star trek wrath of khan full cast

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Star Trek II: The Wrath of Khan - Full Cast & Crew

1 hr 53 mins
Action & Adventure, Kids, Science Fiction
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Captain Kirk leads his crew in a desperate battle to the death against ruthless arch-nemesis Khan. Sci-fi adventure with the late Leonard Nimoy.

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Sound effects, special effects, executive producer, assoc. producer, cinematographer.

Star Trek II: The Wrath of Khan (1982) Cast and Crew

Star trek: the original series collection.

Star Trek: Original Motion Picture Collection contains the first six Original Series films starring the U.S.S. Enterprise's cast and crew from the 1960s TV series of the same name.

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Star Trek: The Wrath of Khan
Cast & Crew

Cast & crew

The full cast of Star Trek: The Wrath of Khan

Here you will find an overview of the cast of the movie Star Trek: The Wrath of Khan from the year 1982, including all the actors, actresses and the director. When you click on the name of an actor, actress or director from the movie Star Trek: The Wrath of Khan-cast you can watch more movies and/or series by him or her. Click here for more infomation about the movie.

We have made an overview that includes: actors , directors , the production team , the camera team , writers and other crew members .

Nicholas Meyer

Douglas E. Wise

Richard Espinoza

Jack B. Sowards

Harve Bennett

Actors & actresses.

William Shatner

Leonard Nimoy

DeForest Kelley

Ricardo Montalban

James Doohan

Walter Koenig

George Takei

Nichelle Nichols

Kirstie Alley

Paul Winfield

Merritt Butrick

Judson Scott

Ike Eisenmann

John Vargas

John Winston

Artistic design

Michael Minor

Joseph R. Jennings

Charles Graffeo

Gayne Rescher

Bruce Birmelin

Costume & makeup.

Robert Fletcher

Dione Taylor

James Lee McCoy

Werner Keppler

Ralph Winter

Martin Becker

George P. Wilbur

Janet Brady

Tommy J. Huff

Gilbert B. Combs

Mike Washlake

Anthony Cecere

Mary Peters

Chuck Hicks

John Robotham

John Escobar

Paula Moody

Hubie Kerns Jr.

Steve Blalock

Jim Connors

Bill Couch Jr.

Kym Washington Longino

Ernest Robinson

Fletcher Bryant

Ann Chatterton

Diane Carter

Movie editing.

William Paul Dornisch

Lighting techniques.

Romolo Acquistapace

William F. Phillips

Mary V. Buck

Robert Sallin

Austen Jewell

John Newton

James Horner

James R. Alexander

David J. Hudson

Mel Metcalfe

Noyan Cosarer

George Watters II

Cecelia Hall

Special effects.

Ken Ralston

Jim Veilleux

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Star Trek II: The Wrath of Khan

Khan, a genetically enhanced “super man” from Kirk’s past, returns to seek revenge on now-Admiral Kirk, the man who banished he and his followers to a dying planet 15 years earlier.

Full Cast of Star Trek II: The Wrath Of Khan Actors/Actresses

Star Trek II: The Wrath of Khan cast list, listed alphabetically with photos when available. This list of Star Trek II: The Wrath of Khan actors includes any Star Trek II: The Wrath of Khan actresses and all other actors from the film. You can view trivia about each Star Trek II: The Wrath of Khan actor on this list, such as when and where they were born. To find out more about a particular actor or actress , click on their name and you'll be taken to a page with even more details about their acting career. The cast members of Star Trek II: The Wrath of Khan have been in many other movies, so use this list as a starting point to find actors or actresses that you may not be familiar with.

Examples of actors on this list include William Shatner and Kirstie Alley.

If you want to answer the questions, "Who starred in the movie Star Trek II: The Wrath of Khan?" and "What is the full cast list of Star Trek II: The Wrath of Khan?" then this page has got you covered.

William Shatner

Ricardo Montalbán

Kirstie Alley

Leonard Nimoy

George Takei

Paul Winfield

DeForest Kelley

Nichelle Nichols

Walter Koenig

James Doohan

Merritt Butrick

Ike Eisenmann

Judson Scott

John winston.

Star Trek II: The Wrath of Khan (1982)
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Star Trek II: The Wrath of Khan

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Watch Star Trek II: The Wrath of Khan with a subscription on Max, rent on Fandango at Home, Prime Video, or buy on Fandango at Home, Prime Video.

What to Know

Considered by many fans to be the best of the Star Trek movies, Khan features a strong plot, increased tension, and a sharp supporting performance from Ricardo Montalban.

Audience Reviews

Cast & crew.

Nicholas Meyer

William Shatner

Admiral James T. Kirk

Leonard Nimoy

Captain Spock

Ricardo Montalban

Khan Noonien Singh

DeForest Kelley

Commander Leonard H. McCoy, M.D.

James Doohan

Commander Montgomery Scott

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Star Trek 2: The Wrath of Khan

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Star Trek II: The Wrath of Khan is a 1982 American motion picture released by Paramount Pictures . The film is the second feature based on the Star Trek science fiction franchise. The plot features James T. Kirk ( William Shatner ) and the crew of the starship USS Enterprise facing off against the genetically-engineered tyrant Khan Noonien Singh ( Ricardo Montalbán ), a character who first appeared in the 1967 Star Trek television series episode " Space Seed ". When Khan escapes from a 15-year exile to exact revenge on Kirk, the crew of the Enterprise must stop him from acquiring a powerful terraforming device named Genesis. The film concludes with the death of Enterprise crewmember Spock ( Leonard Nimoy ), beginning a story arc that continues through 1986's Star Trek IV: The Voyage Home .

After the lackluster critical and commercial response to Star Trek: The Motion Picture , series creator Gene Roddenberry was forced out of the sequel's production. Executive producer Harve Bennett wrote the film's original outline, which Jack B. Sowards developed into a full script. Director Nicholas Meyer completed the final script in 12 days, without accepting a writing credit. Meyer's approach evoked the swashbuckling atmosphere of the original series, and the theme was reinforced by James Horner 's musical score. Leonard Nimoy only reprised his role as Spock because the character's death was intended to be irrevocable. Negative test audience reaction to Spock's death led to significant revisions of the ending without Meyer's consent. The production used various cost-cutting techniques to keep within budget, including utilizing miniatures from past projects and re-using effects footage from the previous movie. Among the film's technical achievements is the first complete feature film sequence created entirely with computer-generated graphics.

The Wrath of Khan was released in North America on June 4, 1982. It was a box office success, earning US$97 million worldwide and setting a world record for first-day box office gross. Critical reaction to the film was positive; reviewers highlighted Khan, the film's pacing and the character interactions as strong elements. Negative reaction focused on weak special effects and some of the acting. The Wrath of Khan is generally considered one of the best films of the Star Trek series and is credited with creating renewed interest in the franchise.

3.1 Development
3.3 Filming
3.4 Effects
5.1 Release
5.2 Critical response
5.3 Home video

The film opens with the Vulcan Lieutenant Saavik in command of the starship USS Enterprise . The vessel is on a rescue mission to save the crew of a damaged ship in the Neutral Zone along the border with Klingon space when it is attacked by Klingon cruisers and critically damaged. The "attack" is revealed to be a training exercise known as the " Kobayashi Maru "; a no-win situation designed to test the character of Starfleet officers. Admiral James T. Kirk oversees the simulator session of Captain Spock 's trainees. [1]

The USS Reliant is on a mission to search for a lifeless planet for testing of the Genesis Device , a torpedo that reorganizes matter to create habitable worlds for colonization. Reliant officers Commander Pavel Chekov and Captain Clark Terrell beam down to the surface of a possible candidate planet, Ceti Alpha VI, where they are captured by Khan Noonien Singh . Khan and his fellow genetically-advanced supermen were once rulers of late 20th century Earth, but after their defeat they escaped into space in a sleeper ship . The Enterprise discovered Khan's ship adrift in space fifteen years previously ; Kirk exiled Khan and his followers to Ceti Alpha V after the supermen nearly captured his ship. Khan reveals that after they were marooned, Ceti Alpha VI exploded, destroying Ceti Alpha V's ecosystem and shifting its orbit. Khan blames Kirk for the death of his wife and plans to avenge her. He implants Chekov and Terrell with indigenous, mind-controlling eels that enter the ears of their victims and uses the officers to gain control of the Reliant . Learning of the existence of Genesis, Khan attacks Space Station Regula I where the device is being developed by Kirk's former lover, Dr. Carol Marcus , and their son, David . [2]

The Enterprise embarks on a training voyage under the command of Spock. Kirk takes command of the Enterprise after the ship receives a distress call from Regula I. En route, the Enterprise is ambushed by the Reliant . The attack cripples the Enterprise and many of its trainees are killed. A transmission between the two ships reveals Khan knows of the Genesis Device and wants all materials related to the project sent to him. Kirk stalls for time and disables the Reliant Template:'s defenses by transmitting a prefix code, allowing the Enterprise to counter-attack. Khan is forced to retreat and effect repairs, while the Enterprise limps to Regula I. Kirk, McCoy and Saavik beam to the station, where they find Terrell and Chekov, along with slaughtered members of the Genesis Project. The team finds the remaining scientists, including Carol and David, hidden deep inside the planetoid of Regula. Using Terrell and Chekov as spies, Khan steals the Genesis Device and orders them to kill Kirk; Terrell resists the eel's influence and kills himself while Chekov faints. Though Khan believes his foe stranded on Regula I, Kirk and Spock use a coded message to arrange a rendezvous and pilot the Enterprise into the nearby Mutara Nebula; static discharges from the nebula render both ships' defensive shields useless and compromise targeting systems, making the Enterprise and Reliant evenly matched. Kirk uses Khan's inexperience in three-dimensional combat to critically disable the Reliant .

