Star Trek Iii: Auf Der Suche Nach Mr. Spock Navigationsmenü
Nach Spocks Selbstaufopferung kehrt die Enterprise zur Erde zurück. Dort erfährt die Crew, dass ihr Raumschiff stillgelegt werden soll. Dann aber findet Kirk heraus, dass Spock kurz vor seinem Tod einen Teil seines Geistes auf McCoy übertragen und. Star Trek III: Auf der Suche nach Mr. Spock. aus Wikipedia, der freien Enzyklopädie. Zur Navigation springen Zur Suche springen. Film. STAR TREK III: THE SEARCH FOR SPOCK [ / ] [Limited Edition 50th Anniversary SteelBook] [Blu-ray] A Dying Planet. A Fight For Life. The Search For. Admiral Kirk macht sich gegen die Befehle seiner Vorgesetzten auf die Suche nach dem Körper von. In Leonard Nimoys Star Trek III: Auf der Suche nach Mr. Spock macht sich die Enterprise-Crew auf, einen alten Freund wiederzufinden. Star Trek III: Auf der Suche nach Mr. Spock Schauspieler, Cast & Crew. Liste der Besetung: William Shatner, DeForest Kelley, James Doohan u.v.m. Star Trek III – Auf der Suche nach Mr. Spock: Sendetermine · Streams · DVDs · Cast & Crew.
Star Trek Iii: Auf Der Suche Nach Mr. Spock Navigationsmenü Video
Der Diebstahl der Enterprise Sie stellen dabei nicht nur zwei Lebensformen fest, sondern auch, dass Spocks Sarg leer ist. Nach kurzer Prüfung wird diese von unserer Online-Redaktion freigeschaltet. In den deutschen Kinos lief der Film am Shimoneta Ger Sub Dieser klärt die Crew auf, dass Spock vor seinem nahenden Ableben eine Gedankenverschmelzung mit einem der Crewmitglieder durchführte und diese Person R.E.D. 2 Stream German Hüter seiner Seele erhoben hat. Vonda N. Kruge verweigert jedoch, auch Spock heraufbeamen zu lassen, da dies allein Kirks Wunsch ist. Neu Peyton List 2019 1. Robert F. Produktionsjahr Charles Correll. Der Look des Spiels lässt sich anhand dieses Videos erahnen. Eine Rückkehr von J. FedCon Die Stars pilgern nach Deutschland. Wir haben sie für ein kurzes Interview getroffen und nachgefragt, wie sie nicht nur über die Welt der Science-Fiction, Jungesfetischpaarnrw auch über die Realität der Raumfahrt denkt. To create a slightly degraded look, the crew used blue color gels for lights and shot through smoke for fill shots.
In den deutschen Kinos lief der Film am November an. Welten, die noch nie ein Mensch erblickt hat.
Die beschädigte, aber teilweise schon wieder reparierte Enterprise befindet sich auf dem Weg zurück zur Erde.
Bei der Ankunft im Orbitalstützpunkt bricht Dr. McCoy versucht wenig später, illegal zu dem unter Quarantäne gesetzten Genesis-Planeten zu gelangen, wird dabei jedoch aufgegriffen und in eine psychiatrische Anstalt der Sternenflotte gebracht.
Kirk bittet die Sternenflotte, mit der Enterprise und McCoy nach Genesis fliegen zu dürfen, erhält jedoch eine Absage. Excelsior konnte Scott zuvor sabotieren.
Währenddessen sind Saavik und David an Bord der U. Grissom nach Genesis zurückgekehrt, um den neu entstandenen Planeten zu untersuchen.
Sie stellen dabei nicht nur zwei Lebensformen fest, sondern auch, dass Spocks Sarg leer ist. Wenig später finden sie einen Vulkan-Jungen, der rasch altert.
Saavik identifiziert das Kind als Spock. Dort trifft er auf das Forschungsschiff U. Grissom , das einer seiner Offiziere aufgrund eines Missverständnisses zerstört.
