‘I think “Force of Life” embodied the notion that here were people in an environment that could be hostile, indeed that was invariably hostile, encountering things about which they had not the faintest idea. Here, they encountered an emblem of the life that they had left behind: chrysalides that turn into caterpillars and caterpillars that turn into butterflies – these are part of the natural rhythms of our lives. Well, it seemed to me to be perfectly reasonable to suppose that this process was universal and that it could happen in the most extraordinary, interesting and completely mind-boggling way without understanding what made it work. And that’s what “Force of Life” was about.
‘What I particularly like about “Force of Life” myself, as someone watching it, is it concerned a villain, if you like, that was not present, was never seen … and that we never understood. I think it’s the quintessence of Space: 1999 – these ordinary people, these Earth people, were dealing with situations and responding to situations that they didn’t understand. It was their responses that were important, more than the incident that had caused them. I think that story exemplified it very, very well.’
Bloopers: Not a blooper so much as a mistake in the writing – Mathias shouldn’t have been fixing the burned out monitor in Medical himself – Technical should have been called to do it. One of Alpha’s finest medical minds has better things to do than change light bulbs or power cells.
Observations: Sequences featuring the horribly disfigured, mutated Zoref with his glowing white eyes were edited from broadcasts in Germany, marking the first time Space: 1999 was subjected to censorship. These same sequences caused complaints when they were shown in Denmark. The series would encounter similar problems with further graphic content in upcoming episodes.
Interestingly, the door to the Observation Room in Medical Centre opens conventionally, with a handle and manual push-button locking system, in contrast to the usual Commlock-operated sliding doors.
Review: Space: 1999 excelled at depicting glowing balls of light, and ‘Force of Life’ provides the ultimate – an alien presence in the form of a ball of blue light that doesn’t register on any sensors but proceeds to invade technician Anton Zoref, transforming him into an energy consuming monster. Visually, and artistically, the use of the colour blue for the alien life force signifies that it is cold, and is a subtle indicator that the entity is being drawn toward Alpha seeking warmth. Appropriately, as the alien absorbs energy, its glow shifts towards the warmer range of the colour spectrum and becomes purple.
Not a favourite of Eagle fans, this entirely Alpha-bound episode marks the introduction of another impressive and huge Keith Wilson set, Nuclear Generating Area Three. ‘Force of Life’ also features visually dynamic direction by David Tomblin, which adds to the style of the episode and heightens the inherent claustrophobia, tension and fear within the base. A prime example is the presentation of the death of medical orderly Hillary Preston, including dramatic slow motion and subordinated sound, coupled with a strange cacophonous score. It is a treatment that helps turn this episode into a horror classic, arguably unique amongst outer space science fiction television programmes. This pioneering horror-science fiction combination would later be used with great success in films including Alien. Without doubt, ‘Force of Life’ is a horror story, progressing to more and more frightening events as Zoref becomes less and less human.
‘Force of Life’ was the second episode to be helmed by Tomblin – the first was ‘Another Time, Another Place’ – and he was paired in both cases with screenwriter Johnny Byrne. Tomblin is likely the most cinematic of the Space: 1999 directors. Here his remarkable visuals, dynamic lighting, jump cuts, askew camera angles and use of slow motion combine to utmost effect with the diverse score to effectively magnify the terror of the episode. Tomblin’s flair for artistic visuals is in no greater evidence than during the opening sequence and the symbolic shot that rotates Zoref (and his life, as well as the lives of everyone on Alpha) upside down.
Ian McShane delivers a thoroughly convincing and engrossing performance as Zoref. The character is horrified at what is happening to him, while at the same time succumbing to his progressive, almost addictive, need to consume heat. The use of an eerie purple glow as Zoref consumes energy is successful in conveying the power of the alien force within him. And, considering that Zoref consumes heat and freezes everything he touches, it’s appropriate that his name is an anagram of ‘froze’.
The viewer’s understanding of the scope of Moonbase Alpha, and the pattern of daily life on the base, is increased greatly by this episode. Alphans are depicted at home, at work, and relaxing off-duty in the Solarium. Anton and Eva Zoref are also the first married couple depicted on the base.