Mortally wounded, Khan activates the Genesis Device, which will reorganize all matter in the nebula—including the Enterprise . Though Kirk's crew detects the activation of the Genesis Device and the Enterprise attempts to move out of range using impulse engines , with the warp drive damaged they will not be able to escape the nebula in time. Spock leaves the bridge and goes to the engine room to restore the warp drive. When McCoy tries to prevent Spock's exposure to high levels of radiation, he incapacitates the doctor and performs a mind meld , telling him to "Remember". Spock restores power to the warp drive and the Enterprise escapes the explosion. Kirk arrives in the engine room, where Spock dies of radiation poisoning . The explosion of the Genesis Device causes a planet to coalesce out of the nebula. A space burial is held in the Enterprise Template:'s torpedo room and Spock's coffin is shot into orbit around the newly formed planet. The crew leaves the planet to pick up the Reliant Template:'s marooned crew from Ceti Alpha V. In the final scene Spock's coffin is seen to have soft-landed on the planet. Spock narrates Star Trek Template:'s " Where no man has gone before " monologue as the view moves forward into a field of stars. [3]

The crew of the Enterprise gathers for Spock's funeral (the torpedo with Spock's body is at the bottom of the frame). From left to right: Sulu, Chekov, Scott, Kirk, McCoy, Uhura, and Saavik.

William Shatner plays James T. Kirk , a Starfleet Admiral and former commander of the Enterprise . Kirk and Khan never confront each other face-to-face during the film; all of their interactions are over a viewscreen or through communicators, and their scenes were filmed four months apart. [4] Meyer described Shatner as an actor who was naturally protective of his character and himself, and who performed better over multiple takes. [5]

Ricardo Montalbán portrays Khan Noonien Singh , a genetically enhanced superhuman who used his strength and intellect to briefly rule much of Earth in the 1990s. Montalbán said that he believed all good villains do villainous things, but think that they are acting for the "right" reasons; in this way, Khan uses his anger at the death of his wife to justify his pursuit of Kirk. [6] Contrary to speculation that Montalbán used a prosthetic chest, no artificial devices were added to Montalbán's muscular physique. [5] Montalbán enjoyed making the film, so much so that he played the role for much less than was offered him, and counted the role as a career highlight. His major complaint was that he was never face-to-face with Shatner for a scene. "I had to do my lines with the script girl, who, as you might imagine, sounded nothing like Bill [Shatner]," he explained. [7] Bennett noted that the film was close to getting the green light when it occurred to the producers that no one had asked Montalbán if he could take a break from filming television show Fantasy Island to take part. [6]

The Vulcan Spock is portrayed by Leonard Nimoy . Nimoy had not intended to have a role in The Motion Picture Template:'s sequel, but was enticed back on the promise that his character would be given a dramatic death scene. [8] Nimoy reasoned that since The Wrath of Khan would be the final Star Trek film, having Spock "go out in a blaze of glory" seemed like a good way to end the character. [6] DeForest Kelley plays Leonard McCoy , the Enterprise Template:'s chief medical officer and a close friend of Kirk and Spock. Kelley was dissatisfied with an early version of the script to the point that he considered not taking part. [8] Kelley noted his character spoke many of the film's lighter lines, and felt that this role was essential in bringing a lighter side to the onscreen drama. [6] Other members of the Enterprise crew include chief engineer Montgomery Scott ( James Doohan ), navigator Hikaru Sulu ( George Takei ), and communications officer Uhura ( Nichelle Nichols ). Nichols and Gene Roddenberry took issue with elements of the film, including the naval references and militaristic uniforms. Nichols also defended Roddenberry when the producers believed he was the source of script leaks. [9] Takei had simply not wanted to reprise his role until Shatner persuaded him to return. [10] Kelley felt that McCoy speaking his catchphrase " he's dead, Jim " during Spock's death scene would ruin the moment's seriousness, so Doohan delivers the line "he's dead already" to Kirk. [11] Scott loses his young nephew following Khan's attacks on the Enterprise . The cadet, played by Ike Eisenmann , had many of his lines cut from the original theatrical release, including a scene where it is explained he is Scott's relative. These scenes were reintroduced when ABC aired The Wrath of Khan on television in 1985, and in the director's edition, making Scott's grief at the crewman's death more understandable. [10]

Walter Koenig plays Pavel Chekov , the Reliant Template:'s first officer and a former Enterprise crewmember. During filming, Kelley noted that Chekov never met Khan in "Space Seed" (Koenig had not yet joined the cast), and thus Khan's recognizing Chekov on Ceti Alpha did not make sense. Star Trek books have tried to rationalize this discrepancy; in the film's novelization by Vonda N. McIntyre , Chekov is "an ensign assigned to the night watch" during "Space Seed" and met Khan in an off-screen scene. [12] The non-canonical novel To Reign in Hell: The Exile of Khan Noonien Singh explains the error by having Chekov escort Khan to the surface of Ceti Alpha after the events of the television episode. The real cause of the error was a simple oversight by the filmmakers. Meyer defended the mistake by noting that Arthur Conan Doyle made similar oversights in his Sherlock Holmes stories. [5] Chekov's screaming while being infested by the Ceti eel lead Koenig to jokingly dub the film Star Trek II: Chekov Screams Again , in reference to a similar screaming scene in The Motion Picture . [10] Paul Winfield plays Reliant captain Clark Terrell ; Meyer had seen Winfield's work in films such as Sounder and thought highly of him. There was no reason for casting him as the Reliant Template:'s captain other than Meyer's desire to direct him. Meyer thought in retrospect that the Ceti eel scenes might have been corny, but felt that Winfield's performance helped add gravity. [5]

Other characters include Kirstie Alley as Saavik , Spock's protege and a Starfleet commander-in-training aboard the Enterprise . The movie was Alley's first feature film role. Saavik cries during Spock's funeral. Meyer said that during filming someone asked him, "'Are you going to let her do that?' And I said, 'Yeah', and they said, 'But Vulcans don't cry,' and I said, 'Well, that's what makes this such an interesting Vulcan.'" [5] The character's emotional outbursts can be partly explained by the fact that Saavik was described as of mixed Vulcan- Romulan heritage in the script, though no indication is given on film. [10] Alley was so fond of her Vulcan ears that she would take them home with her at the end of each day. [5] Bibi Besch plays Carol Marcus , the lead scientist working on Project Genesis, and the mother of Kirk's son David (played by Merritt Butrick ). Meyer was looking for an actress who looked beautiful enough that it was plausible a womanizer such as Kirk would fall for her, yet who could also project a sense of intelligence. Meyer liked that Butrick's hair was blond like Besch's and curly like Shatner's, making him a plausible son of the two. [5]

Production [ ]

Development [ ].

Gene Roddenberry was removed from a direct role in the development of The Wrath of Khan due to concerns that he was the main reason behind The Motion Picture Template:'s lukewarm reception.

After the release of The Motion Picture , executive producer Gene Roddenberry wrote his own sequel. In his plot, the crew of the Enterprise travel back in time to set right a corrupted time line after Klingons use the Guardian of Forever to prevent the assassination of John F. Kennedy . [13] [14] This was rejected by Paramount executives, who blamed the poor performance and inflated budget ($46 million) of the first movie on its plodding pace and the constant rewrites Roddenberry demanded. [15] As a consequence, Roddenberry was removed from the production and, according to Shatner, "kicked upstairs" to the ceremonial position of executive consultant. [16] Harve Bennett , a new Paramount television producer, was made producer for the next Star Trek film. [17] According to Bennett, he was called in front of a group including Jeffrey Katzenberg and Michael Eisner and asked if he thought he could make a better movie than The Motion Picture , which Bennett confessed he found "really boring". [18] When Bennett replied in the affirmative, Charles Bluhdorn asked, "Can you make it for less than forty-five-fucking-million-dollars?" Bennett replied that "Where I come from, I can make five movies for that." [17]

Bennett realized he faced a serious challenge in developing the new Star Trek movie, partly due to his never having seen the television show. [17] To compensate, Bennett watched all the original episodes. This immersion convinced Bennett that what the first movie lacked was a real villain; after seeing the episode " Space Seed ", he decided that the character of Khan Noonien Singh was the perfect enemy for the new film. [19] Before the script was settled upon, Bennett gathered his production staff. He selected Robert Sallin, a director of television commercials and a college friend, to produce the movie. Sallin's job would be to produce Star Trek II quickly and cheaply. [20] Bennett also hired Michael Minor as art director to shape the direction of the film. [21]