Da sich noch Saavik und David auf dem Planeten befinden, lässt er sie von seinen Männern gefangen nehmen, um von ihnen das Geheimnis über Genesis zu erlangen.
Als die Enterprise im Genesis-Sektor eintrifft, wird sie vom klingonischen Schiff überrascht und funktionsunfähig geschossen.
Dazu bietet er Kruge die Kapitulation an, der daraufhin Truppen zum Entern auf die Enterprise schickt. The effect was produced by cutting out or rotomatting the individual to be transported, then making a vertical slot through which a high-intensity light was positioned.
A computer-controlled move would cause the light to spread from the center and fade away, then reset its position and repeat the movement on the opposite side.
Handmade acetate filters and gels were applied to give the transporter beam color and patterns, followed by small flickering animated highlights called "bugs" which appeared after the character had dematerialized.
Whereas many of the multicolored rainbow warp trail shots from The Wrath of Khan were stock footage taken from the first film, the producers of the third film wanted something new.
A streak effect, in which a beauty pass of the ship was combined with blurred passes for each light intensity, was tried first. The result was disappointing; as the Enterprise grew larger the streaks became distorted and out of place.
Mullen rejected a straight animation of the warp drive as too bouncy, but the footage was cut in for editing while ILM went through six more approaches to the problem.
The final effect, a "vaporous, colorful trail", came together only weeks before the film's release. When writing music for The Wrath of Khan , Horner was aware he would reuse certain cues for an impending sequel; two major themes he reworked were for Genesis and Spock.
While the Genesis theme supplants the title music Horner wrote for The Wrath of Khan , the end credits were quoted "almost verbatim".
In hours-long discussions with Bennett and Nimoy, Horner agreed with the director that the "romantic and more sensitive" cues were more important than the "bombastic" ones.
Among the new cues Horner wrote was a "percussive and atonal" theme for the Klingons which is represented heavily in the film.
Nimoy wrote that The Search for Spock ' s major theme is that of friendship. How deeply should a friendship commitment go? And what sacrifices, what obstacles, will these people endure?
That's the emotion line of the film [and] its reason for existence," he recalled. Brown University professor Ross S. Kraemer argues that The Search for Spock "became Star Trek ' s first and most obvious exploration of Christian themes of sacrificial, salvific death and resurrection".
The Genesis planet became a doomed experiment partly for dramatic reasons; having a time limit for the characters to save Spock added tension. Nimoy was also interested in scientific ethics—how quickly can science move and what are the dangers of that movement.
John Hansen notes that while Spock's sacrifice in The Wrath of Khan is the "archetype of reason and rationality manifesting the archetype of human virtue", a selfless and freely-made choice, the death of Valkris who has learned too much about the Genesis Device in The Search for Spock is far different: the Klingon willingly accepts her death for the "common good" as determined by the state, relinquishing her liberty and life.
Hansen contends that the issues of personal liberty and the exploitation of technology, in this case Genesis, are "intertwined". The Search for Spock was not heavily marketed.
Among the promotional merchandise created for the film's release were Search for Spock -branded calendars [74] and glasses sold at Taco Bell.
Reagan wrote of the film: "It wasn't too good. In its second weekend the film's gross dropped 42 percent. James Horner 's soundtrack to the film was released on a minute LP record by Capitol Records in , and also contained a 12" single titled "The Search for Spock", composed by Horner and performed by Group 87, a band featuring composer Mark Isham and Missing Persons drummer Terry Bozzio.
It was re-released on compact disc in by GNP Crescendo. Film Score Monthly released an expanded two-compact disc score June 1, The soundtrack would be Horner's final contribution to Star Trek.
The Search for Spock received generally positive reviews from critics. Richard Schickel of Time praised the film as "perhaps the first space opera to deserve that term in its grandest sense".
Critics praised Nimoy's direction, to which USA Today attributed the film's success in capturing the essence of the television show.
The Search for Spock ' s plot solicited comment; Schickel called the film "overplotted" and filled with "heavy expository burdens", comparing it to real opera.
