‘It was to do with plants and how plants were the essence of the Alphans’ continued survival on the Moon. The development of how they could feed themselves was obviously something that had to be continuous – without it they would simply perish. Anything that would enhance research and development into the production of food was essential, so on that basis it was a valid story. It was also valid on the basis of what was happening on Earth at that time in terms of the philosophical and scientific investigations into the nature of plant and human communications. So we took that as a starting point … “The Troubled Spirit” was interesting and I think as a story it had a very interesting construction, if you look at it purely in the abstract. As a ghost story, I think it worked within the context as well.
‘Bergman combined something of the scientist, philosopher, mystic, a steady presence and essential counterweight to the more visceral, upfront Koenig. In time, I think this aspect of his presence on Alpha might have taken on greater significance. He could have proved to be the human personification of the Mysterious Unkown Force, driving the Alphans’ spiritual odyssey.’
Alan Willis: [Regarding the sitar concert performance] ‘That piece was written and played by the artist you see on the screen [Jim Sullivan], rather than being written by Barry [Gray] or anyone else. He would play sections of the tune as we were filming different angles and then at the end of the day we took him into a quiet studio where he played the whole piece through once again. At the editing stage, this meant that I could chuck out the original sound and overlay the complete version onto the images.’
Bloopers: When Mateo’s ghost appears in front of the group of Alphans performing the séance, his yellow sleeve is on his right arm (instead of his left) and his horrible facial scars are on the left … In the next scene, the sleeve and scarring are correct. This was due to the use of a half-silvered mirror to superimpose the ghost into the scene, which reversed the image.
Later, when Mateo dies after fighting his ghost, his left side is forced into the lethal force field, but the scarring is on his right.
Review: ‘The Troubled Spirit’ is another episode, like ‘Force of Life’, that takes place entirely within the confines of Alpha. It begins with a great glimpse into Alpha’s leisure activities, portraying a large audience appreciating a music concert (by Jim Sullivan, who wrote the original sitar score, and is also seen performing it onscreen); they even have programmes for the evening’s Alpha Music Recital. The event is broadcast throughout the base for all to enjoy, showing the Alphans as a community of real people who appreciate and enjoy entertainment – not just a group of sci-fi adventurers. This opening teaser is one of the most successful in the series, consisting of long uncut tracking shots, without a single word of dialogue. Everything is conveyed through pictures, facial expressions and the stirring music. As the opening culminates, a dramatic wind sweeps through the base, combined with a drop in temperature and lowered lighting levels. It’s eerily effective to see a wind, drawn up by supernatural forces, inside Alpha’s enclosed environment.
Giancarlo Prete was the first of the Italian guest stars featured in the series as a result of the Italian RAI network’s investment. He is powerful and convincing in the role; a very good actor with a strong screen presence. Italian-born stuntman Val Musetti meanwhile portrays the scarred spirit of Mateo. The presence of Italians on Alpha helped to build on the perception of the base being a truly international endeavour; it was something that didn’t need to be blatantly stated – Alpha simply comprised an inclusive and varied population. Due to the believable and horrific make-up used on the spirit of Mateo, this episode was another that encountered difficulty with censors, and in order to make it less frightening to a young audience, portions were cut.
Anthony Nicholls is another very talented guest actor and makes a wonderful impression as Dr Warren. It’s nice to see the wisdom of another older scientist on Alpha, and the mentor-pupil relationship between Dr Warren and Mateo recalls the earlier pairing of Ernst Queller and Jim Haines in ‘Voyager’s Return’. The difference here is that Mateo can’t stand Warren, and Warren is an old fool who looks down on Mateo for ignoring his authority and warnings.
The Hydroponics section is presented, consisting of a complex set filled with greenery and technology, with the notable addition of a large section of geodesic glass panels exposing the area to natural starlight, in addition to the ample artificial light. Notice the green floor – very appropriate for the Hydroponics section. It’s a great set, with extraordinary atmospheric potential as a setting for such a spooky episode.
‘The Troubled Spirit’ is the chilling ghost story of Space: 1999, told in shadowed nighttime Alphan settings. It is an episode that only gets better and better upon repeated viewings. Johnny Byrne’s script is highly impressive and successful on many levels: his Irish Catholic background is surely an influence on the exorcism sequence, and he revisits the concept of characters foreseeing the manner of their own death, which he had previously explored in ‘Another Time, Another Place’, and invites the viewer to ponder the psychological implications of such encounters. Byrne’s usage of psychic connections with plants is another fascinating element of the script. Although it is an aspect that some people might dismiss as ridiculous, it works perfectly well within the parameters of the series and story. The plant seance does raise the frequent Johnny Byrne concern about the relationship between Technological Man and Biological Man – it is inherent in the contrast of scientists on a Moonbase attempting to connect on a mental level with plants. Byrne is pointing out that the direction we’re heading in with our technology and science is possibly the wrong course; there may be things to learn from our connection with the natural ecosystem. It’s more subtly suggested here than it is in ‘Another Time, Another Place’, where the alternate Alphans have abandoned their futuristic environs for a back-to-the-Earth agrarian lifestyle, but it still provides interesting ideas for consideration.
