain events, they can also be considered unreliable narrators (meaning, unlike certain shows where you have no reason to question what a character says, an unreliable narrator cannot be trusted under any circumstances).

Thinking about the Rashomon effect, do any examples come to mind? List one or two in the comments below, along with what you think about the Rashomon effect (like, is it still a good technique or has it had its day?) Have a good day and thank you again for supporting Film Music Central 🙂

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

5 Replies

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.

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.

“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.

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).

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.

“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!

Don’t forget to like Film Music Central on Facebook 🙂

The Music of Star Trek Blogathon: Recap

4 Replies

At last! After months of planning, The Music of Star Trek Blogathon is finally here!!!! I can’t wait to see what everyone has come up with. One last note, don’t forget to include a line at the top of your post that says “This post is part of The Music of Star Trek Blogathon hosted by Film Music Central” and include a link back to my blog page, that way anyone reading it knows that it is part of the blogathon 🙂

Day One

Thoughts All Sorts shares some thoughts on the music in Star Trek (2009): Some Musical Thoughts- Star Trek (2009)

MovieRob examines the pilot episode of Star Trek: The Next Generation “Encounter at Farpoint” : Star Trek: The Next Generation “Encounter at Farpoint” (1987)

My entry for this blogathon looks at one of the greatest cliffhangers of all time: The Music of Star Trek: The Best of Both Worlds (1990)

Plain, Simple Tom examines the now-iconic music in “Amok Time” : “Amok Time”

The Temp Track provides a ranking of every Star Trek film score there is: Scoring the Final Frontier: Celebrating 50 Years of Trek Tracks

The Temp Track also takes a look at the themes of Star Trek VI: Only Kirk Could Go To Qo’noS: Cold War Allegory and the Title Theme for Star Trek VI

Day Two

MovieRob: Star Trek Deep Space Nine “The Emissary”

The Temp Track: The Temp Track: Star Trek (2009): The First Sixty Seconds

Day Three

MovieRob: Star Trek: Voyager “Caretaker”

MovieRob: Star Trek: Enterprise “Broken Bow”

Rhyme and Reason: Star Trek: Voyager Musical Highlights

Riley on Film: Theme from ‘Star Trek’ (1966-1969)

The Temp Track: Musical Spock

Meg nog List Blog: Star Trek Nemesis and Blue Skies

“Main Theme” from Star Trek First Contact by Jerry Goldsmith

7 Replies

This haunting theme is the main title from Star Trek: First Contact. This 1996 film is a continuation of a story begun in “The Best of Both Worlds Parts One and Two”, the third season finale and season four opener to Star Trek: The Next Generation. In those episodes, Captain Picard (Patrick Stewart) was kidnapped by the Borg and forcibly turned into a cyborg himself.

Now, six years later, the Borg have returned and Picard must confront his greatest enemy once and for all. I always found this theme to be incredibly beautiful. In fact, composer Jerry Goldsmith originally wrote this theme for the earlier film Star Trek V: The Final Frontier. In that earlier film, this theme represented “friendship,” namely the friendship that existed between Kirk, Spock and McCoy, who would literally do anything to help each other. To hear the theme in that movie, watch the opening scene when Kirk is climbing El Capitan, and you can hear a brief echo of the theme, which returns later in the campfire scene.

I hope you enjoy it.