Bennett wrote his first film treatment in November 1980. In his version, titled Star Trek II: The War of the Generations , Kirk investigates a rebellion on a distant world and discovers that his son is the leader of the rebels. Khan is the mastermind behind the plot, and Kirk and son join forces to defeat the tyrant. Bennett then hired Jack B. Sowards , an avid Star Trek fan, to turn his outline into a filmable script. Sowards wrote an initial script before a writer's strike in 1981. Sowards' draft, The Omega Syndrome , involved the theft of the Federation's ultimate weapon, the "Omega system". [19] Sowards was concerned that his weapon was too negative, and Bennett wanted something more uplifting "and as fundamental in the 23rd century as recombinant DNA is in our time," Minor recalled. [21] Minor suggested to Bennett that the device be turned into a terraforming tool instead. At the story conference the next day, Bennett hugged Minor and declared that he had saved Star Trek. [21] In recognition of the Biblical power of the weapon, Sowards renamed the "Omega system" to the " Genesis Device". [19]

By April 1981 Sowards had produced a draft that moved Spock's death to later in the story, [19] because of fan dissatisfaction to the event after the script was leaked. [5] Spock had originally died in the first act, in a shocking demise that Bennett compared to Janet Leigh 's early death in Psycho . [22] This draft had a twelve-page face-to-face confrontation between Kirk and Khan. [23] Sowards' draft also introduced a male character named Savik. [19] As preproduction began, Samuel A. Peeples , writer of the Star Trek episode " Where No Man Has Gone Before ", was invited to offer his own script. Peeples's draft replaced Khan with two new villains named Sojin and Moray; the powerful beings are so alien they almost destroy Earth by mistake. This script was considered inadequate. [23] Deadlines were looming for special effects production to begin (which required detailed storyboards based on a completed script), and by this point there was no finished script to use. [19]

Director Nicholas Meyer had never seen an episode of Star Trek when approached to direct the film and rewrite the script

Karen Moore, a Paramount executive, suggested to Bennett that Nicholas Meyer , writer of The Seven-Per-Cent Solution and director of Time After Time , could help resolve the screenplay issues. [6] Meyer had never seen an episode of Star Trek . [24] He had the idea of making a list consisting of everything that the creative team had liked from the preceding drafts–"it could be a character, it could be a scene, it could be a plot, it could be a subplot, [...] it could be a line of dialogue"–so that he could use that list as the basis of a new screenplay made from all the best aspects of the previous ones. [6] To offset fan expectation that Spock would die, Meyer had the character "killed" in the Kobayashi Maru simulator in the opening scene. [5] The effects company required a completed script in just twelve days time so, Meyer wrote the screenplay uncredited and for no pay before the deadline, surprising the actors and producers. [6] Meyer described his script as " 'Hornblower' in outer space", utilizing nautical references and a swashbuckling atmosphere. [8] (Hornblower was an inspiration to Roddenberry and Shatner when making the show, although Meyer was unaware of this). [25] Sallin was impressed with Meyer's vision for the film: "His ideas brought dimension that broadened the scope of the material as we were working on it." [26] Gene Roddenberry disagreed with the script's naval texture and Khan's Captain Ahab undertones, but was mostly ignored by the creative team. [27]

Meyer attempted to change the look of Star Trek to match the nautical atmosphere he envisioned and stay within budget. [6] The Enterprise , for example, was given a ship's bell , boatswain's call , [19] and more blinking lights and signage. [18] To save money on set design, production designer Joseph Jennings utilized existing elements from The Motion Picture that had been left standing after filming was completed. [19] Sixty-five percent of the film was shot on the same set; the bridge of the Reliant and the "bridge simulator" from the opening scene were redresses of the Enterprise Template:'s bridge. [6] The Klingon bridge from The Motion Picture was redressed as the transporter and torpedo rooms. [18] The filmmakers stretched The Wrath of Khan Template:'s budget by reusing models and footage from the first Star Trek film, including footage of the Enterprise in spacedock. [10] The original ship miniatures were used where possible, or modified to stand in as new constructions. The orbital office complex from The Motion Picture was inverted and retouched to become the Regula I space station. [19] Elements of the cancelled Star Trek: Phase II television show, such as bulkheads, railings, and sets, were cannibalized and reused. [10] A major concern for the designers was that the Reliant should be easily distinguishable from the Enterprise . The ship's design was flipped after Bennett accidentally opened and approved the preliminary Reliant designs upside-down. [6]

Uniform exemplar from The Wrath of Khan on display at Star Trek: The Experience

Designer Robert Fletcher was brought in to redesign existing costumes and create new ones. Fletcher decided on a scheme of "corrupt colors", using materials with colors slightly off from the pure color. "They're not colors you see today, so in a subtle way their Template:Sic indicate another time." [26] Meyer did not like the Starfleet uniforms from either the television series or The Motion Picture and wanted them changed, [24] but for budgetary reasons they could not be discarded entirely. Dye tests of the fabric showed that the old uniforms took three colors well: blue-gray, gold, and dark red. Fletcher decided to use the dark red due to the strong contrast it provided with the background. The resulting naval-inspired designs would be used in Star Trek films until 1996's Star Trek: First Contact . The first versions of the uniforms had stiff black collars, but Sallin suggested changing it to a turtleneck, using a form of vertical quilting called trapunto . The method creates a bas-relief effect to the material by stuffing the outlined areas with soft thread shot via air pressure through a hollow needle. [28] By the time of The Wrath of Khan Template:'s production, the machines and needles needed to produce trapunto were rare, and Fletcher was only able to find one needle for the wardrobe department. [19] The crew was so worried about losing or breaking the needle that one of the department's workers took it home with him as a security measure, leading Fletcher to think it had been stolen. [28]

For Khan and his followers, Fletcher created a strong contrast with the highly organized Starfleet uniforms; his idea was that the exiles' costumes were made out of whatever they could find. [6] Fletcher said, "My intention with Khan was to express the fact that they had been marooned on that planet with no technical infrastructure, so they had to cannibalize from the spaceship whatever they used or wore. Therefore, I tried to make it look as if they had dressed themselves out of pieces of upholstery and electrical equipment that composed the ship." [6] Khan's costume was designed with an open chest to show Ricardo Montalbán's physique. Fletcher also designed smocks for the Regula I scientists, and civilian clothes for Kirk and McCoy that were designed to look practical and comfortable. [6]

Meyer had a "No Smoking" sign added to the Enterprise Template:'s bridge, which he recalled "Everyone had a fit over [...] I said 'Why have they stopped smoking in the future? They've been smoking for four hundred years, you think it's going to stop in the next two?" [18] The sign appeared in the first shot of the film, but was removed for all others appearing in the final cut of the film. [10]

Filming [ ]

Principal photography began on November 9, 1981, and ended on January 29, 1982. [29] The Wrath of Khan was more action-oriented than its predecessor, but less costly to make. The project was supervised by Paramount's television unit rather than its theatrical division. [30] Bennett, a respected television veteran, made The Wrath of Khan on a budget of $11 million—far less than The Motion Picture Template:'s $46 million. [11] The budget was initially lower at $8.5 million, but it rose when the producers were impressed by the first two weeks of footage. [18] Meyer utilized camera and set tricks to spare the construction of large and expensive sets. For a scene taking place at Starfleet Academy , a forced perspective was created by placing scenery close to the camera to give the sense the set was larger than it really was. To present the illusion that the Enterprise Template:'s elevators moved between decks, corridor pieces were wheeled out of sight to change the hall configuration while the lift doors were closed. [10] Background equipment such as computer terminals were rented when possible instead of purchased outright. Some designed props, such as a redesigned phaser and communicator, were vetoed by Paramount executives in favor of existing materials from The Motion Picture . [31]

The Enterprise was refurbished for its space shots, with its shiny exterior dulled down and extra detail added to the frame. [32] Compared to the newly-built Reliant , the Enterprise was hated by the effects artists and cameramen; it took eight people to mount the model, and a forklift truck to move it. [33] The Reliant , meanwhile, was lighter and had less complex internal wiring. The ships were filmed on a blue screen with special film that does not register the color; the resulting shots could be added to effects shots or other footage. Any reflection of blue on the ship's hull would appear as a hole on the film; the gaps had to be patched frame by frame for the final film. The same camera used to film Star Wars , the Dykstraflex , was used for shots of the Enterprise and other ships. [32]

The barren desert surface of Ceti Alpha V was simulated on stage 8, the largest sound stage at Paramount's studio. The set was elevated 25 feet off the ground and covered in wooden mats, over which tons of colored sand and powder were dumped. A cyclorama was painted and wrapped around the set, while massive industrial fans created a sandstorm. The filming was uncomfortable for actors and crew alike. The spandex environmental suits Koenig and Winfield wore were unventilated, and the actors had to signal by microphone when they needed air. Filming equipment was wrapped in plastic to prevent mechanical troubles and everyone on set wore boots, masks, and coveralls as protection from flying sand. [34]