The scene where Helena encounters the horribly scarred spectre in the dark Medical Centre is genuinely frightening. This is a very fine episode for Helena Russell, and also for Victor Bergman – as usual, he’s at his best when bridging gaps between science and mysticism. The big seance sequence (including John, Helena, Victor, Sandra, Paul, Alan Kano and Mateo) is probably one of the most memorable of the entire series. All of the characters are well utilised and Sandra not only gets to act in her customary role as an emotional barometer for Moonbase Alpha but also shows strength and common sense.
Ray Austin has delivered here one of the most striking directorial efforts of the first series: his work is atmospheric, moody and scary, essentially transforming Moonbase Alpha into a haunted house. In classic horror form, the most is made of unusual camera angles, dramatic shadows and lighting, as well as subtle moments like when a door momentarily jams, indicating that there is something strange going on – prime illustrations that special effects aren’t required to generate a haunting atmosphere. As an example of the quality of Austin’s marvellous direction, watch the command conference sequence carefully – it is one long uninterrupted shot, passing from person to person.
The interactions between the regular characters add charm and warmth, as when Barry Morse plays a significant scene as Bergman leaning the whole time on Kano’s shoulder – demonstrating a clear closeness and friendship between them. These are real people, and this is an episode in which they are absolutely terrified: it’s one to watch in a darkened room.
There are very few external effects shots, but there is one stunning visual of the spinning Moon moving on towards a nebula – a shot that is able to stand against any effects produced today. It’s quite short, but completely amazing.
One line that Paul Morrow says just before the Command Conference ends must be pointed out. He states, ‘It’s a totally esoteric supposition,’ which is not the type of dialogue found in most science fiction television shows. But as this episode attests, Space: 1999 is not like most science fiction shows.
This tale is played to adults: a man haunted by his own ghost, which has come back to avenge its death, which hasn’t happened yet. It’s a brilliantly nightmarish concept.
‘The Troubled Spirit’ is atmospheric, appealingly stylish, captivating and very spooky.
Rating: 9/10
1.20
SPACE BRAIN
Screenplay by Christopher Penfold
Directed by Charles Crichton
Selected Broadcast Dates:
UK LWT:
Date: 7 February 1976. Time: 5.50 pm
Granada:
Date: 20 February 1976. Time: 6.35 pm
US KRON (San Francisco):
Date: 31 January 1976. 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), Derek Anders (Wayland)
Guest Artists: Shane Rimmer (Kelly), Carla Romanelli (Melita)
Uncredited Cast: Suzanne Roquette (Tanya Alexander), James Snell (Cousteau), Sarah Bullen (Operative Kate), Ann Maj-Britt (Operative Ann), Loftus Burton (Operative Lee Oswald), Laurie Davis, Jacqueline Delhaye, Andrew Dempsey, Michael Stevens, Maggie Wright (Main Mission Operatives), Tony Allyn (Security Guard Tony Allan), Quentin Pierre (Security Guard Pierce Quinton), Alan Harris (Alphan), Judith Hepburn, Diana Reeves, Erica Svenson (Nurses), Robert Atiko (Technician), Michael Sirett (Technician), Carol Dee (Patient), Marc Boyle, Joe Dunne, Dorothy Ford, Eddie Stacey (Stunts)
Plot: Alien hieroglyphics flood Alpha’s screens and an investigating Eagle is crushed beyond recognition and hurled back to the Moon. Carter and co-pilot Kelly search for the first ship, and on a spacewalk Kelly is taken over by a massive alien space ‘brain’ – the centre of life for the galaxy. The brain attempts to help the Alphans change the course of the Moon to avoid a collision, but the attempts are unsuccessful and the Moon plunges into the nebula-like entity.
Quotes:
Paul: ‘Time we had a new world.’
Victor: ‘It’s either a practical joke or something very interesting.’
Victor: ‘This foam, as you call it, could crush anything.’
Koenig: ‘It’s a living organism, like a brain, pulsating with life and light. It’s the centre of a whole galaxy … maybe even hundreds of galaxies. Planets, stars, strange life forms – and in the middle of it all is this brain.’
Victor: ‘It’s a miracle we’re alive, John … Complex as the human brain; and just as vulnerable.’
Filming Dates: Thursday 5 December – Thursday 19 December 1974
Thursday 27 February – Friday 28 February 1975
Incidental Music: The use of Gustav Holst’s orchestral classic ‘Mars – The Bringer of War’ adds dramatically to Alpha’s journey through the space brain. This arrangement, by Malcolm Sargent, was published by EMI Music for Pleasure.
Commentary:
Martin Landau: ‘The director [Charles Crichton] wasn’t getting what he wanted and he asked them to stop the foam. But the crew couldn’t hear him and the foam kept coming. Soon it was up to our ears and Charlie waded right into it, all the while yelling, “Stop the foam! Stop the bloody foam!”’