When the power is cut off within Alpha in an effort to drive Zoref towards a confrontation, the visual stage is set for the final horrific climax. In the dark, shadowed corridors of the base, Zoref becomes totally alien. Charred and burned to a blackened crisp by a Stun Gun blast, he nevertheless survives – animated by the alien force inside him, his eyes glowing white. He has become a grotesque monster that can’t be stopped. It is a tribute to the make-up artists on the series that the Zoref monster, and the freezing effect he has on others, look as effective today as on original broadcast.
There is a scare with Bergman’s artificial heart as he is running in the corridors while the oxygen levels in Alpha are dropping – it’s nice to see Johnny Byrne utilising this established aspect of Bergman’s character.
The explosion of Nuclear Generating Area Three is a showcase of excellent special effects and also highlights the actors’ abilities to tumble across the sets in unison to the explosive shockwaves. Some of these shots are re-used from ‘Breakaway’.
Then the alien force leaves, allowing Alpha to survive. As Bergman says, in reference to their nuclear generators, ‘Just one was enough for its purpose.’ The alien force has made a progression along the path of evolution, and Alpha was a catalyst that unwillingly helped in that growth. As Johnny Byrne states in the commentary section below, the idea is analogous to that of the metamorphosis of a caterpillar into a butterfly. Where will it go? What will happen to it? Will it continue growing, and what will it consume next? But apart from these speculations, ‘Force of Life’ contains more immediate and human impacts: on a large scale, Alpha itself is nearly destroyed, while on a human scale, the family of Anton and Eva Zoref is ripped apart.
This is an encounter with the absolutely unknown – a purely evolutionary instinct functioning in a completely alien life form. Alpha’s vulnerabilities to the mysterious forces of space are encapsulated in this episode. If Alpha – home – is vulnerable to alien invasion, what psychological impact does this have on the people who live there? Byrne’s script is completely successful in presenting the drama and horror of the segment, in constructing a constantly engaging show set entirely within the confines of the Moonbase, and in challenging the viewer to consider (along with the Alphans) what the evolutionary journey of this life force might be. Byrne eschews easy answers – as with real life, there aren’t any. In the face of the utterly unknown and often frightening universe confronting them, Helena sums up the humanity of Year One when she says, while comforting Eva, ‘We’re living in deep space – there are so many things we don’t understand. We don’t know what that alien force was, why it came here, or why it selected Anton. But we’ve got to try to help each other to understand …’ With all their technology, they still don’t have the answers, and finding comfort and support with each other, and believing in their future, is the greatest strength the Alphans possess.
‘Force of Life’ is a superbly suspenseful science fiction horror story.
Rating: 9/10
1.10
ALPHA CHILD
Screenplay by Christopher Penfold
Directed by Ray Austin
Selected Broadcast Dates:
UK LWT:
Date: 18 October 1975. Time: 5.50 pm
Granada:
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Date: 7 November 1975. Time: 6.35 pm
US KRON (San Francisco):
Date: 11 October 1975. Time: 7.00 pm
WPIX (New York):
Date: 25 October 1975. Time: 7.00 pm
Credited Cast: Martin Landau (John Koenig), Barbara Bain (Helena Russell), Barry Morse (Victor Bergman), Prentis Hancock (Paul Morrow), Clifton Jones (David Kano), Zienia Merton (Sandra Benes), Anton Phillips (Bob Mathias), Nick Tate (Alan Carter), Wayne Brooks (Jackie Crawford)
Guest Artistes: Julian Glover (Jarak), Cyd Hayman (Cynthia ‘Sue’ Crawford / Rena)
Uncredited Cast: Suzanne Roquette (Tanya Alexander), Sarah Bullen (Operative Kate), Loftus Burton (Operative Lee Oswald), Andrew Dempsey, Raymond Harris, Robert Phillips, Michael Stevens, Maureen Tan, Maggie Wright (Main Mission Operatives), Rula Lenska (Joan Conway), Tony Allyn (Security Guard Tony Allan), Quentin Pierre (Security Guard Pierce Quinton), Gerry Crampton (Security Guard), James Fagan (Eagle Co-Pilot), Vincent Wong (Medic)
Plot: Jackie Crawford is born on Alpha, but the baby shocks the base by transforming into a five-year old. As alien spaceships take up orbit over the base, Jackie transforms again, into Jarak, an adult alien whose people are capable of concealing themselves by inhabiting the bodies of other life forms, but only during birth or death. To escape their pursuers, these body snatchers intend to kill the Alphans and occupy their bodies.