Spock's death was shot over three days, during which no visitors were allowed on set. [5] Spock's death was to be irrevocable, but Nimoy had such a positive experience during filming that he asked if he could add a way for Spock to return in a later film. The mind meld sequence was initially filmed without Kelley's prior knowledge of what was going on. [35] Shatner disagreed with having a clear glass separation between Spock and Kirk during the death scene; he instead wanted a translucent divider allowing viewers to only see Spock's silhouette, but his objection was overruled. During Spock's funeral sequence Meyer wanted the camera to track the torpedo that served as Spock's coffin as it was placed in a long trough and slid into the launcher. The camera crew thought the entire set would have to be rebuilt in order to accommodate the shot, but Sallin suggested putting a dolly into the trough and controlling it from above with an offset arm. [6] Scott's rendition of " Amazing Grace " on the bagpipes was James Doohan 's idea. [36]

Test audiences reacted badly to Spock's death and the film's ending (the tone of which was dark and final), [6] so the ending was made more uplifting by Bennett. The scene of Spock's casket on the planet and Nimoy's closing monologue were added; Meyer objected, but did not stand in the way of the modifications. [11] Due to time constraints, the casket scene was filmed in an overgrown corner of San Francisco's Golden Gate Park , using smoke machines to add a primal atmosphere. The shoot lasted from midday to evening, as the team was well aware there would be no time for reshoots. [37]

Special consideration was given during filming to allow for integration of the planned special effects. Television monitors standing in for computer displays were specially calibrated so that their refresh rate did not result in banding on film. [10] Due to a loss of resolution and quality resulting from rephotographing an element in an optical printer, live action sequences for effects were shot in 65mm or VistaVision formats to compensate. When the larger prints were reduced through an anamorphic lens on the printer, the result was a Panavision composite. [38]

Effects [ ]

With a short timeframe to complete The Wrath of Khan Template:'s special effects sequences, effects supervisor Jim Veilleux, Meyer, Jennings, Sallin, and Minor worked to transform the written ideas for the script into concrete storyboards and visuals. The detailed sequences were essential to keep the film's effects from spiraling out of control and driving up costs, as had occurred with The Motion Picture . [21] Each special and optical effect, and the duration of the sequences, was listed. [33] By the end of six weeks, the producers determined the basic look and construction of nearly all the effects; the resulting shots were combined with film footage five months later. [39] Industrial Light and Magic (ILM) produced many of the effects, and created the new models; the Reliant was the first non- Constitution -class Federation starship seen in the series. [19] As the script called for the Reliant and Enterprise to inflict significant damage on each other, ILM developed techniques to illustrate the damage without physically harming the models. [19] Rather than move the models on a bluescreen during shooting, the Vistavision camera was panned and tracked to give the illusion of movement. [6] Damage to the Enterprise was cosmetic, and simulated with pieces of aluminum that were colored or peeled off. Phaser damage was created using stop motion . The script called for large-scale damage to the Reliant , so larger versions of the ship's model were created to be blown up. [19]

The Enterprise (left) maneuvers away from the severely damaged Reliant in the Mutara nebula. The sparks coming off the Reliant Template:'s nacelle were hand animated, frame by frame.

The battle in the nebula was a difficult sequence to accomplish without the aid of computer-generated models. The swirling nebula was created by injecting a latex rubber and ammonia mixture into a cloud tank filled with fresh and salt water. [37] All the footage was shot at two frames per second to give the illusion of faster movement. The vibrant abstract colors of the nebula were simulated by lighting the tank using colored gels . Additional light effects such as auroras were created by the ILM animation department. [37] Using matte work, the ships were physically stuck on a background plate to complete the shot. [6] The destruction of the Reliant Template:'s engine nacelle was created by superimposing shots of the engine blowing apart and explosions over the model. [6]

The scene in which Terrell kills Jedda, a Regula scientist, by vaporizing him with a phaser was filmed in two takes. Winfield and the related actors first played out the scene; this footage became the background plate. A blue screen was wheeled onto the set and actor John Vargas , the recipient of the phaser blast, acted out his response to being hit with the energy weapon. A phaser beam element was placed on top of the background plate, and Vargas' shots were optically dissolved into an airbrushed disintegration effect which matched Vargas' position in every frame. [40]

The Ceti eel shots used several models, overseen by special effects supervisor Ken Ralston , who had just finished creature design for Star Wars Episode VI: Return of the Jedi . He tied a string to the eels to inch the models across the actors' faces before they entered the ear canal. [6] The scene of a more mature eel's leaving Chekov's ear was simulated by threading a microfilament through the floor of the set up to Koenig's ear. The scene was filmed with three variations, which Ralston described as "a dry shot, one with some blood, and the Fangoria shot, with a lot of gore." [41] Footage of a giant model of Koenig's ear was discarded from the theatrical release due to the visceral reaction it elicited in test audiences. [10]

Additional optical effects were provided by Visual Concept Engineering (VCE), a small effects company headed by Peter Kuran; Kuran had previously worked at ILM and left after finishing Star Wars Episode V: The Empire Strikes Back . [42] VCE provided effects including phaser beams, the Enterprise reactor, additional sand on Ceti Alpha V, and an updated transporter effect. Meyer and the production staff were adamant about not using freeze frames for the transporter, as had been done in the original television series. Scenes were shot so that conversations would continue while characters were in mid-transport, [10] although much of the matte work VCE created was discarded when the production decided not to have as much action during transports. [42]

The Wrath of Khan was one of the first films to extensively use electronic images and computer graphics to speed production of shots. Graphics company Evan and Sutherland produced the vector graphics displays aboard the Enterprise and the fields of stars used in the opening credits. [40] Among ILM's technical achievements was cinema's first entirely computer-generated sequence: the demonstration of the effects of the Genesis Device on a barren planet. [43] The first concept for the shot took the form of a laboratory demonstration, where a rock would be placed in a chamber and turned into a flower. [6] Veilleux suggested the sequence's scope be expanded to show the Genesis effect taking over a planet. While Paramount appreciated the more dramatic presentation, they also wanted the simulation to be more impressive than traditional animation. [40] Having seen research done by Lucasfilm's Computer Graphics group, Veilleux offered them the task. The graphics team paid attention to detail for the sixty-second sequence; one artist ensured that the stars visible in the background matched those visible from a real star light-years from Earth. The animators hoped it would serve as a "commercial" for the studio's talents and would later branch off from Lucasfilm to form Pixar . [43]

Jerry Goldsmith had composed the music for The Motion Picture , but was not an option for The Wrath of Khan given the reduced budget; Meyer's composer for Time After Time , Miklós Rózsa , was likewise prohibitively expensive. [44] Bennett and Meyer wanted the music for the film to go in a different direction, but had not decided on a composer by the time filming began. Meyer initially hoped to hire an associate named John Morgan, but Morgan lacked film experience, which would have troubled the studio. [45]

Paramount's vice-president of music Joel Sill took a liking to a 28-year old composer named James Horner , feeling that his demo tapes stood out from generic film music. [46] Horner was introduced to Bennett, Meyer and Salin. [47] Horner said that "[The producers] did not want the kind of score they had gotten before. They did not want a John Williams score, per se . They wanted something different, more modern." [48] When asked about how he landed the assignment, the composer replied that "the producers loved my work for Wolfen , and had heard my music for several other projects, and I think, so far as I've been told, they liked my versatility very much. I wanted the assignment, and I met with them, we all got along well, they were impressed with my music, and that's how it happened." [49] Horner agreed with the producers' expectations and agreed to begin work in mid-January 1982. [47]

In keeping with the nautical tone, Meyer wanted music evocative of seafaring and swashbuckling, and the director and composer worked together closely, becoming friends in the process. [46] As a classical music fan, Meyer was able to describe the effects and sounds he wanted in the music. [48] While Horner's style was described as "echoing both the bombastic and elegiac elements of John Williams' Star Wars and Jerry Goldsmith 's original Star Trek (The Motion Picture) scores," [50] Horner was expressly told to not use any of Goldsmith's score. Instead Horner adapted the opening fanfare of Alexander Courage 's Star Trek television theme. "The fanfare draws you in immediately—you know you're going to get a good movie," Horner said. [51]

In comparison to the flowing main theme, Khan's leitmotif was designed as a percussive texture that could be overlayed with other music and emphasized the character's insanity. [52] The seven-note brass theme was echoplexed to emphasize the character's ruminations about the past while on Ceti Alpha V, but does not play fully until Reliant Template:'s attack on the Enterprise . Many elements drew from Horner's previous work (a rhythm that accompanies Khan's theme during the surprise attack borrows from an attack theme from Wolfen , in turn influenced by Goldsmith's score for Alien . Musical moments from the original television series are also heard during investigation of the Regula space station and elsewhere. [53]

To Horner, the "stuff underneath" the main story was what needed to be addressed by the score; in The Wrath of Khan , this was the relationship between Kirk and Spock. The main theme serves as Kirk's theme, with a mellower section following that is the theme for the Starship Enterprise . [54] Horner also wrote a motif for Spock, to emphasize the character's depth: "By putting a theme over Spock, it warms him and he becomes three-dimensional rather than a collection of schticks." [52] The difference in the short, French horn-based cues for the villain and longer melodies for the heroes helped to differentiate characters and ships during the battle sequences. [51]