The critic considered David's death an attempt at a similar shock, but felt it was not a success. Geduld, writing for The Humanist , criticized the film for what he called "contradictions and implausibilities", such as Scott's sabotage of the Excelsior and Spock's regeneration.
The film's sense of self-seriousness and the camaraderie amongst the characters were generally cited as positive aspects. Maslin wrote that certain tacky elements of the film's television roots were outweighed by the closeness of the Enterprise crew and "by their seriousness and avidity about what seem to be the silliest minutiae [ The film's effects were conflictingly appraised.
Schickel wrote that the effects were "technically adroit" and occasionally "witty", [85] and Ebert singled out the Bird of Prey as a "great-looking" ship.
In , Popular Mechanics ranked the scene where the NCC Enterprise starship is destroyed, the 32nd-greatest scene in the science fiction film and television genre.
The film was given a "bare bones" DVD release on May 11, , with no extra features—the release was several months earlier than the release of The Wrath of Khan.
The film was released on high-definition Blu-ray Disc in May 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.
All six films in the set have new 7. Moore and Michael Taylor. The film was briefly removed from Netflix in August because of inaccurately translated Klingon and Vulcan subtitles.
From Wikipedia, the free encyclopedia. For the film, see Star Trek Beyond. Theatrical release poster art by Bob Peak. Release date. Running time.
Play media. Film portal. With the element of surprise gone the script underwent a major rewrite and Spock's death became the climax. Many attributed the leak and the acrimony that followed to Roddenberry himself; [4] Bennett found via his canary trap that a leaked copy he obtained from a fan had indeed come from Roddenberry's original, although since Roddenberry had violated neither the law nor his contract there was nothing that could be done about it.
British Board of Film Classification. May 18, Retrieved May 22, Los Angeles Times. Retrieved Pocket Books.
New York: HarperTorch. Paramount Pictures. The Washington Post. CBS Studios Inc. Retrieved February 13, The Art of Star Trek.
Spock mentions that the Romulans loan the designs for their ship and presumably the cloaking device as well. The New York Times.
Retrieved May 21, American Cinematographer. Hyperion Books. James Horner. Retrograde Records. The Music of Star Trek. Lone Eagle Publishing Company.
Religions of Star Trek. Basic Books. University of Waterloo. Archived from the original on February 5, Religion and American Culture. University of California Press.
The Journal of Technology Studies. Archived from the original PDF on July 21, Retrieved December 13, Chicago Tribune. Retrieved June 1, Archived from the original on October 16, Retrieved November 1, The Reagan Diaries.
The Globe and Mail. Entertainment Weekly. Retrieved December 17, Retrieved November 30, Retrieved October 16, June 11, Chicago Sun-Times.
Retrieved October 31, Simpson, Paul ed. Star Trek Magazine : Christian Science Monitor : New York Magazine. The Daily News.
Obendrein sind die Spezialeffekte qualitativ ein Desaster. Was ist denn da schon wieder los? Da hat man die Fans letzten November wochenlang abstimmen lassen, welches Cover die neuen Star Trek Enterprise -Blu-Ray-Sets schmücken darf, um die Aktion über den Haufen zu werfen und ein ganz neues Motiv auszusuchen.
Das eine oder andere Motiv ist als Scan aus Zeitschriften schon durch das Internet gegeistert. Bitte sehr. Mit Hilfe eines neuen Gerätes will der Erfinder Dr.
Joseph Griffin seine liebsten Erinnerungen nochmal erleben, stattdessen bekommt er das Gegenteil. Koenig liefert eine tolle Darstellung.
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Da sich noch Saavik und David auf dem Planeten befinden, lässt er sie von seinen Männern gefangen nehmen, um von ihnen das Geheimnis über Genesis zu erlangen.
Als die Enterprise im Genesis-Sektor eintrifft, wird sie vom klingonischen Schiff überrascht und funktionsunfähig geschossen.
Dazu bietet er Kruge die Kapitulation an, der daraufhin Truppen zum Entern auf die Enterprise schickt.