Barry Morse: ‘“Space Brain” concerned some alien force that flooded the whole of Moonbase Alpha with soap bubbles. It had to be shot with all these bubbles and foam, which had to be pumped into the set. We did the first take and this foam gradually spread out onto the set and filled it up. The director, Charles Crichton, cut and said, “All right now, take two,” and everybody looked very blank because no-one had thought how to get all these soapsuds out of the set! It took hours and hours; the result being that by the time we came to take two we realised we could not stop for anything. Whatever happened, we had to keep going. Take two began and they started pumping in all the soapsuds. Unfortunately, when the young boy who did the clapper board came in front of the camera and did his clapper, he slipped on this foam and fell to the floor! Well, being the good technician he was, he stayed put, because he knew if he got up he would spoil the take. So we went on playing this wretched scene, whilst he was being smothered by foam – scarcely able to breath. Thankfully, he did survive and we all had a good laugh about it afterwards.’
Nick Tate: ‘There was one episode, “Space Brain”, where the whole of Moonbase Alpha was engulfed in foam. They rented these huge machines that pumped soap bubbles everywhere. The machines worked fabulously and filled the entire sound stage with foam, making it look very peculiar and eerie. Unfortunately, nobody stopped to think that we had slippery floors, and the soap bubbles made them more slippery. People would just vanish inside these bubbles and we would find them slithering around on the floor. It was all very amusing, but at the same time very dangerous. After one scene, director Charlie Crichton raced in to call “Cut,” and because he was moving so fast, he hit the soap bubbles and vanished from sight with the most terrible thud. There was this awful silence for a few seconds and then we heard Charlie call out, “Don’t panic – I’m all right!” He came crawling out of the foam covered in soap bubbles and looking like a Yeti.’
Zienia Merton: ‘“Space Brain” was just so funny because there was just so much of that foam stuff and the joke was that we didn’t have enough space packs to go around. Prentis and I could never appear in the same shots – if there were eight main characters, there were only six packs. So what happened was that he was “6” and I was “9” and we used the same pack but turned it around.
‘I remember [in “Space Brain”] Prentis and I were in Main Mission doing late night duty, or something, and to soften it and make it more normal and real they gave me a tapestry to stitch, thinking poor old Sandra would be doing that. It actually belonged to Helene Bevan, our hairdresser lady. It was hers, and I made such a mess of it I felt so bad for her. I was stitching away and it was all rubbish; but never mind!’
Shane Rimmer: ‘Working with Gerry Anderson was a lot like being in a repertory company. If you saw somebody show up in one series he eventually turned up in another, which was good for everybody, because you got to learn how Gerry worked. You got used to the kind of interplay that he really liked to use in his plays … Gerry had a creative organisational flair and he had an amazing facility to be just a little ahead of the game, and he could predict a lot of times very successfully what was going to happen and what was going to be in vogue.
‘When I got the script for “Space Brain”, I think it talked about low-level suds, just above the floor. But those suds were ten feet high! I was strapped to an operating table; everybody else left the studio … I’ve sort of recovered. It was very much enjoyed. I remember the line, “You must not touch my brain!” The soapsuds – honestly, there was so much soap in that studio you could have washed the place down four times over and still had enough for a year’s laundry. It was everywhere. I think it looked all right. But the big problem was trying to remain comatose and not sneeze or cough or whatever, while all this stuff was building up.
‘There has to be a very strong explorative theme in these things and sometimes they forget to consult the people who are going through these things. Everything is tremendously orientated toward the special effects and toward the wonder and mystery of space, which is fine. But if you’re not really too concerned about the people who are going through these things, it starts to dwindle a little bit. The one thing I was always very impressed with was the way [Space: 1999] made you actually get quite concerned about whether they were going to get through it or not. You knew it wasn’t going to be a succession of special effects – somehow they were going to get through it themselves. I think this is the way the series developed. They went into new situations in space not having a clue how to deal with them.
‘What was striking about that leading bunch – Martin Landau, Barbara Bain and Barry Morse – was their conviction: they could sell refrigerators to Eskimos. They had enough good ta
lent on that show that they could parlay that cast into all sorts of situations. So although the soapsuds situation isn’t one of my happiest experiences, it was thrilling to be in Space: 1999. They used what they knew they had and there was a great realism and naturalism in that series that I thought was terrific. I think all the casting and the script set up was well done.
‘Sylvia was terrific working with actors. There were no limitations, or obvious ones, placed upon anybody. Nick Tate was terrific – he could grab a part, with that Australian moxie, just increase it and amplify the part, still staying true to what was conceived. A lot of good actors do that.
‘I still maintain that the longevity of Space: 1999 is because of the honesty and the interplay between the main characters who were there. Somewhere in that main five, in that amalgamated effort, there was a solution. Everybody had a go at it, and I think the most interesting things in our lives are when you have a cumulative effort like that. Space: 1999 had a kind of conviction about it that I don’t see very often in these types of space series.’
Christopher Penfold: ‘The idea springs to mind of space as being a macro brain. We also toyed with the idea of doing a micro story. The idea of the heavenly bodies as being macro brain cells is one that appealed to me, and still does. What was achieved on the set with foam wasn’t quite in line with that!
Destination: Moonbase Alpha Page 23
