Having built Ian McShane up in my mind after all of these years I expect such great things from the man even from his earlier performances like the one found here on Space:1999. Since this was filmed in 1975 I suspect it is entirely unfair to have such bold expectations. Will he be every bit as good as I remember? Let us bear witness to those glimmers of brilliance that caught the attention of others over three and half decades ago. Space:1999 would be his first major TV guest appearance. My adoration and general worship of Ian McShane as a living god [with a small g] knows no bounds. One might half expect me to change the name of this blog to Musings Of An Ian McShane Fanatic if I didn't love science fiction that much more.
A shot exemplifying the highly cinematic look of the classic Space:1999.
I anticipate great things out of seeing this entry again, not only because it is Space:1999 with its typically terrific cast of Alphan actors, but bloody hell we have Actor Ian McShane coupled with Writer Johnny Byrne and Director David Tomblin. It's a slice of science fiction heaven people. The late, Irish writer Byrne serves up his second full story following Another Time, Another Place. The aforementioned entry arrived off the heels of co-scripted Matter Of Life And Death. It's important to note, this would be the second of three collaborations between Byrne and Tomblin. I suppose like anyone with high expectations, the question remains will I be disappointed after all these years? Without further ado we venture boldly into the great unknown that is Space:1999, Year One, Episode 9, Force Of Life. Alphan survival continues.
One of the many extraordinary and painstakingly beautiful space shots delivered for Space:1999.
Speaking of survival, some of the most interesting comments about Space:1999's premise came from the very mouth of Johnny Byrne in a tribute paid to the man by John Kenneth Muir. Space:1999 was essentially the anti-Star Trek. This is reflected and considered with terrific insight in an article written by John Kenneth Muir that can be found here. My favorite Space:1999 analysis from Byrne to Muir comes in these words:
"Critics don't understand the paradigm. They never did. It [Space:1999] isn't Star Trek. It is a modern day or near future origin story of a people. The Celts, the Aztecs and the Hebrews all have origin stories. But Space:1999 took place in a real time, not in pre-history. It was a futuristic rendering of that old story: of people cast out from their home with no plan, no direction and no control. There are elements of faith, magic and religion in the show, and nobody seems to understand or accept that. In Space:1999, we are witnessing the foundation of a culture. It didn't fall into the classic mold of science fiction, no question about it. I'm the first to know that. The very premise was dodgy, but you had to suspend disbelief in order to see the possibilities of it. All the professional science fiction writers - unfortunately - did not judge it for what it was. They judged it for what it wasn't. This was a cardinal error and for that reason, I didn't take the criticisms to heart. They were not judging what I had done; they were judging what they had hoped to see...and it wasn't there."
The Solarium. You'll find me there.
The quote offers some of the most succinct and articulate insight into Space:1999 ever spoken. Byrne accurately captures the mood and expectation of critics who unfairly faulted Space:1999 for something it was not. The full tribute to Byrne and his reflections to Muir can be found here.
The force of life is Moonbase Alpha and its inhabitants must find a way to hold onto one another despite themselves and the rearing of the ugly head that is sometimes very dark human nature. This combined with sometimes dark forces beyond their understanding often working against their survival. This is not a series for the close-minded. susceptible to misunderstanding or pre-conceived notions.
A blue orb of light hurtles toward the Moon. The effects shots of the Moon are impressive. Commander John Koenig and Professor Victor Bergman witness its arrival. Once again, Bergman comes up empty with answers, "It's a new one on me." Ah, Victor. You are a bright, all too human representative of us. In space, everything is a question for Bergman. God bless him. He is a real human being. He is one of the major factors I loved Space:1999, Year One. He attempts understanding, but is also open to accepting that which he cannot understand. 
His human reaction to the questions of the universe is why his character is so beloved by me. He is an intelligent man, but like any man of science and knowledge he has as many questions as he does answers. When he says he doesn't know he's never fearful of admitting so. He's not bashful in admitting ignorance. Who has all the answers? He doesn't know right along with us. Our Alphan conundrums are his Alphan conundrums. His responses are real and human. He has an appetite for understanding, but a spiritual embrace of a universe that remains a mystery to him and all of us.