Kirk und seine Mannschaft haben sich jedoch auf den Planeten gebeamt und zuvor die Selbstzerstörung aktiviert.
Kurz darauf explodiert die Enterprise und bringt den Schiffsbesetzern den Tod. Auf dem Genesis-Planeten, der nun kurz vor der Zerstörung steht, kann Kirk Kruge dazu überreden, seine Crew und Saavik auf das klingonische Raumschiff zu beamen.
Kruge verweigert jedoch, auch Spock heraufbeamen zu lassen, da dies allein Kirks Wunsch ist. Nachdem er im letzten Moment zusammen mit Spocks Körper auf das Klingonenschiff gebeamt wurde, begibt sich Kirk mit seiner Crew nach Vulkan, um die Zeremonie zur Vereinigung von Spocks Körper und Geist durchführen zu lassen.
Das Experiment gelingt: Spock erkennt seine Freunde wieder. Der Trailer legte jedoch eine falsche Fährte, als er die Vermutung nahelegte, ein klingonischer Bird of Prey hätte die Enterprise zerstört.
Ursprünglich war der Bird of Prey als romulanisches Schiff geplant. Kruge sollte es den Romulanern stehlen und damit ins Gebiet der Föderation fliegen.
Später wurde das Drehbuch geändert, aber die Modelle waren schon gefertigt. So wurde daraus schlicht ein klingonisches Schiff, das später immer wieder in den Serien Verwendung fand.
Das zweite Auftauchen der klingonischen Sprache und das erste Mal, dass diese sich nach der von Marc Okrand erdachten Sprachstruktur richtet geht in der deutschen Synchronfassung des Films verloren, da die klingonischen Dialoge des Films restlos ins Deutsche übersetzt wurden.
In späteren Fernsehausstrahlungen waren sie aber teilweise wieder vorhanden. Für die Besetzung von Lt.
Saavik sollte erneut Kirstie Alley verpflichtet werden. Da die Gagen-Forderungen seitens Alley jedoch unrealistisch hoch waren, sah man von einem weiteren Engagement ab.
So wurde der Part mit Robin Curtis besetzt. Hoffmann übernahm erst wieder ab dem vierten Teil der Reihe. Spock hatte hier Leonard Nimoy viel Raum als Regisseur.
So ist das Ganze trotz einiger Längen recht unterhaltsam. Short Treks Episodenliste. Namensräume Artikel Diskussion. Ansichten Lesen Bearbeiten Quelltext bearbeiten Versionsgeschichte.
Hauptseite Themenportale Zufälliger Artikel. Deutscher Titel. George was insistent on using the shapes and materials, rather than blinking lights, to suggest the props were real and manufactured.
Robert Fletcher , costume designer for the previous Star Trek films, was responsible for The Search for Spock ' s wardrobe. Fletcher's job was to sketch outfits, choose the necessary fabrics, and complete the fittings for principal characters.
He collaborated with costumer Jim Linn, who clothed extras and managed the logistics of cleaning, repairing, and tracking costumes.
Most of the Starfleet uniforms had already been designed for the previous film, but Fletcher wanted to dress the main characters in civilian clothes.
The designer and production staff were satisfied with the Klingon costume designs inspired by feudal Japanese dress, made by Fletcher for The Motion Picture , but they had to make new versions; [39] of 12 original costumes, half had been destroyed during publicity tours.
In addition to his costume chores, Fletcher designed the Klingon and Vulcan makeup. Makeup artist Thomas R.
Burman suggested that Fletcher was asked to help because the studio neglected to contract the work out; Burman received a contract only three weeks before the start of photography.
There had never been a good marriage between the forehead appliance and the actor's faces. We tried to keep them in character rather than have these obtrusive things on their heads," Burman said.
The resulting Klingon makeup took two hours to apply. To guard against leaks that had prefigured Spock's death during production of The Wrath of Khan , [n 2] Paramount took precautions to secure the sets.
Security guards checked the picture identification cards of production staff. Any mention of the production was removed from stationery and documents, and "Trois" three, in French was written as a code word.