Quotes:
Helena: ‘Heaven knows I looked forward to this first child born here.’
Victor: ‘He senses you’re not as willing to be charmed as the rest of us are.’
Helena: ‘I saw him smile. It sent a shiver up my spine. Almost as if he was mocking his mother’s death.’
Koenig: ‘Ignorance is no reason to start shooting. After all, we’re all afraid of the unknown.’
Jarak: ‘I like the intuitive quality of your human mind, Commander. I like the unpredictability of your human emotions. I like the difference between your people. But on our planet we faced extermination because we were different. Yes, we are running away … from genetic conformity, rigorously imposed. We are so happy to have found Alpha.’
Jarak: ‘The designated will die.’
Filming Dates: Monday 8 July – Monday 22 July 1974
Incidental Music: Barry Gray’s score is supplemented by one of his own earlier compositions, from the ‘Last Train To Bufflers Halt’ episode of The Secret Service. It is heard here in a number of scenes, including the sequence where young Jackie is given a tour of Alpha.
Commentary:
Barbara Bain: ‘I liked the idea of “Alpha Child”. There was something marvellous in the potential of that whole idea.’
Julian Glover: ‘“Alpha Child” was totally ridiculous, but it was good fun to do. I mean, how many times do you get to run around in a silver skirt?’
Zienia Merton: ‘The guest artists were smashing and one always tried to make them feel at home. We were the regulars, but they were down just for that one episode, and they found that they had to be crying, or making love to someone, two minutes after eating a sausage roll, or something … Frightening. So I used to say, “Would you like to come to lunch?” It’s just hospitality. I remember meeting Cyd Hayman in the corridor [during the making of “Alpha Child”] and saying, “Hello, I’m Zienia Merton, would you like to come to lunch?” It was just to make people feel at home. They don’t think, “Oh, I’m a guest star.” Very few did that.
Christopher Penfold: ‘The genesis of “Alpha Child” is quite difficult to recall. I’m pretty sure that the idea of a child being born on Alpha, and the kind of celebration of that event, being then undermined by the anxiety of the pace of development, was one that came from Gerry. I have pretty clear recollections of sitting in Gerry’s office at Pinewood and us talking about that as an idea. I think that a lot of the actual plot of “Alpha Child” was probably straight from Gerry. Certainly, I think, the idea that it should turn out pretty nicely at the end.’
Martin Bower: ‘Brian Johnson liked my work and gave me my first real break [in special effects], for which I shall always be grateful. He sent me a script from the episode “Alpha Child” and asked to see what I could come up with …’
Observations: This episode marks the first appearance of the highly impressive bomber-style spacecraft built by Martin Bower and inspired by the Discovery from 2001: A Space Odyssey.
The lighting panels on the walls in Main Mission had, until this episode, been a stark white. They are now green, and will remain so until the episode ‘End of Eternity’.
It’s appealing to see the Nuclear Generating Area set reappear here, following its debut last episode.
Review: ‘Alpha Child’ began as a story idea by Gerry Anderson in conjunction with Christopher Penfold (see the commentary section for this episode), was developed into a script by Edward di Lorenzo (while he was still involved with the early days of Space: 1999) and was then subsequently completely re-written by Penfold, who receives sole on-screen credit for the episode. The results of this convoluted history are uneven, to say the least.