One of a number of terrific set pieces for Space:1999. The Nuclear Generating Area.
Somewhere on Moonbase Alpha, we meet two new Alphan characters in Anton and Eva Zoref. Great names. I love the sense of isolation for the Alphans. The music, provided by Composer Barry Gray, always heightens the sense of dread or the eerie, isolating quiet of outer space. Gray is exclusive to Space:1999 Year One. Year Two would find music provided by Derek Wadsworth.
David Kano reports to Koenig that Computer has nothing to offer regarding the blue light. Once again, technology is not automatic for the human population of Moonbase Alpha. Koenig requests all section heads assemble. This may be the first time we've heard him make reference to the various section chiefs of Moonbase Alpha. Click here for details found at the bottom of the entry. Anton's work zone, the Nuclear Generating Area, is stunningly detailed. What a set! As the section heads assemble for Koenig including Bergman, Alan Carter, Dr. Helena Russell, the Alphans slow in motion to a full stop.
Everyone on Alpha has ceased moving except our dear Alphan Anton. Anton senses something, but disregards his instincts. The alien blue light has chosen its host. Technician Anton Zoref calls for help from within the Nuclear Generating Area notifying Main Mission of an emergency. His plea for help is met with ghostly silence. Awash in blue light Anton falls to the floor. The blue light disappears and motion and order is restored to Alpha. As a result, Koenig cannot recall what he and Russell were discussing just moments prior to the freeze. Interestingly, John Kenneth Muir cleverly points to the name Zoref as an anagram for froze. Zoref is a rearrangement of that word, a concept that permeates the Force Of Life installment. Paul Morrow receives a distress call from the Nuclear Generating Area and reaches out belatedly to Zoref. The camera twirls heightening the effect that Anton Zoref is out of sorts and no longer quite himself. Once again the world of Moonbase Alpha is under attack by forces beyond human comprehension. Zoref is undergoing a transformation, adapting to physical changes as a result of his newly acquired parasitic relationship with a faceless alien force, whereby this organism benefits at the unfortunate expense of its host Anton.
The images in those opening credits have burned inside my crystallized intelligence. There was something so inherently frightening about Space:1999. I sensed the creators intentions regarding the series even as a child. How come the critics could not? My mind, as Byrne suggested, was open to the possibilities before me. Who knew a young child would understand the limitless possibilities of space and its potentially dark forces better than a bell-bottomed pant-wearing critic? I knew what was out there was beyond my understanding and yet I was beguiled. Why weren't others with a fully developed mind? The series was far more sophisticated than my young mind could comprehend yet I embraced the essence of the series whenever it reached my television screen. Not all, but many critics simply applied a near Pavlovian critical response to Space:1999 reflective of the influence of Star Trek: The Original Series. Though I didn't fully recognize it, I viscerally understood the intrinsic differences between the two programs on an instinctive level and there was something incredibly spooky about Space:1999 that captured me forever.
Koenig and company respond to the Nuclear Generating Area as Anton regains consciousness. He is clearly ready to get back to work, but Russell will have none of it. Keonig wants the area fully reviewed by Bergman. Alpha depends on it. In the Medical Section, Anton is hooked up to a monitor and with a single power blink the monitor dies. Russell doesn't make the connection to Zoref and the malfunction is believed to be a mere technical aberration. Russell orders Anton to rest. Russell requests Mathias fix the blown monitor. Later Mathias would inform her the monitor is just fine, but that the energy cells were found to be drained.
*
Bergman reports instruments in the Generating Area record a "massive discharge of energy." Bergman insists there is no sign of any radiation leak. "Then what caused it?" asks Koenig. Bergman responds as only Bergman can, "Uhh, that's a good question." Koenig is like a Pit Bull. He knows something is not right in Alpha land. Russell insists Anton appears fine other than a mild case of shock. Koenig is less certain.