Offices and workshops were bereft of identifying signage, with doors double-locked for extra protection. The Search for Spock ' s scripts were chemically treated so that copies could be traced to the original; [44] as a further canary trap , subtle changes in wording distinguished each copy.
Principal photography commenced on August 15, The film allowed Correll latitude in choosing a broad range of exposure indexes.
Many of The Search for Spock ' s dialogue sequences feature tight close-up shots. During Kirk and Sarek's mind meld, Nimoy chose cuts that focused on accentuating the dialogue; "Instead of watching people's faces, all you see is the mouth or the eyes and you have the tendency to hear better," Correll explained.
Feeling that recreating everything on set resulted in a fake look, the cinematographer suggested that Genesis be filmed on Kauai in Hawaii, [18] and that Red Rock Canyon stand in for Vulcan.
He preferred to treat these as actual locations inside the ships; although the sets' ceilings were designed to be removed so that lights could be rigged in the rafters, Correll used other lighting methods.
In the Bird of Prey, he used fluorescent tubes to pick up the walls' metallic paints, and kept the set smoky to convey a dirty atmosphere.
Before McCoy is arrested by security, he attempts to charter a spaceflight to Genesis in a bar. The scene opens with two officers playing a World War I -era dogfight video game.
The wireframe biplanes were created using black lines on clear paper printouts placed on an overlay cell.
Much of the lighting was provided by tables rigged with fluorescent tubes to provide an effect different from other parts of the film.
Correll could not add smoke to the scene to enhance the bar "feel", because the disturbed atmosphere would have made ILM's game hard to insert. The scene was intended to end in a barroom brawl when security tried to take McCoy into custody; Nimoy decided that "it didn't feel right" and there was not enough time or money to achieve the scene successfully.
The hundreds of 10,watt lights in the rafters were covered in silk for day scenes to soften the light, and fitted with blue filters for night; dimmers eased the transition between periods.
Since the doomed planet was no longer a paradise, the art director, Nimoy, Bennett and Correll considered constant changes to the colors on the scenes, but decided not to get "fancy photographically".
To get the fire to reflect on the actor's faces, Correll used a variety of tricks with normal lights; using natural fire would not have provided the required intensity.
A significant feature of the Genesis planet are the alien worms that rapidly evolve from microbes on Spock's coffin. The creatures start as small, slimy crawlers, then grow to lengths of 8 feet 2.
The small worms were created by injecting molten "Hot-Melt" vinyl into epoxy polymer molds that were immediately put into cold water to create a translucent product.
The resulting hundred or so creatures were painted and coated with methacyl, [8] [52] a slippery, slimy coating. Each worm was attached to an elevated platform by a piece of fishing line; the lines were tied to rods underneath the set.
Offscreen helpers pushed the rods or pulled fishing line to create motion; the scene required many takes because the fishing line would periodically flash at the camera.
Similar to The Wrath of Khan ' s parasitic Ceti eels, the worms featured cobra-like cowls and a ringed mouth of teeth.
ILM built one of the worms with more articulation than the others; Ralston operated the creature through a hole in the set floor with his hand stuck inside the creature.
The other worms were animated using pneumatic bladders that caused air to pass through hoses in sequence, creating an undulating motion.
During the scene, the worms attack Kruge, who kills one of them. The usual method for achieving the effect of the creature wrapping itself around Kruge would have been to film the sequence in reverse, but this posed problems: the slime coating Kruge would have been out of place with reverse filming, and multiple takes would ruin the Klingon makeup Lloyd wore.
ILM's solution involved rigging the worm with fishing lines that were pulled in a choreographed fashion by multiple off-screen helpers to simulate the wrapping movement.
The fiery breakup of the Genesis planet involved fire, smoke, and earth upheaval. Trees were rigged to fall and start fires," Correll explained.
This entire sequence was completed in three weeks. The Vulcan stairs were filmed at Occidental College —the production's only location shooting.
