Star Trek: The Motion Picture (1979)

Introduction

When Star Trek: The Motion Picture premiered in December 1979, it arrived with the immense burden of expectation. Riding the wave of sci-fi popularity in the wake of Star Wars (1977), and propelled by the enduring cult success of the original Star Trek television series (1966–69), Paramount envisioned a grand cinematic rebirth for Gene Roddenberry’s universe. But what emerged was not a thrilling space adventure in the vein of George Lucas’s blockbuster—it was a slow, meditative, and philosophical exploration of existence, identity, and the nature of consciousness.

Directed by Robert Wise, known for The Day the Earth Stood Still and The Sound of Music, and supported by one of Jerry Goldsmith’s most iconic musical scores, the film offered a vast, visually rich odyssey. It was criticized at the time for its languid pace and lack of character dynamism, yet it has grown in esteem as a serious and ambitious work of cinematic science fiction.

Plot Summary

The film opens with a threat from deep space: a massive, mysterious cloud—immense in scale and destructive in power—moves toward Earth, obliterating Klingon ships and Federation outposts in its path. Starfleet reactivates the newly refitted USS Enterprise, with Admiral James T. Kirk (William Shatner) assuming command despite the objections of its current captain, Will Decker (Stephen Collins).

The crew from the original series—Spock (Leonard Nimoy), McCoy (DeForest Kelley), Scotty, Sulu, Uhura, and Chekov—are gradually reunited, though they now find themselves more cautious, older, and dealing with internal changes. Spock, in particular, is in a state of spiritual turmoil, having attempted to purge his emotions through a Vulcan ritual but drawn instead toward the entity known as V’Ger.

As the Enterprise approaches the immense living cloud, the crew discovers that V’Ger is a sentient, evolving machine—originally NASA's Voyager 6 probe—sent into deep space and augmented by a race of living machines. V’Ger has returned seeking its creator: humanity. But lacking emotions and the ability to comprehend existence beyond logic and programming, it is on a path of destruction unless it can evolve beyond its mechanical limitations.

In a transcendental climax, V’Ger merges with Decker, allowing it to become a new form of life—neither machine nor human, but something new.

Performances

William Shatner as Kirk presents a more subdued, introspective version of the character. His usual bravado is tempered by a man wrestling with authority, relevance, and the fear of being outpaced by time and technology.

Leonard Nimoy delivers a quietly powerful performance as Spock, whose personal arc—learning to embrace emotion alongside logic—mirrors V’Ger’s journey. His moment of epiphany is one of the film’s most profound.

DeForest Kelley is as sharp and sardonic as ever, providing much-needed emotional grounding and comic relief.

Stephen Collins as Decker is restrained but thoughtful—a man torn between duty and a love (Ilia) now distorted by V’Ger. Persis Khambatta plays Lt. Ilia with dignity and sensitivity, though her character is more symbolic than fully developed.

The ensemble chemistry is underplayed here, more reserved than in the television series, but that fits the film’s sombre tone.

Direction and Visual Style

Robert Wise approaches the material not as an action spectacle, but as a majestic science fiction parable in the tradition of 2001: A Space Odyssey. Long, lingering shots of the Enterprise (painstakingly detailed by visual effects wizard Douglas Trumbull) underscore the sense of awe and reverence. The film’s pacing is deliberate—bordering on glacial at times—but this reflects its themes of exploration, not conquest.

Wide-angle compositions, intricate matte paintings, and extensive use of models create a grand, immersive aesthetic. The long sequence where Kirk and Scotty inspect the Enterprise in dry dock is both criticized and praised—it’s indulgent, yes, but it serves as a visual love letter to the ship and to the fans who waited a decade to see it again.

Music

Jerry Goldsmith’s score is among the greatest in science fiction film history. His soaring main theme, later repurposed for Star Trek: The Next Generation, is heroic yet restrained. The atmospheric tones he uses for V’Ger—blending orchestral and electronic textures—evoke a deep sense of mystery and otherness.

Goldsmith's work elevates the film at every turn, providing emotional momentum where the visuals may linger too long. His music, more than anything, gives the movie its spiritual core.

Themes and Philosophical Undertones

What is Life?

The film’s central question is one of consciousness and evolution. V’Ger, though vast and intelligent, is incomplete without the capacity to feel and imagine. Its desire to merge with its creator speaks to the innate drive in all intelligence to transcend its origins.

Humanity’s Role in the Cosmos

Unlike Star Wars, which treats space as a backdrop for adventure, The Motion Picture treats it as a stage for introspection. It’s a film more interested in awe and wonder than phasers and fistfights.

The Burden of Command and Aging

Kirk’s return to command is tinged with anxiety. He’s no longer the impetuous young captain. The Enterprise has changed, and so has he. His arc is one of letting go—of pride, control, and fear of obsolescence.

The Limits of Logic

Spock’s journey parallels V’Ger’s. Both seek liberation from pure logic. The film suggests that without emotion and intuition, intelligence remains sterile. This is a deeply Roddenberrian theme: the harmony of reason and feeling.

Criticism and Reception

Upon release, the film received mixed reviews. Critics praised its visual grandeur but lamented its lack of action and emotional dynamism. Some dubbed it “Star Trek: The Motionless Picture,” highlighting its slow pace. Audiences, eager for a space adventure, found it dense and philosophical.

Yet over time, its stature has grown. In contrast to the later, more action-driven Trek films, this first entry now appears bold, meditative, and uncompromising in its vision. It isn’t trying to be Star Wars; it’s trying to be 2001 filtered through Roddenberry’s humanistic ideals.

Later director’s cuts, especially Robert Wise’s 2001 Director’s Edition (and its 2022 4K remaster), are considered definitive versions. They tighten the editing, improve visual effects, and bring the film closer to Wise’s original intent.

Legacy

Star Trek: The Motion Picture set the stage for a film franchise that now spans decades. Though later films like The Wrath of Khan (1982) would favour character drama and kinetic energy, the first film established the idea that Star Trek could be cinematic, poetic, and ambitious.

It also introduced aesthetics and music that would influence the franchise for years. More than anything, it remains the purest embodiment of the original show’s speculative, idea-driven spirit—an unapologetically adult science fiction film that ponders rather than entertains.

Final Verdict

Star Trek: The Motion Picture is not for everyone. It demands patience and contemplation. But for those willing to engage with it on its own terms, it offers a uniquely beautiful and philosophical journey into space and the soul.

A flawed yet visionary epic—slow but sublime, cerebral and majestic.