*
Gay is hot, but if I wasn't heterosexual Ian might rank too.
Back in Anton's quarters, he greets his adorably cute wife Eva as she exits the shower. She is delightfully portrayed by Gay Hamilton. Gay is hot like fictional UFO character Lt. Gay Ellis minus the purple-pink wig. Even Eva knows all is not well with her husband Anton.
Lighting is key to the atmosphere found in this David Tomblin directed entry.
Anton appears to be absorbing all signs of electrical life. He cannot help himself. Bergman presents his chart findings to Koenig. It's the standard Space:1999 heat signature graph or body scan, but it gets the message across. Bergman points to the energy mass at the exact moment Anton passed out in the Nuclear Generating Section. "Unless, it's something entirely new to Alpha," wonders Bergman. It doesn't make sense to Koenig since there are no energy sources of any kind close to Alpha. Bergman points to the logical, "there obviously is."
*
The shot juxtaposition of Anton Zoref in the foreground of the DANGER signs is sheer genius.
Anton, despite doctor's orders, swings by Nuclear Generating Area 3, his office, and chats with his colleague Mark Dominix. Alone again, a strange sound effect accompanies a close-up of Anton's face highlighting the terror that has overcome Zoref. He begins feeling strange again. He calls to Mark. Mark comes to his aid. Anton is freezing. Mark kindly gets him a cup of coffee. Anton quickly turns the cup of coffee into a frozen mass of joe and Mark's next. 
The cup shatters as it drops to the floor. "What's wrong with me?," a frightened Anton pleads. Mark finds out as he grabs the faint Anton only to find his own very life force extracted and absorbed by Anton. Mark is transformed into a frozen human popsicle and falls to the floor, but doesn't shatter like the normal cliched result. Anton runs from the Generating room. Mark's wristband alert activates.
*
It was at this point in the action I was 'forced to life' myself. I had to pack and exit to attend a gymnastics meet for my Girl Wonder. If you have kids you'll understand the difficulty of getting through a serial episode, nevermind an actual film, all in one sitting. While I adored every minute of her meet and watching her compete, in my moments of solitude and peace between events I wondered of the fate of Anton Zoref and was eager to return home in due course to find out.
*
In the Medical Section, Mathias and Russell are alerted by Computer that "Technician Mark Dominix Life Functions Terminated." Koenig learns of the death of Mark Dominix. "I don't understand." We never ufully nderstand the complexities of outer space and what new realities it will bring. Koenig suspects the answers lie within the Nuclear Generating Area.
*
Anton returns to the safety of his quarters. Eva queries what's troubling him.
*
Eva's deeply felt concern for her husband Anton pulls us further into Anton's world. These intimate moments create deep empathy for the character's plight and we connect to their pain and anxiety. Anton adapts and evolves in accord to the assimilating lifeform. As the changes occur and affect his behavior we become more deeply sympathetic to both Eva and Anton and their collapsing world. In the cold remoteness of space and the separation from humanity, having one another is their greatest strength. To witness the two lovers torn apart is truly painful and the acting, script and direction create an ultimately agonizing scenario. I hung on every moment and every word.
Not exactly complex data readouts.
Bergman reports to Koenig a comparison of graph charts. One chart highlights an electrical discharge when Zoref collapsed. The other chart is a discharge when Dominix life ceased. "This alien force is here right now somewhere on Alpha." You see, Victor knows how to assemble information to deduct the possibilities.
*
The personal touch of Director David Tomblin.
Outside the Medical Centre, Zoref begins to lose it again. His blank appearance suggesting a loss of humanity. A sexy Alphan happens upon him, but continues on looking back at Zoref with freakish concern. Poor Anton Zoref is clearly not himself. Zoref pursues the woman like the man possessed that he is. The camera work and direction by David Tomblin is the absolute best I've seen in the series to date. It is a superior piece of film work. He gives Byrne's haunting tale everything the frightening story needs. This is body horror of a supernatural kind. 