The soundtrack was Horner's first major film score, [50] and was written in four and a half weeks. The resulting 72 minutes of music was then performed by a 91-piece orchestra. [48] Recording sessions took place April 12–15 at the Warner Brothers lot, The Burbank Studios. [51] A pickup session was held on April 30 to record music for the Mutara nebula battle, while another session held on May 3 was used to cover the recently-changed epilogue. [55] Horner used synthesizers for ancillary effects; at the time, science-fiction films such as E.T. the Extra-Terrestrial and The Thing were eschewing the synthesizer in favor of more traditional orchestras. [56] Craig Huxley performed his invented instrument—the Blaster Beam —during recording, as well as composing and performing electronic music for the Genesis Project video. [57] While most of the film was "locked in" by the time Horner had begun composing music, he had to change musical cue orchestration after the integration of special effects caused changes in scene durations. [48]

The Wrath of Khan features several recurring themes, including death, resurrection, and growing old. [58] Upon writing his script, Meyer hit upon a link between Spock's death and the age of the characters. "This was going to be a story in which Spock died, so it was going to be a story about death, and it was only a short hop, skip, and a jump to realize that it was going to be about old age and friendship," Meyer said. "I don't think that any of [the other preliminary] scripts were about old age, friendship, and death." [5] In keeping with the theme of death and rebirth symbolized by Spock's sacrifice and the Genesis Device, Meyer wanted to call the film The Undiscovered Country , in reference to Prince Hamlet 's description of death in William Shakespeare 's Hamlet , [59] but the title was changed during editing without his knowledge. [5]

William Shatner in 2005. Shatner, fifty years old in 1981, was uneasy about playing an aged Kirk.

The Wrath of Khan follows in a long tradition of films in which the adventurer or explorer must undergo a figurative or literal death in order to start anew. [60] Spock is Kirk's doppelgänger and together they represent a bifurcated hero, with the two characters representing dueling halves of the human condition. Spock represents the supernatural ideal of a completely logical and infallible person, while Kirk represents the impassioned and human reality, prone to error and at odds with himself. [61] Spock's sacrifice at the end of the film allows for Kirk's spiritual rebirth in the tradition of the death-rebirth cycle. After commenting earlier that he feels old and worn out, Kirk states in the final scene that "I feel young." [62] The Kobayashi Maru test forces its participants to confront an unwinnable situation which serves as a test of character, but Kirk reveals that he won the test by cheating; Saavik responds that Kirk has never faced death. Spock's own solution to the no-win scenario, that of self-sacrifice, [63] forces Kirk to confront death after continually cheating it, and to grow as a character. [64] Sight and sound reinforce the themes of death and aging, as well as the promise of rebirth; Spock is the first character seen and his voice is the last heard, and his coffin follows the same trajectory towards the new planet as the Genesis Device does in a video lecture earlier in the film. [3]

Meyer added elements to reinforce the aging of the characters. Kirk's unhappiness about his birthday is compounded by McCoy's gift of reading glasses. The script stated that Kirk was 49, but Shatner was unsure about being specific about Kirk's age. [5] Bennett remembers that Shatner was hesitant about portraying a middle-aged version of himself, and believed that with proper makeup he could continue playing a younger Kirk. Bennett convinced Shatner that he could age gracefully like Spencer Tracy ; the producer did not know that Shatner had worked with Tracy on Judgment at Nuremberg (1961), and was very fond of the actor. [6] Meyer made sure to emphasize Kirk's parallel to Sherlock Holmes in that both characters waste away in the absence of their stimuli; new cases, in Holmes' case, and starship adventures in Kirk's. [5]

Khan's pursuit of Kirk is central to the film's theme of vengeance, and The Wrath of Khan deliberately borrows heavily from Herman Melville 's Moby-Dick . [65] To make the parallels clear to viewers, Meyer added a visible copy of Moby-Dick to Khan's dwelling. [5] He liberally paraphrases Ahab, with his final lines to Kirk nearly verbatim Ahab's tirade at the end of the novel: "to the last I grapple with thee; from Hell's heart I stab at thee; for hate's sake, I spit my last breath at thee." [65] [66] Kirk represents both the restless elements of Ishmael as well as the titular white whale of Melville's novel; Khan's blind pursuit of Kirk mirrors Captain Ahab 's obsession with Moby-Dick. Both Khan and Ahab pursue their quarry against the better judgement of their crew, and end up killing themselves in an effort to take their foe with them. University of Northern Colorado professor Jane Wall Hinds argues that the themes of The Wrath of Khan clash with the optimistic and transcendentalist perspectives of the original series and The Next Generation . [65] Moby Dick Template:'s themes of vengeance would later heavily influence Star Trek: First Contact . [67]

Reception [ ]

Release [ ].

The Wrath of Khan opened on June 4, 1982 in 1,621 theaters in the United States. It made $14,347,221 in its opening weekend, at the time the largest opening weekend gross in history. [68] It went on to earn $78,912,963 in the US, [69] becoming the sixth highest-grossing film of 1982. [70] It made $97,000,000 worldwide. Although the total gross of The Wrath of Khan was less than that of The Motion Picture , it was more profitable due to its lower production cost. [68] The film's novelization, written by Vonda N. McIntyre , stayed on the New York Times paperback bestsellers list for more than three weeks. [71] Unlike the previous film, Wrath of Khan was not promoted with a toy line, although Playmates Toys created Khan and Saavik figures in the 1990s, and in 2007 Art Asylum crafted a full series of action figures to mark the film's 25th anniversary. [72] In 2009 IDW Publishing released a comic adaptation of the film, [73] and Film Score Monthly released an expanded score. [74]

Critical response [ ]

Critical response to The Wrath of Khan was positive. [75] Review aggregator Rotten Tomatoes reports that 92% of selected critics have given the film a positive review based on a sample of 38. [76] After the lukewarm reaction to the first film, fan response to The Wrath of Khan was highly positive. The film's success was credited with renewing interest in the franchise. [77] Mark Bernardin of Entertainment Weekly went further, calling The Wrath of Khan "the film that, by most accounts, saved Star Trek as we know it"; [78] it is now considered one of the best films in the series. [77] [78] [79] [80]

The film's pacing was praised by reviewers in The New York Times and The Washington Post as being much swifter than its predecessor and closer to that of the television series. [81] [82] Janet Maslin of The New York Times credited the film with a stronger story than The Motion Picture and stated the sequel was everything the first film should have been. [81] Variety agreed that The Wrath of Khan was closer to the original spirit of Star Trek than its predecessor. [83] Strong character interaction was cited as a strong feature of the film, [84] as was Montalbán's portrayal of Khan. [85]

Roger Ebert of the Chicago Sun-Times and Derek Adams of Time Out complained about what were seen as tepid battle sequences, [85] and perceived melodrama. [82] [86] While Ebert and TV Guide felt that Spock's death was dramatic and well-handled, [85] [87] The Washington Post Template:'s Gary Arnold stated Spock's death "feels like an unnecessary twist, and the filmmakers are obviously well-prepared to fudge in case the public demands another sequel." [82] Negative reviews of the film also focused on the acting, [82] [88] and Empire singled out the "dodgy coiffures" and " Santa Claus tunics" as elements of the film that had not aged well. [89]

The Wrath of Khan won two Saturn Awards in 1982, for best actor (Shatner) and best direction (Meyer). [90] [91] The film was also nominated in the "best dramatic presentation" category for the 1983 Hugo Awards , but lost to Blade Runner . [92] The Wrath of Khan has had an impact on later movies: Meyer's rejected title for the film, The Undiscovered Country , was finally put to use when Meyer directed the sixth film , which retained the nautical influences. [5] Director Bryan Singer cited the film as an influence on X2 and his abandoned sequel to Superman Returns . [93] The film is also a favorite of director J. J. Abrams , producer Damon Lindelof and writers Roberto Orci and Alex Kurtzman , the creative team behind the franchise relaunch film Star Trek . [94] [95] [96]

Home video [ ]

Paramount released The Wrath of Khan on VHS and Beta in 1983. Unlike contemporary releases, Paramount sold the VHS for $39.95, more than $40 below other movie cassette prices. The release was credited with instigating more competitive VHS pricing, and an increase in the adoption of increasingly cheaper VHS players. [97]

Paramount released The Wrath of Khan on DVD in 2000; no special features were included on the disc. [98] Montalbán drew hundreds of fans of the film to Universal City, California where he signed copies of the DVD to commemorate its release. [99] In August 2002, the film was re-released in a highly anticipated [100] two-disc "Director's Edition" format. [101] In addition to remastered picture quality and 5.1 Dolby surround sound , the DVD set included director commentary , cast interviews, storyboards and the theatrical trailer. [102] The expanded cut of the film was given a Hollywood premiere before the release of the DVD. Meyer stated that he didn't believe directors' cuts of films were necessarily better than the original but that the re-release gave him a chance to add elements that had been removed from the theatrical release by Paramount. [103] The four hours of bonus content and expanded director's cut of the movie were favorably received. [102] [104] [105] [106]

The film's original theatrical cut was released on Blu-ray Disc in May 2009 to coincide with the new Star Trek feature, along with the other five films featuring the original crew in Star Trek: Original Motion Picture Collection . [107] Of all six original films, Wrath of Khan was the only one to be remastered in 1080p high-definition from the original negative. Nicholas Meyer stated that the Wrath of Khan negative “was in terrible shape,” which is why it needed extensive restoration. All six films in the set have new 7.1 Dolby TrueHD audio. The disc also features a new commentary track by director Nicholas Meyer and Star Trek: Enterprise showrunner Manny Coto . [107]

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1 Star Trek (2009)
2 Vulcan (Star Trek)
3 Star Trek: The Animated Series

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The peculiar thing about Spock is that, being half human and half Vulcan and therefore possessing about half the usual quota of human emotions, he consistently, if dispassionately, behaves as if he possessed very heroic human emotions indeed. He makes a choice in “Star Trek II” that would be made only by a hero, a fool, or a Vulcan. And when he makes his decision, the movie rises to one of its best scenes, because the " Star Trek " stories have always been best when they centered around their characters. Although I liked the special effects in the first movie, they were probably not the point; fans of the TV series wanted to see their favorite characters again, and “Trek II” understood that desire and acted on it.