The location's blue-grey sky was replaced with a matte painting that covered the top half of the stairs shot. The background of the set was simply a painted piece of canvas; Nimoy had the background out of focus in all the shots as a way to hide the shortcomings of the scenery.
The scene was cut because the procession dragged on for too long. Production on the film was temporarily shut down after a fire destroyed several soundstages at Paramount Studios, one of which was adjacent to the set for the Genesis planet.
Initially, the set's pyrotechnics were suspected of causing the fire, but the cause was ruled to be arson. Shatner was among the cast members who grabbed fire hoses to stop the flames.
While most of the set was undamaged, holes in the side of the building had to be covered with heavy black curtains to prevent outside light from leaking in.
As with previous Star Trek films, time and money were major constraints for special effects. The effects artists were concerned about producing the right look no matter the time involved.
The constant travel took a toll on Ralston, who began to forget which airlines he was taking and what city he was in. As a pause in work meant wasted time, effects editors Bill Kimberlin and Jay Ignaszewski produced usable effects shots for the live-action editors at Paramount; these half-finished, monochromatic composites gave the editors an idea of scene pacing.
ILM filmed starships using motion control for timed and computer-assisted model movement. The ship models required multiple camera passes because different parts of the ship and its lights were filmed at different exposure levels.
The Excelsior required eight passes to supplement the main "beauty pass", the Enterprise six. ILM could have combined passes with multiple exposures, but not without risk; "If anything got out of synch, or somehow we dropped a frame, we would have to reshoot—and then you're stuck.
You've ruined two pieces, two elements," Farrar said. The Klingon Bird of Prey's cloaking device required a new effect.
The original concept featured the layers of the ship forming up from the inside out, requiring a series of overlaid elements filmed with an Oxberry animation camera.
ILM decided the effect appeared too "animated-looking", and defied common sense: "if there was a fanfare to decloaking, everyone would know the Klingons were coming and blow them out of the sky before they could even finish materializing," Ralston said.
The supervisor decided on subtlety, throwing color separations out of sync to create a blurry ripple effect. While simple, the sequence was more effective than the elaborate planned scene.
Effects such as the destruction of the merchant ship were created using projected explosions, a technique perfected during the production of Return of the Jedi.
The result was an explosion that moved with the model. The most laborious effects sequences took place inside Spacedock; months were spent completing the station's interior shots.
The effects crew tested different looks to make sure the dock interior seemed appropriately vast. To create a slightly degraded look, the crew used blue color gels for lights and shot through smoke for fill shots.
They switched to diffusion filters for light passes, as using smoke for longer shots would have required time-consuming smoke level monitoring. Due to difference in the scales of the dock and ship models, it was impossible to film the Excelsior and Enterprise inside the set.
Massive fans were used to keep equipment cool and prevent the lights from melting or warping the dock's interior artwork. The realism of the dock scenes was heightened by live action footage of a cafeteria, with windows overlooking the dock interior.
Ralston, who considered the Enterprise ugly and the model hard to shoot, delighted in destroying the ship.
The first part of the ship to be destroyed was the bridge, a separate miniature with stars added to the background.
The shot switches to the Bird of Prey moving away as the top of the saucer burns, where explosions filmed upside down to simulate the absence of gravity [28] were superimposed over a motion control pass of the ship.
The camera cuts to a closeup of the ship's registration number being eaten away by inner explosions. George created a light Styrofoam model that was dissolved by acetone dripped on the saucer from above.
By shooting at less than one frame per second and keeping light off the model, the drips were not visible in the print.
Stuntmen used spring-loaded platforms to launch themselves in the air. For the final destruction of the Genesis planet, footage from the Paramount set had to be carefully matched with ILM effects footage.
ILM simulated Kruge's demise, a long plunge into the pool of lava, with the help of a stop-motion puppet. Lloyd fell a few feet onto a black mattress; during a lightning flash the actor was replaced by the puppet that fell the rest of the distance.
The scene of Kirk and Spock beaming away as the ground collapses was another created at ILM, as the level of destruction was simply not possible for the live-action crew.