Something is clearly not right with Zoref and Tomblin allows viewers to experience what Zoref is experiencing. If anyone creates a genuine sense of alienation and a visual sense of alien infection, it's David Tomblin. The odd angles, the sweaty close-ups, red [warm] and blue [cold] lighting effects, the slow motion and blurred focus suggest many things. Fear is made real here. Viewers feel a sense of alien usurpation through the camera and McShane's performance. Ian McShane has always been a huge presence on camera and even when he doesn't say anything, his actions and appearance is menacing. The creators really take advantage of his talent here and couldn't have cast a more convincing actor for the character than McShane. He is at once sympathetic and conversely terrifying. While Force Of Life is clearly essential science fiction viewing, this is a MUST VIEW sequence. It is positively brilliant in its execution [no pun intended].
The David Tomblin effect. A classic.
When that elevator closes to the Travel Unit, Preston's last hope for survival closes with it. When her distress and peril is unnoticed by her fellow Alphans it is clear her life is lost. Perhaps it's true "in space no one can hear you scream" [the tagline to Alien in 1979]. As Zoref's hands reach into the camera you cannot help but feel the terror of the sequence as if he is pulling the very life out of the viewer. It is intimate. 
The life of Medical Orderly Hilary Preston is forced from her being. Mathias and Russell discover Preston's frozen corpse. The body count is growing and we have a severe pattern developing. Russell believes the alien force is "absorbing heat." The Alphan command team is beginning to catch on.
*
Eva Zoref passes two orderlies carting away a deceased Preston as concern overcomes her. She runs to Medical. She asks Russell for Anton and tells her he was suppose to be seeing Dr. Russell. Eva informs Russell something happened while he was with Dominix. Anton is sick. She too is worried sick about Anton.
*
Russell reports to Koenig. Something tells me CommLinks will be swapped for Stun Guns soon. Koenig requests information from Kano on Zoref's last entry into the Nuclear Generating Area. His last appearance there was when Dominix died. Koenig wants Zoref found.
*
A stunning shot for obvious reasons, but one you would rarely see on television. Sexy thigh action! Thank you again David Tomblin. You were a great man with a keen eye. GULP!
Anton Zoref enters the Solarium. The area is a room of sunning rest and relaxation. Women and men bask themselves in artificial sunlight. Not to mention, these are extraordinarily good-looking Alphan women. It's interesting to note we are seeing a variety of set pieces not seen before in Space:1999 in Force Of Life. 
There is much eye candy here in more ways than one my friends. Anton cam is particularly cool. If my fcollege ilm professor asked us to choose something for dissection and analysis this would be an episode I would proudly display for all.
*
Anton has had better days and we, like Eva, worry for him as he slips further into the alien abyss.
Clearly Anton has come to the right place. The artificial sunlight serves Anton's alien parasite well as the host body of Anton absorbs the heat lamps with pleasure. Main Mission is alerted to the power fluctuations in the Solarium. Koenig, Carter, Bergman and others rush to the scene. Tanya Alexander is there and summons command for help. Alexander looks awesome half-naked. 
Koenig arrives as Zoref moves toward a bikini-clad Alexander and shoots out the power. Koenig and company don't fully understand what's in play or how Anton is ticking at this time, but the move causes him to fall to the floor. The musical composition that accompanies the entry is also particularly peculiar and is notable for adding to a deliciously enticing science fiction atmosphere.
*
Zoref is alive, but even Russell knows moving him is "too dangerous." Koenig makes a command decision himself and with some trepidation touches Zoref's face with his bare hand. It's clear the team realizes Zoref may suck the life right out of them with simple human contact. When Koenig makes contact Zoref is unconscious and temporarily neutralized. Russell makes the point it may be safe, but it's temporary.
*
Yes David Tomblin, we really love this shot too. GULP!