Time has passed since the last episode. Kirk has retired to an administrative post. Spock is commanding the Enterprise, with a lot of new faces in the crew. The ship is on a mission concerning the Genesis device, a new invention which, if I understand it correctly, is capable of seeding a barren planet with luxuriant life. A sister ship, the USS Reliant, is scouting for lifeless planets and finds one that seems to be dead, but its instruments pick up a small speck of life. Crew members investigate, and find the planet inhabited by an outlaw named Khan, who was exiled there years ago by Kirk, and has brooded of vengeance ever since.

Khan is played as a cauldron of resentment by Ricardo Montalban , and his performance is so strong that he helps illustrate a general principle involving not only Star Trek but “ Star Wars ” (1977) and all the epic serials, especially the “James Bond” movies: Each film is only as good as its villain. Since the heroes and the gimmicks tend to repeat from film to film, only a great villain can transform a good try into a triumph. In a curious way, Khan captures our sympathy, even though he is an evil man who introduces loathsome creatures into the ear canals of two Enterprise crew members. Montalban doesn't overact. He plays the character as a man of deeply wounded pride, whose bond of hatred with Admiral Kirk is stronger even than his traditional villain's desire to rule the universe.

There is a battle in outer space in this movie, a particularly inept one that owes more to "Captain Video" than to state-of-the-art special effects. I always love it when they give us spaceships capable of leaping across the universe, and then arm them with weapons so puny that a direct hit merely blows up a few control boards and knocks people off their feet. Somehow, though, I don't much care if the battles aren't that amazing, because the story doesn't depend on them. It's about a sacrifice made by Spock, and it draws on the sentiment and audience identification developed over the years by the TV series.

Perhaps because of that bond, and the sense that an episode may be over but the Enterprise will carry on, the movie doesn't feel that it needs an ending in a conventional sense. The film closes with the usual "Star Trek" end narration, all about the ship's mission and its quest, and we are obviously being set up for a sequel. You could almost argue that the last few minutes of “Trek II” are a trailer for “Trek III”, but, no, that wouldn't be in the spirit of the Enterprise, would it?

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Star Trek II: The Wrath of Khan movie poster

Star Trek II: The Wrath of Khan (1982)

113 minutes

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Going boldly … the cast of Star Trek II: The Wrath of Khan.

‘KHAAAAN!’: why Wrath of Khan remains the greatest Star Trek movie, 40 years on

A gloriously evil villain, big-screen shocks, mind-control space slugs! The film photon torpedoed everything that went before, leaving a legacy that has yet to be bettered

W hen JJ Abrams began rebooting Star Trek with a fresh cast and crew of the Enterprise in 2009, many hardcore Trekkers complained that the new movies lacked the Apollo-era optimism and vision of space adventure as one giant cosmic morality tale that, in their view, had made the long-running saga stand out from its peers. Gone were slow-paced allegories playing on contemporary western culture, its triumphs and its horrors. In were hectic space battles, time travel, a strange obsession with motorbikes and plenty of fisticuffs.

What many of these critics failed to notice, was that this dichotomy between Star Trek as blockbuster space opera and thinking-man’s sci-fi had been going on for at least three decades before Abrams even got his hand on the Enterprise’s tiller. And to this day, the series’ greatest movie, Star Trek II: The Wrath of Khan, only succeeded because it broke all the rules expected from an episode of Gene Roddenberry’s creation.

Worthy adversary … Ricardo Montalbán as Khan Noonien Singh in Star Trek II: The Wrath of Khan.

The Nicholas Meyer-directed 1982 film, which celebrates 40 years since its UK release this year, was a low budget follow-up to 1979’s Star Trek: The Motion Picture. That film lifted a storyline straight out of the 1960s original series: something about a nefarious energy cloud later revealed as an ancient human space probe refitted by aliens that has subsequently achieved sentience and turned on Earth. The plot was so nebulous that even Spock struggled to work out what was going on. It duly picked up middling reviews and was a box-office disappointment for studio Paramount, largely due to its gargantuan (for the time) $44m shooting budget.

Out went Roddenberry (as producer) and in came Meyer to write and direct the project, with a much more frugal $12m budget. As well as including some juicy sci-fi stylings such as the Genesis terraforming program, Meyer, who knew nothing about Star Trek, spotted early on that the sequel needed an antagonist for William Shatner’s Admiral James T Kirk to face off against if it was to achieve the right level of big screen theatricality. The perfect solution was to bring back Ricardo Montalbán’s Khan Noonien Singh from the 1967 TV episode Space Seed, about a group of dangerous superhumans encountered by the crew of the Enterprise, who are left stranded by Kirk on an uninhabited but fertile planet.

At the time this is intended to be a merciful decision by the captain, an alternative to being sent to a penal colony for their crimes. But of course, we swiftly find out in Wrath of Khan that the supposedly perfect world picked by Kirk turned out to be in an unstable region of space, and that most of Khan’s people ended up dead or starving when a neighbouring planet subsequently exploded. Oops.

Cue a Melvillian battle between the two men as Khan takes out 15 years of frustration on his nemesis. Montalbán chews scenery like it’s an Ikea showroom made out of prime steak, yet crucially never slips too far into the realms of pantomime. The veteran Mexican actor remains a terrifying, vengeful force of nature, rage personified, throughout.

At the end of each episode of the original series, there was usually the sense that the Enterprise could fully reset, with danger averted and normal duties resumed. By contrast, the events of Wrath of Khan are so horrific that they can never be forgotten, and the level of threat seems to have been suddenly upped to warp factor 9.9.

The enemy inside … Clark Terrell (Paul Winfield) and Chekov under the influence of mind control space slugs.

Walter Koenig’s Chekov, along with newcomer Clark Terrell (captain of the USS Reliant) are mind-controlled by Khan using hideous space slugs that are painfully, and bloodily lodged inside their ears! Spock dies of radiation poisoning trying to restart the Enterprise’s warp engine! Khan himself is left to die once again after being summarily outwitted by his supposed inferiors. Where The Motion Picture was mildly intriguing, Wrath of Khan represents blood-pumping, big screen shock tactics on an epic scale.

Thirty years later, Abrams tried to recapture its magic with an effective remake, Star Trek Into Darkness. But even with Benedict Cumberbatch as a younger version of Khan (who crucially never got marooned by Kirk in the new timeline, so was really just a boring, big-headed eugenics experiment in human form) most of the original’s bloodthirsty lust for life and death failed to re-manifest.

Into Darkness was once voted hardcore fans’ least favourite Star Trek movie , a nadir for anyone who loved the original series’ more intellectual, cosmic musings. Yet it was all based on a movie that had to destroy everything that went before it, everything that fans expected from a Star Trek episode, just to keep the Enterprise from crashing down to earth for ever.

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The Best ‘Star Trek’ Movie Isn’t ‘Wrath of Khan’

Star Trek V: The Final Frontier would have been a great title for the final Star Trek movie.

As it turned out, the film was so disliked it almost was the final Star Trek movie, and perhaps would have been the franchise’s farewell if not for two key factors. For one, while The Final Frontier was the lowest-grossing Star Trek film to that point, it was still profitable, grossing roughly $70 million worldwide against a budget of some $30 million. For another, 1991 marked the 25th anniversary of the first Star Trek television series, and Paramount wanted a new film in theaters to commemorate the occasion. And so The Final Frontier became the not-so-final frontier for the franchise.

The odds were against Star Trek VI from the start. It would need to be made on an accelerated schedule in order to arrive in multiplexes for Star Trek ’s anniversary, and because The Final Frontier failed to live up to financial expectations, it would need to be made on a tight budget. (The crew repurposed sets from Star Trek: The Next Generation TV show to save money.) After The Final Frontier limped to the weakest box office in the series’ history, there was also some debate over whether to continue with the original cast, or to restart the franchise with a prequel set during Captain Kirk and Mr. Spock’s time in Starfleet Academy. Amidst all that uncertainty, the franchise’s longtime film producer, Harve Bennett, who was widely credited with turning Star Trek into a dependable film franchise, left the series for good.

