The City on the Edge of Forever

I have never written a review for any Star Trek episode. However, last night on H&I. I saw COTEOF probably for the fifty some time including when it was originally aired in April of 1967. The more I see it over the years, the more amazing it is and severe admiration is to be Harlan Ellison, the writer. It is wonderfully acted by a restrained Kirk who faces the decision of love vs. humanity. Spock knows this and fears if left alone to make the decision, Kirk would choose love. It is rated the best Star Trek, TOS episode and it's easily to see why. If it's your first time watching this episode, one word....ENJOY.

When this originally aired there were few examples of intelligent science fiction on TV or at the movies. A few episodes of the Outer Limits or The Twilight Zone rose above the cheesy and schlocky majority, but movies like 2001 and TV shows that would elevate the genre were years away.

From the faithfulness of Kirk and Spock's characters, to the tragic ending, this teleplay remains a gold standard for episodic television.

Joan Collins's pre-Dynasty performance was winsome and strong at the same time. This created even more weight in the conclusion.

If there are any gripes about the story, they are embedded in the restrictions of a 43 minute run time, forcing the story's pace and leaving some details open for interpretation.

There are so many scenes that are classically burned into science fiction history that it's hard to mention all of them in a review: but Kirk and Spock confronting the time portal, McCoy's confrontation with the hobo in the alley, Spock tinkering with cathode tubes and wires, Kirk restraining McCoy with tears in his eyes...those are indelible.

I've read the original teleplay that was heavily rewritten, read the graphic novelization of that original story and I have to say, the current Strange New Worlds series could do justice to the original. Sadly, this would mess with canon, so we won't see it, unless it's in an alternate timeline.

The almost as interesting story of the contest of wills between Roddenberry (series producer and occasional writer) and Harlan Ellison (the episode writer) are a cautionary tale about ego, greed and dyspeptic personalities of both almost destroying what they were working on. Although I appreciate what they created in this story, Ellison's other works are hit and miss, and Roddenberry's history of messing with creatives (D. C. Fontana is actually recognized as having rewritten much of this episode even though Roddenberry took credit) for his own personal glory, write sad epitaphs for both men.

But we will have this gem of an episode forever.

After Bones accidentally injects himself with a shot that causes him to have dementia, he jumps into a time-travel gateway and lands in New York in the 1930's. Kirk and Spock must go in after him and prevent him from doing something in the past that could alter the future. Kirk finds a love interest, played by Joan Collins, but comes to find out that she will play a key role in determining the outcome of Earth's future. Without spoiling it, lets just say it appears Kirk will never have a steady love relationship as long as he is captain. Great job by Shatner and leaves you numb at the end. He even uses the word "hell', which was probably a big deal on television in the late 60's.

This episode has it all, a wonderfully written story, catchy title, superb acting, and an unhappy but necessary ending. I recall this story sticking with me through the end of the first season and into the second. The hallmark of a great story is it's staying power, and "City" certainly has it.

First, the writing. As much controversy there is after the fact as to what Roddenberry did or didn't do with Harlan Ellison's original storyline, the fact remains that it is a dynamite story and incredibly well-crafted for the depth of character development and the continuity of the storyline. What can you say about Ellison as a sci-fi writer that hasn't already been said? The guy is a genius, pure and simple. I simply can't imagine a greater contemporary writer. He is one of a Pantheon of great writers, Heinlein, Bradbury, Clarke. That a series like Star Trek would be able to tap his talents is a real feather in their cap.

Regular actors Shatner, Nimoy, and Kelly deliver perhaps their finest performances of the series in this episode. Shatner doesn't miss a beat in his movement from dispassionate mission achievement to a genuine love interest in the Joan Collins character. And Joan Collins demonstrates here her depth as a serious actress. Her portrayal of compassionate social worker Edith Keeler is spot-on. She isn't just another pretty face, another attractive female for Kirk to conquer. She draws him in with her passion for helping others and her gifted insight into the necessity of forging a better destiny for mankind, one individual at a time. Her tragic fate is a mirror for the seemingly senseless and avoidable tragedies of the 20th century. A person dedicated to the service and well-being of others must die prematurely to prevent a greater tragedy. Certainly the eternal question and mystery of our lifetime.

Anyway, "City" is probably my favorite of many favorite episodes of this classic series. Many thanks to Harlan Ellison and Gene Roddenberry for such a masterful presentation of a great story.

This is that one episode of the original Trek series which contained a certain inspired, sublime quality, which transcended the limitations of even the best episodes (translation: 10+ stars). We know there is greatness here, but what exactly is this impression that staggers us? Famed writer Harlan Ellison wrote the original teleplay, which was re-written by other hands (causing some controversy that continues to this day) to presumably make it fit better within the confines of Roddenberry's and television's view of the Trek universe. Very briefly, Ellison looked at human beings as more flawed (which, of course, they are) and probably regarded Roddenberry's vision of near-perfect future humanity as a bit too bland. This is television we're speaking about here, when all is said and done, and blandness is de rigueur. But, even the re-writes could not reduce this magnificent piece to anything less than the masterpiece of its day.

The City that the title refers to, on the surface, appears to be the eerie setting we see in the first act, with ruins, as Kirk notes, stretching to the horizon. It is here that we first see the Guardian of Forever, a strange rock-like arch which actually functions as a time portal. We've all seen time travel stories before, with similar devices ("The Time Travelers" from '64, for example). But, it's what happens after we enter the portal that then defines the story and weaves a tale of bitter, even mind-numbing tragedy. There's a chill odor assaulting us even before all this happens, a foreboding, as the Guardian intones 'All that you knew...is gone' after a deranged McCoy leaps into Earth's past. Without having to show the audience anything - anything physical or expository - the story lets us know that the Federation has been wiped away. All that in the span of a few seconds - all gone... just gone. The cosmic hook is that a particular individual, just another citizen in the dim past, can have a profound effect on the course of events within the known galaxy, while others, such as a skid-row bum, would have no effect at all.

The City may also be the city of New York, in the 1930's, for this is where a piece of Kirk (or his heart) will always be - forever, as it were. During the week that Kirk and Spock are forced to live a brief out-of-time life there, the story now stirs in the most potent human elements with the most dire cosmic dilemma - it's a fantastic, unforgettable mix. Unfortunately for Kirk, this was the one scenario he was not trained for. You might note, watching any of the other episodes, no matter how outlandish the threat or problem, it's always something Kirk is able to take control of eventually, to grasp and handle in his own persuasive manner. Not here - gradually, he becomes helpless, caught in the undertow of that perhaps strongest of human emotions after he meets a social worker. As with everything in this episode, actors Shatner and Collins seem to transcend their normal limitations. It's amazing that this episode, at least while taking place in this timeless New York City, is only the length of about half-an-hour; it seems like we're with Kirk & Edith for a good week there, much as it was meant to be.

As I got older, I found it almost too painful to watch the final act of this episode. It's like a piece of music - so well done, you're compelled to listen, but the notes are heart rending and leave that dull ache, as if you're missing something in life. As a comparison, I would bring to your attention another episode, "Requiem For Methuselah" from the 3rd season; it's actually not that bad of an episode, not without interest. But, in that one, Kirk falls in love in the span of an hour and then Spock erases his pain with his Vulcan abilities. Nothing so trite here. By the look on Kirk's face and his words in the final scene, as he dismisses the incredible Guardian, we know he will have to live with this pain forever. 'All IS as it WAS before' the Guardian intones some more. I'm afraid not. Not ever.