Zoref is relocated to the Medical Section. Zoref is strapped down and relocated to an observation room. Koenig doesn't want Helena going into that room should he regain consciousness. She doesn't see him coming out and she promises to stay out. Koenig points out to a security guard outside for Russell. Could Koenig have pointed him out to inform us he would be the next victim?
*
Bergman and Koenig confer over one of Bergman's classic multi-colored, heat signature charts. Bergman indicates the alien force is inside Zoref. Computer is of little use in identifying it. That's the great thing about Computer on Space:1999- nothing. It's only as good as the data loaded into its data banks. How can you explain away the inexplicable and the unknown? Space:1999 doesn't try to get cute or fancy in serving up a bunch of phony computer data as frequently constructed by the writers on any number of Star Trek incarnations. This is Human Intervention 101. The Computer is okay, but it's never a crutch. It's up to us to figure it all out or get lucky. Bergman indicates the power source is "growing like mad." Koenig and Bergman cannot understand the purpose of this alien entity. "We can speculate forever, that's not our problem." That's it! They may not fully understand their new surroundings, but they must find a way. Koenig knows the force must be dealt with while it is still "relatively weak."
*
The heart breaks for Anton Zoref.
It's FAB FRIDAY! And what better way to celebrate all things fabulous in the world of Gerry and Sylvia Anderson than to plug for FANDERSON!
If you want to get something special regarding a movie star, music artist, television show, you'll have to join the fan clubs too. I had been eyeing the Fanderson club for quite some time unwilling to pull the trigger. I believe the American fan club counterpart is Andersonic. I'm uncertain if Andersonic is still active stateside. Anyway, there were a good number of items from Fanderson I was desperate to get my hot, little hands on, but really cringed at the thought of paying for another fan club's access. I mean, I am so over fan clubs [or so I thought]. My biggest fan club is my kids and I really don't have the time for other clubs. Unfortunately access to the good stuff is often held within the loving arms of these sincere and labor of love-filled clubs.
So, along with my membership, I also picked up a few of Fanderson's FAB magazine back issues. I can't say that I was overly excited about the fanzines. I had very low expectations. Well, can you say blown away? WOW! FABulous! Was I ever wrong!? Was I ever impressed! Yes, the creators behind FAB magazine, led by Editor/ Writer Chris Bentley, really assemble a high grade production. The splendid little book-sized magazine is fully loaded with black and white and full color series and behind-the-scenes images, lengthy interviews, thorough analysis, news, reviews, comics and much more. It is a highly entertaining read, especially while kicking back between cat fights on BRAVO's The Real Housewives. I must admit I am reinvigorated to order more of those back issues that I didn't purchase initially. They are that good! I picked up a few zines to try that included interviews with Catherine Schell [Space:1999], Martin Landau [Space:1999], Christopher Penfold [writer for Space:1999], Michael Billington [UFO] and more. The Fanderson publication is truly something special. The creators of the magazine really pay attention to the details and the writing and is easily a labor of genuine effort for all things Gerry and Sylvia Anderson. As far as fan clubs go, this is one of the finest I've ever seen.
As I mentioned, I was not overly optimistic about joining a fan club. After all, once you join, you have to periodically rejoin and that is a right pain in the ass. Fanderson will give you everything you need to know on the classics. The work of Fanderson in many ways provides a dynamic, thoughtful historical outlet for all of the Gerry Anderson productions and is very much under the steady guidance of Chris Bentley and others. It's no wonder its officially sanctioned by the creators of these works.
I also joined the Pet Shop Boys [PSB] fan club for a time to receive the periodic Literally fanzine. Writer Chris Heath handled the writing chores for that quality fanzine. I also managed to get a few nifty PSB CD rarities for a time, but then some of it became available after the fact. Despite some of the music becoming available, I do think Literally, a fanzine book of superb quality, was worthy of admission.
So the Fanderson membership will hopefully bring some additional insights into the world of Gerry and Sylvia Anderson that I can share with you right here.