Conceived amidst that race against time, Star Trek VI became a film about the one faced by all men and women, with Kirk, Spock, and the rest of the Starship Enterprise crew pressed into service one last time before retirement on a mission laden with clever allegorical overtones. Improbably, given the behind-the-scenes turmoil, the sixth Star Trek moviealso became one of the franchise’s best — arguably the best this property has ever produced.

READ MORE: Why Star Trek: The Motion Picture Deserves More Love

For its subtitle, director and co-writer Nicholas Meyer chose The Undiscovered Country , a name he had previously wanted to use as the title of his first Star Trek project, The Wrath of Khan. The phrase comes from Hamlet ’s famous “to be or not to be” soliloquy, which is explicitly referenced in the film during a ceremonial dinner on the Enterprise in honor of a potential peace accord between the Federation and their sworn galactic enemies, the Klingons.

Klingon Chancellor Gorkon (David Warner) raises his glass of Romulan ale and toasts to “the undiscovered country … the future.” But Shakespeare quite clearly intended the phrase to refer to death, as the entire “to be or not to be” soliloquy observes Hamlet as he debates whether to kill himself or to carry on despite the “slings and arrows of outrageous fortune.” (“But that the dread of something after death, the undiscovered country, from whose bourn no traveller returns, puzzles the will, and makes us rather bear those ills we have, Than fly to others that we know not of?”)

While Gorkon may had other intentions in mind, Shakespeare’s undiscovered country hangs over the entire movie. The opening title card dedicates the filmto Star Trek creator Gene Roddenberry, who died about six weeks before its world premiere. The Enterprise is supposedly weeks from getting decommissioned as the film begins, and while some cast members made appearances on other Star Trek projects after this, this was the last time the entire group worked together. The end credits include the main cast’s signatures scrawled across the stars, a classy and melancholy curtain call for this beloved troupe of actors.

In his Blu-ray director’s commentary, Meyer says he and Star Trek star (and Star Trek III and IV director) Leonard Nimoy developed The Undiscovered Country ’s idea shortly after the fall of the Berlin Wall, and intended it as an explicit commentary on “the world after the collapse of the Soviet Union.” Roddenberry conceived the first Star Trek television series as a reflection of its times, and often used the Klingons as Soviet stand-ins to the Federation’s United States; two opposing super powers locked in a perpetual Cold War.

With the end of that Cold War in real life, it was only fitting to create a similar fictional scenario within the universe of Star Trek. So in Star Trek VI , it is the Klingon empire which is on the verge of collapse. Gorkon brokers a fragile peace with the Federation, but after he is murdered under mysterious circumstances, suspicion falls on William Shatner ’s Captain Kirk, who then stands trial in a Klingon court. Meanwhile, Spock and the rest of the Enterprise team must uncover the true culprits, rescue Kirk, and ensure the Klingon-Federation peace treaty gets signed.

Meyer and co-writer Denny Martin Finn find all kinds of clever ways in The Undiscovered Country to repurpose recent history as science-fiction so that the film serves as an ideal bookend to this generation’s story. The Undiscovered Country begins with the destruction of the Klingon moon of Praxis in a mining accident — a “paraphrase,” in Meyer’s own words, to the nuclear disaster at Chernobyl. After Kirk gets convicted in Klingon court for murder, he’s sent to the alien equivalent of Siberia for punishment. And Gorkon himself was inspired by Russian politician Mikhail Gorbachev. (His name is a portmanteau of Gorbachev and Abraham Lincoln, another assassinated political leader.)

All of these parallels work in harmony with a story that ticks almost every box longtime Star Trek fanscould want from the franchise. The Undiscovered Country is part celebration and part encapsulation, like all the best parts of all the best Star Trek episodes distilled down into a single 100-minute adventure. It includes action, science-fiction, wry comedy, intergalactic political intrigue, Spock sleuthing out a puzzle with ingenious logic, Kirk making out with a beautiful alien (Iman!), and Chekov wearing the most voluminous toupee I have ever seen in my entire life .

While some of the actors’ hair defies the laws of time and space, the crew of the U.S.S. Enterprise still look undeniably old in The Undiscovered Country , at least by the standards of typical Hollywood blockbusters. In fact, most of the discussion around the film’s release focused on the stars’ advancing age; “Aging Trekkers to the Rescue One Last Time” read the headline of The New York Times ’ Undiscovered Country review .

I was at the height of my own Star Trek fandom in the early 1990s and eagerly bought a ticket to see Star Trek VI in the theater on opening weekend. I will admit: At the time, I was a bit underwhelmed. The cast did look really old, especially to an 11-year-old. Watching them (or, more likely, their stunt doubles) stumble out of their chairs on the bridge of the Enterprise after a photon torpedo hit was a little sad.

Thirty years later, I find The Undiscovered Country less unintentionally sad than deliberately poignant. Roddenberry’s Star Trek was built on youthful optimism for the future; his sincere belief that despite the turbulence and upheaval of the 1960s, a better world lay just over the horizon. The Undiscovered Country shows how many of the young people who grew up with those values became disillusioned with them by the end of the 1980s. Captain Kirk didn’t kill Gorkon, but he speaks out against peace with the Klingons. Decades of war (and the death of his son at Klingon hands in Star Trek III ) have left him an angry and bitter old man. When Spock warns that without Federation intervention Klingon civilization will die in 50 years, Kirk spits back “ Let them die!”

Roddenberry supposedly hated the early drafts of The Undiscovered Country script he read shortly before he passed away. But one of the things I love about the film is that rather than assume the future will become a perfect utopia through osmosis, it shows how humanity in every time period is flawed and messy, and always on the verge of screwing things up. So is Captain Kirk, until he proves it’s never too late for an old dog to learn some new tricks. By the end of the film, he’s come to see the importance of peace and restored the audience’s faith in Roddenberry’s hopeful vision.

Most of Kirk’s growth comes through his conversations with Spock, particularly in one powerful scene that stands as one of the franchise’s finest moments. Spock has his own personal issues in the film; he’s become fixated on a new Vulcan member of the Enterprise crew, Lt. Valeris (Kim Cattrall) who is not all she’s cracked up to be. The exchange below where Kirk and Spock finally level with each other contains perhaps the single most essential line to understanding Star Trek ’s ideals:

“Spock, you want to know something? Everybody’s human. ”

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None of this material works unless Shatner and the rest of the old guard are really old; a fortysomething Leonard Nimoy couldn’t truly sell a line like “Is it possible that we two, you and I, have grown so old and so inflexible that we have outlived our usefulness?”

That’s why I find The Undiscovered Country more effective and more moving than The Wrath of Khan, the consensus pick for the best Star Trek movie ever made from the day it premiered in theaters in the summer of 1982. Rebounding from the slow and ponderous The Motion Picture (a movie I like!), the franchise reversed course with a suspense-filled thriller about Captain Kirk’s old adversary, Khan Noonien Singh, returning from exile to seek his revenge.

As Kirk takes command of an Enterprise staffed mostly with Starfleet trainees, he also grapples with his own mortality. He celebrates his birthday (the film doesn’t specify which one) and receives a pair of reading glasses from Bones. He meets his adult son, David. And he truly faces death for the first time when Spock bravely sacrifices himself to restore the Enterprise’s engine and move the ship out of the way of a cataclysmic explosion. That act leads to the iconic scene where a dying Spock tells Kirk “I have been, and always shall be, your friend.”

It’s a great scene, as is the subsequent one where Shatner eulogizes Spock at his Starfleet funeral while choking back tears. But today its impact is blunted by the fact that these events were undone just one film later. If The Wrath of Khan had been the final Star Trek film, or at least Leonard Nimoy’s final appearance as Spock, it really might stand the test of time as the best Star Trek. But The Wrath of Khan ’s success inspired Star Trek III: The Search for Spock , where Kirk and company revive Spock, and then bring him along for several more big-screen adventures. Instead of Kirk facing death for the first time, he cheats it yet again.

While none of the original Star Trek crew died in The Undiscovered Country , its themes about aging and obsolescence ring truer now than The Wrath of Khan’s do. It’s also more sharply paced, with all that pointed political commentary and less rigamarole about who should command the Enterprise and how a magical prototype called Genesis works. (You may not want to hear this, but The Undiscovered Country has a better villain than Wrath of Khan too; I’ll take Christopher Plummer’s unflappable Klingon General Chang over Ricardo Montalbán over-the-top Khan any day of the week.)

Don’t get me wrong; The Wrath of Khan is a very good movie. The Undiscovered Country is just better. And the closer I get in age to the characters, the more I feel this way. If you offered me copies of both movies to watch right now, I would almost certainly pick the latter.

General Chang likes to quote Shakespeare in his conversations with Captain Kirk, and at once point he recites the famous “to be or not to be” quote from Hamlet. Only the Klingon version he says — “t aH pagh taHbe ” — does not technically translate as“to be or not to be.” A more accurate translation of that phrase is “to continue, or not to continue.”

The original Star Trek cast did not continue past The Undiscovered Country . They went their separate ways, alone into the true final frontier after a great farewell.

The vintage Star Trek films are currently streaming on Max .