Among the other effects ILM had to produce were the transporter beam and the warp speed effect. Mullen noted that the effects' look changed depending on who was directing the film; "everyone wants something distinctive, but nobody wants to get far enough away from the TV series to startle the Trekkies ".
The effect was produced by cutting out or rotomatting the individual to be transported, then making a vertical slot through which a high-intensity light was positioned.
A computer-controlled move would cause the light to spread from the center and fade away, then reset its position and repeat the movement on the opposite side.
Handmade acetate filters and gels were applied to give the transporter beam color and patterns, followed by small flickering animated highlights called "bugs" which appeared after the character had dematerialized.
Whereas many of the multicolored rainbow warp trail shots from The Wrath of Khan were stock footage taken from the first film, the producers of the third film wanted something new.
A streak effect, in which a beauty pass of the ship was combined with blurred passes for each light intensity, was tried first.
The result was disappointing; as the Enterprise grew larger the streaks became distorted and out of place. Mullen rejected a straight animation of the warp drive as too bouncy, but the footage was cut in for editing while ILM went through six more approaches to the problem.
The final effect, a "vaporous, colorful trail", came together only weeks before the film's release. When writing music for The Wrath of Khan , Horner was aware he would reuse certain cues for an impending sequel; two major themes he reworked were for Genesis and Spock.
While the Genesis theme supplants the title music Horner wrote for The Wrath of Khan , the end credits were quoted "almost verbatim".
In hours-long discussions with Bennett and Nimoy, Horner agreed with the director that the "romantic and more sensitive" cues were more important than the "bombastic" ones.
Among the new cues Horner wrote was a "percussive and atonal" theme for the Klingons which is represented heavily in the film. Nimoy wrote that The Search for Spock ' s major theme is that of friendship.
How deeply should a friendship commitment go? And what sacrifices, what obstacles, will these people endure? That's the emotion line of the film [and] its reason for existence," he recalled.
Brown University professor Ross S. Kraemer argues that The Search for Spock "became Star Trek ' s first and most obvious exploration of Christian themes of sacrificial, salvific death and resurrection".
The Genesis planet became a doomed experiment partly for dramatic reasons; having a time limit for the characters to save Spock added tension.
Nimoy was also interested in scientific ethics—how quickly can science move and what are the dangers of that movement.
John Hansen notes that while Spock's sacrifice in The Wrath of Khan is the "archetype of reason and rationality manifesting the archetype of human virtue", a selfless and freely-made choice, the death of Valkris who has learned too much about the Genesis Device in The Search for Spock is far different: the Klingon willingly accepts her death for the "common good" as determined by the state, relinquishing her liberty and life.
Hansen contends that the issues of personal liberty and the exploitation of technology, in this case Genesis, are "intertwined".
The Search for Spock was not heavily marketed. Among the promotional merchandise created for the film's release were Search for Spock -branded calendars [74] and glasses sold at Taco Bell.
Reagan wrote of the film: "It wasn't too good. In its second weekend the film's gross dropped 42 percent. James Horner 's soundtrack to the film was released on a minute LP record by Capitol Records in , and also contained a 12" single titled "The Search for Spock", composed by Horner and performed by Group 87, a band featuring composer Mark Isham and Missing Persons drummer Terry Bozzio.
It was re-released on compact disc in by GNP Crescendo. Film Score Monthly released an expanded two-compact disc score June 1, The soundtrack would be Horner's final contribution to Star Trek.
The Search for Spock received generally positive reviews from critics. Richard Schickel of Time praised the film as "perhaps the first space opera to deserve that term in its grandest sense".
Critics praised Nimoy's direction, to which USA Today attributed the film's success in capturing the essence of the television show.
The Search for Spock ' s plot solicited comment; Schickel called the film "overplotted" and filled with "heavy expository burdens", comparing it to real opera.
The critic considered David's death an attempt at a similar shock, but felt it was not a success. Geduld, writing for The Humanist , criticized the film for what he called "contradictions and implausibilities", such as Scott's sabotage of the Excelsior and Spock's regeneration.