The direction by Ray Austin (his third instalment for the show) and lighting are outstanding, atmospheric and unusual. Austin has a meandering style with the camera, not always focusing on the conventional element, such as the person speaking in a particular scene. This helps to set his episodes apart from those of the other directors on the series.
From its astonishing beginning, this episode is filled with subtle details, minor character interactions, and a wealth of characterisation. Helena Russell displays the widest range of emotions (giving the lie to those critics who habitually slam Barbara Bain as being ‘wooden’). Her ecstatic joy turns to shocked and horrified disbelief at the sight of the five-year-old child squeezed into the incubator where previously there had been a newborn baby, then to compassionate warmth as she spends time with the boy.
Amongst many noteworthy scenes is one showing Alan, Sandra, Paul, Tanya and Kano discussing whether Jackie’s inhuman growth means they’ll never be able to have normal children, or whether this is just a specific abnormality with a distinct cause.
The supporting cast members are all provided rich parts to play. The young Wayne Brooks is an excellent actor who hits the perfect expression in every scene. He was obviously both talented and well directed. He plays significant scenes with Martin Landau, Barbara Bain, Barry Morse and Nick Tate (who turns in some of his finest series acting in this episode). Note how differently the various characters relate to the young child: Bergman is a grandfather figure, Carter is a fun-loving uncle type, Helena is maternal, and so on. As the young Jackie spends more time with the Alphans, he displays a subtle learning process far beyond his years. It is a haunting and eerie scenario. The mysterious aspects of the boy accumulate, and for the first half of the episode, this is an outstanding show.
With the arrival of an alien ship, which is shrouded in as much mystery as young Jackie, the show is totally satisfying. The effectiveness comes from the mystery. As Koenig says, ‘We’re all afraid of the unknown.’ And in that line, Koenig points to a possible moral of the story: that, although frightened by Jackie Crawford because they don’t understand him, the Alphans nevertheless attempt to accept him and welcome him into their lives. It’s a moral for life whenever anyone encounters someone different than themselves. Later, Helena sees Jackie smile in the presence of his suffering mother and then tells Koenig, ‘I saw him smile. It sent a shiver up my spine. So knowing … almost as if he were mocking his mother’s death.’ Like John Wyndham’s classic novel The Midwich Cuckoos (adapted for the screen as Village of the Damned), this is bone chilling and suspenseful material. There are also similarities to The Omen, filmed at Pinewood Studios at the same time as Space: 1999. It is the unknown-and-frightening horror approach that is a winner, until the unknown is revealed.
Upon the arrival of three more alien ships, young Jackie transforms into the grown form of Julian Glover as alien Jarak, and the episode itself transfo
rms from excellent to inferior. Glover wears a little silver costume (which he gets from where? – a problem that will recur in Year Two with Alpha’s new shape-shifter, Maya) and a disappointing, vaguely Roman hairstyle. From here on in lies the worst material of any Year One episode. It appears that the creative team behind this episode didn’t know what to do with the superior premise already established and resorted to this ridiculous take on alien body snatchers. They should have stuck with the mysterious child.
Jarak kills his mother, who then transforms into his lover Rena (also mysteriously developing a shiny silver costume!) It’s somewhat incestuous and disturbing, and their subsequent attempts to be menacing just aren’t good enough, despite several effective scenes, including the alarming near-murder of everyone on Alpha. Ultimately, all this nonsense is ended by the arrival of another alien ship. The bomber blows up the first four ships, and some of the effects are very nice, while others now appear dated.
The pursuers take Jarak and Rena from Alpha and return Sue Crawford and her newborn baby to their proper selves, unaffected by their previous deaths and/or transformations. It is a bit disappointing that Jackie Crawford was never seen again in the series; it could have been a nice piece of continuity to have the baby make an appearance at some point in a future episode, adding to the sense of community on the base.
‘Alpha Child’ really doesn’t have a lot to say, actually. It does begin to consider the population problems Alpha faces, but it’s lacking in the sort of philosophical or metaphysical elements that mark the finest episodes of the series.
Destination: Moonbase Alpha Page 15