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Star Trek II: The Wrath of Khan (1982)
Star Trek II: The Wrath of Khan (1982) cast and crew credits, including actors, actresses, directors, writers and more.
Star Trek II: The Wrath of Khan (1982)
Star Trek II: The Wrath of Khan: Directed by Nicholas Meyer. With William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan. With the assistance of the Enterprise crew, Admiral Kirk must stop an old nemesis, Khan Noonien Singh, from using the life-generating Genesis Device as the ultimate weapon.
Star Trek II: The Wrath of Khan
Mary Peters. John Robotham. Janet Brady. Tom Morga. Gilbert Combs. Eddy Donno. Tony Cecere. Gary Combs. Learn more about the full cast of Star Trek II: The Wrath of Khan with news, photos, videos ...
Star Trek II: The Wrath of Khan
Star Trek II: The Wrath of Khan is a 1982 American science fiction film directed by Nicholas Meyer and based on the television series Star Trek.It is the second film in the Star Trek film series following Star Trek: The Motion Picture (1979), and is a sequel to the television episode "Space Seed" (1967).The plot features Admiral James T. Kirk (William Shatner) and the crew of the starship USS ...
Star Trek II: The Wrath of Khan Cast and Crew
Cast; Crew; William Shatner Admiral James T. Kirk Leonard Nimoy Captain Spock Ricardo Montalban Khan Noonien Singh DeForest Kelley Commander Leonard H. McCoy, M.D. James Doohan Commander Montgomery Scott Walter Koenig Commander Pavel Andreievich Chekov George Takei Commander Hikaru Sulu Nichelle Nichols Commander Nyota Uhura Kirstie Alley ...
Star Trek II: The Wrath of Khan
Tim Culbertson. Khan's Henchman. Dennis Landry. Khan's Crewman #5. Cristian Letelier. Khan's Crewman #6 (uncredited) Jeff McBride. Khan's Crewman (uncredited) Roger Menache.
Star Trek II: The Wrath of Khan (1982) Cast and Crew
Meet the talented cast and crew behind 'Star Trek II: The Wrath of Khan' on Moviefone. Explore detailed bios, filmographies, and the creative team's insights. Dive into the heart of this movie ...
Star Trek II: The Wrath of Khan
Star Trek II: The Wrath of Khan is a 1982 American science fiction film directed by Nicholas Meyer and based on the television series Star Trek. It is the second film in the Star Trek film series following Star Trek: The Motion Picture (1979), and is a sequel to the television episode "Space Seed" (1967). The plot features Admiral James T. Kirk and the crew of the starship USS Enterprise ...
The full cast of Star Trek: The Wrath of Khan
Here you will find an overview of the cast of the movie Star Trek: The Wrath of Khan from the year 1982, including all the actors, actresses and the director. When you click on the name of an actor, actress or director from the movie Star Trek: The Wrath of Khan-cast you can watch more movies and/or series by him or her.
Star Trek II: The Wrath of Khan
Synopsis. 1982 • PG. Khan, a genetically enhanced "super man" from Kirk's past, returns to seek revenge on now-Admiral Kirk, the man who banished he and his followers to a dying planet 15 years earlier. Khan, a genetically enhanced "super man" from Kirk's past, returns to seek revenge on now-Admiral Kirk, the man who banished he ...
Full Cast of Star Trek II: The Wrath Of Khan Actors/Actresses
The cast members of Star Trek II: The Wrath of Khan have been in many other movies, so use this list as a starting point to find actors or actresses that you may not be familiar with. Examples of actors on this list include William Shatner and Kirstie Alley. If you want to answer the questions, "Who starred in the movie Star Trek II: The Wrath ...
Star Trek II: The Wrath of Khan (1982)
Star Trek II: The Wrath of Khan (1982) cast and crew credits, including actors, actresses, directors, writers and more.
Star Trek II: The Wrath of Khan
Star Trek II: The Wrath of Khan is fondly regarded as being the closest in spirit to the 1966-69 TV series that spawned it. Admiral Kirk (William Shatner) escapes the tedium of a desk job to join Mr. Spock (Leonard Nimoy) and Dr. Leonard "Bones" McCoy (DeForest Kelley) on another space mission.
Star Trek II: The Wrath of Khan
There will never be a great cast of talented actors in one movie again! ... Kirk Beats Khan Star Trek: The Wrath of Khan: Official Clip - Kirk Beats Khan 2:09 ... 4/5 Sep 1, 2022 Full Review Kevin ...
Star Trek 2: The Wrath of Khan
Star Trek II: The Wrath of Khan is a 1982 American motion picture released by Paramount Pictures.The film is the second feature based on the Star Trek science fiction franchise. The plot features James T. Kirk (William Shatner) and the crew of the starship USS Enterprise facing off against the genetically-engineered tyrant Khan Noonien Singh (Ricardo Montalbán), a character who first appeared ...
Star Trek II: The Wrath of Khan movie review (1982)
Star Trek II: The Wrath of Khan. The peculiar thing about Spock is that, being half human and half Vulcan and therefore possessing about half the usual quota of human emotions, he consistently, if dispassionately, behaves as if he possessed very heroic human emotions indeed. He makes a choice in "Star Trek II" that would be made only by a ...
Khan Noonien Singh
Khan Noonien Singh is a fictional character in the Star Trek science fiction franchise, who first appeared as the main antagonist in the Star Trek: The Original Series episode "Space Seed" (1967), and was portrayed by Ricardo Montalbán, who reprised his role in the 1982 film Star Trek II: The Wrath of Khan.In the 2013 film Star Trek Into Darkness, he is portrayed by Benedict Cumberbatch.
Star Trek II: The Wrath of Khan review
As bold as ever … Star Trek II: The Wrath Of Khan cast, left to right: DeForest Kelley, George Takei, Nichelle Nichols, Walter Koenig, William Shatner, James Doohan and Leonard Nimoy.
'KHAAAAN!': why Wrath of Khan remains the greatest Star Trek movie, 40
W hen JJ Abrams began rebooting Star Trek with a fresh cast and crew of the Enterprise in 2009, many hardcore Trekkers complained that the new movies lacked the Apollo-era optimism and vision of ...
Star Trek II: The Wrath of Khan (1982)
Kirk : Khan... Khan, you've got Genesis, but you don't have me. You were going to kill me, Khan. You're going to have to come down here. You're going to have to come down here! Khan : I've done far worse than kill you. I've hurt you. And I wish to go on hurting you.
The Best 'Star Trek' Movie Isn't 'Wrath of Khan'
If The Wrath of Khan had been the final Star Trek film, or at least Leonard Nimoy's final appearance as Spock, it really might stand the test of time as the best Star Trek. But The Wrath of Khan ...
New STAR TREK: DISCOVERY Season 5 Cast Photos Arrive
It took a while, but today Paramount+ has finally released official cast photography from the final season of Star Trek: Discovery this morning! In today's new photo drop, you can see the new portraits of the entire cast: Captain Michael Burnham (Sonequa Martin-Green), Saru (Doug Jones), Hugh Culber (Wilson Cruz), Paul Stamets (Anthony Rapp), Sylvia Tilly (Mary Wiseman), Adira Tal (Blu del ...
Star Trek II: The Wrath of Khan (1982)
Star Trek II: The Wrath of Khan (1982) Ike Eisenmann: Preston. Showing all 6 items Jump to: Photos (5) Quotes (1) Photos ... Star Trek II: The Wrath of Khan Details. Full Cast and Crew; Release Dates; Official Sites; Company Credits; Filming & Production; Technical Specs; Storyline. Taglines; Plot Summary; Synopsis;
Star Trek II: The Wrath of Khan Showtimes
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The full cast of Star Trek: The Wrath of Khan

Nicholas Meyer

Douglas E. Wise

Richard Espinoza

Jack B. Sowards

Harve Bennett

William Shatner

Leonard Nimoy

DeForest Kelley

Ricardo Montalban

James Doohan

Walter Koenig

George Takei

Nichelle Nichols

Kirstie Alley

Paul Winfield

Merritt Butrick

Judson Scott

Ike Eisenmann

John Vargas

John Winston

Artistic design

Michael Minor

Joseph R. Jennings

Charles Graffeo

Gayne Rescher

Bruce Birmelin

Robert Fletcher

Dione Taylor

James Lee McCoy

Werner Keppler

Ralph Winter

Martin Becker

George P. Wilbur

Janet Brady

Tommy J. Huff

Gilbert B. Combs

Mike Washlake

Anthony Cecere

Mary Peters

Chuck Hicks

John Robotham

John Escobar

Paula Moody

Hubie Kerns Jr.

Steve Blalock

Jim Connors

Bill Couch Jr.

Kym Washington Longino

Ernest Robinson

Fletcher Bryant

Ann Chatterton

Diane Carter

William Paul Dornisch

Romolo Acquistapace

William F. Phillips

Mary V. Buck

Robert Sallin

Austen Jewell

John Newton

James Horner

James R. Alexander

David J. Hudson

Mel Metcalfe

Noyan Cosarer

George Watters II

Cecelia Hall

Ken Ralston

Jim Veilleux

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