The film's sense of self-seriousness and the camaraderie amongst the characters were generally cited as positive aspects. Maslin wrote that certain tacky elements of the film's television roots were outweighed by the closeness of the Enterprise crew and "by their seriousness and avidity about what seem to be the silliest minutiae [ The film's effects were conflictingly appraised.
Schickel wrote that the effects were "technically adroit" and occasionally "witty", [85] and Ebert singled out the Bird of Prey as a "great-looking" ship.
In , Popular Mechanics ranked the scene where the NCC Enterprise starship is destroyed, the 32nd-greatest scene in the science fiction film and television genre.
The film was given a "bare bones" DVD release on May 11, , with no extra features—the release was several months earlier than the release of The Wrath of Khan.
The film was released on high-definition Blu-ray Disc in May 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.
All six films in the set have new 7. Moore and Michael Taylor. The film was briefly removed from Netflix in August because of inaccurately translated Klingon and Vulcan subtitles.
From Wikipedia, the free encyclopedia. For the film, see Star Trek Beyond. Theatrical release poster art by Bob Peak. Release date. Running time.
Play media. Film portal. With the element of surprise gone the script underwent a major rewrite and Spock's death became the climax.
Many attributed the leak and the acrimony that followed to Roddenberry himself; [4] Bennett found via his canary trap that a leaked copy he obtained from a fan had indeed come from Roddenberry's original, although since Roddenberry had violated neither the law nor his contract there was nothing that could be done about it.
British Board of Film Classification. May 18, Retrieved May 22, Los Angeles Times. Retrieved Pocket Books. New York: HarperTorch.
Paramount Pictures.
Star Trek III: Auf Der Suche Nach Mr. Spock. 91 Bewertungen. Veröffentlicht 1 Jan. Paramount. Wähle eine Version aus. Der Wunschliste hinzufügen. Gerade als die übrigen Kommandocrew-Mitglieder der Enterprise auf ihren verstorbenen Freund Spock anstoßen wollen, werden sie jäh durch. Originaltitel: Star Trek III - Auf der Suche nach Mr. Spock. Filmstart: Filmlänge: Minuten. Genre, Thriller, Thriller. Darsteller, William Shatner. Spocks Vater Sarek bittet Kirk darum, die Leiche seines Sohnes auf dem Heimatplaneten Vulkan zur Ruhe zu betten. Sarek glaubt, dass Spocks Geist auf. Admiral Kirks Sieg über Khan und die Erschaffung des Planeten Genesis sind teuer erkauft: Spock ist tot und McCoy offensichtlich verrückt geworden. Reki Kawahara N. Wissenswertes. James Doohan. Weitere E-Books der Autorin. Im Produktions-Format. Ihre Buchbewertung. Robin Curtis. George created a Leichen Unter Brennender Sonne Styrofoam model that was dissolved by acetone dripped on the saucer from above. Galactic quadrant Mirror Universe. The Toronto Sun. Darunter sind zwei verschiedene Cover in jeweils zwei Versionen. Nun kommt es zwischen dem Star Trek Iii: Auf Der Suche Nach Mr. Spock Navigation menu Video
Star Trek III: The Search for Spock [Complete Motion Picture Soundtrack]Star Trek Iii: Auf Der Suche Nach Mr. Spock Dein Lieblingskino
Später wurde das Drehbuch geändert, aber Eiskönigin Völlig Unverfroren Ganzer Film Deutsch Kostenlos Anschauen Modelle waren schon gefertigt. Hauptseite Themenportale Zufälliger Artikel. Will ich haben. James Horner. Hermann Ebeling. Saavik identifiziert das Kind als Spock. Friedrich W. Spock Blu-ray.Star Trek Iii: Auf Der Suche Nach Mr. Spock - Streams und Mediatheken
Sprachen Englisch, Klingonisch, Russisch. Wenig später finden sie einen Vulkan-Jungen, der rasch altert. Kruge verweigert jedoch, auch Spock heraufbeamen zu lassen, da dies allein Kirks Wunsch ist.
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