Robert Culp [1930-2010]: A Great American TV Hero

I'm a few days late getting this post up, but then it's being remembered that counts. American actor Robert Culp [1930-2010] died Wednesday. He left a mark on some terrific television.

I don't actually have the DVDs for Robert Culp and William Katt's series The Greatest American Hero [1981-1983], but I intend to get it someday [no video clip - sorry]. I was a fan of the show when it was on television for three seasons and forty-four episodes. Culp was terrific as Katt's FBI friend Bill Maxwell. He added a spice and fun to the show. He was definitely part of a terrific chemistry in television that yielded an unlikely hit for a relatively short period.

For many he was best known for his role in I Spy [1965-1968] opposite Bill Cosby, but not for me. I've never seen the show. He also appeared in The Man From U.N.C.L.E. [1964], The Outer Limits [3 episodes] [1963-1965] and more. The man was also married five times. Whoa! Ouch! I mean why bother really.

*

Robert Culp as Commander John Koenig.

More importantly, given my love for Culp's role in The Greatest American Hero and my love for Space:1999 I found this quote interesting. Folks, I only read this quote this morning by chance. If it wasn't a sign from the heavens to mark the moment of Culp's passing for me I don't know what would be. Author Robert E. Wood reports the following passage from his book Destination: Moonbase Alpha. Space:1999 was assembling the leads for its cast. Martin Landau and Barbara Bain were slated for the roles. Wood reports Producer/ Creator Sylvia Anderson had other plans. "Initially Martin was not my choice- I have to say that. I wanted Robert Culp, someone a bit more offbeat." There you have it. Clearly, Sylvia Anderson battled for her voice to be heard, but she was on the losing side of that one. The rest, as they say, is history for Space:1999 and spirited actor Robert Culp.

UFO Ep1: Identified

Purple-pink wigs, hot chicks, spaceships and secret agents! What more do you need to know? With a picture like this, do I need to even go on? Thank God for girls and thank God for Gerry Anderson!

It's FAB FRIDAY! [with all things good in this world, including the girl in the photo, from the minds of Gerry & Sylvia Anderson.]

Many of you may already know that UFO [1970-1971] achieved just a single season of television. There's a great deal of history woven between both UFO and Space:1999. Many threads entwined between the two series before resulting in their final, definitely unique looks and mythologies. Space:1999 was born of the ashes of UFO. UFO had done well enough there were plans to produce a second season of the series, but as one thing led to another. The plug was pulled. UFO folded and Space:1999 was born.

I love this killer female opening with the episode's title in the foreground. THAT'S HOT!

In keeping with the ultra-F.A.B. world of Gerry & Sylvia Anderson and FAB Fridays, I thought I'd take flight and give UFO a whirl. UFO, as acronyms go, stands for Unidentified Flying Object. It stands to reason that this science fiction adventure series from the Andersons would have some element of flying concepts in its story. The first episode is a fairly dead giveaway. We take a look, beginning with some historical perspective, at Gerry Anderson's first live action adventure series, the precursor to Space:1999, a prequel of sorts, UFO, Episode 1, Identified. So much for unidentified objects.

Moonbase Alpha? I think not, but it is the earliest incarnation of what would become Moonbase Alpha on Space:1999.

Gerry Anderson's UFO followed the end of Star Trek: The Original Series run [1966-1969] and, like Space:1999, was and still is radically different from Gene Roddenberry's science fiction vision. Impressively, the production values for both Gerry Anderson series nearly matched Star Trek visually and certainly carried the torch from Thunderbirds [1965-1966]. UFO was the precursor to Space:1999. UFO sported one base location on the Moon. This would evolve into Moonbase Alpha when a decision was made to change things up from the existing UFO platform. UFO also showcased special fighters dubbed Interceptors to protect the Moonbase and Earth. The Interceptors were a precursor to the idea of the Eagles, but resemble more closely the Battlestar Galactica Vipers. The Moonbase location shots offer an atmosphere reminiscent of Space:1999, but on the whole, the sexy women, psychedelic colors and the frequent returns to Earth take the viewer out of the potential mood and sense of isolation so well developed on Space:1999.

"You're hair looks great today." "Yours too Gay."

There is no doubt ideas flowered from UFO and set the tone for Space:1999. Those more mature concepts propelled Space:1999 to score two solid seasons, while UFO had to settle for just one season of 26 episodes. Lord Lew Grade produced the series with Gerry and Sylvia Anderson for Century 21 Productions and ITC Entertainment, like Thunderbirds. This was to be their first real attempt at marketing science fiction, minus Supermarionation, to an adult market. It was fairly serious in tone for its day, but was more like a bridge between the kid-friendly Thunderbirds and the more complex world of Space:1999. UFO was reasonably successful and garnered enough enthusiasm to slate a second season, but Grade, in a bizarre move, scrapped the UFO saga in favor of a new space adventure to take place somewhere other than Earth. Enter Space:1999 a few years later. In the interim, Gerry and Sylvia Anderson's The Protectors [1972-1974] would fill the gap featuring Tony Anholt who would later play Tony Verdeschi on Space:1999 Year Two. Oh, what a tangled web we weave.

Rule 1: Sex appeal over saving lives. Disregard the UFO on that monitor.

According to Author John Kenneth Muir's book, Exploring Space:1999, Gerry and Sylvia Anderson initially planned to revamp UFO, in much the same way they would later revamp the Space:1999 series for its own Year Two. UFO was morphing into UFO 2 or UFO 1999. Even cast members from UFO were slated to return. Muir points to writers George Bellak and Christopher Penfold [important Space:1999 contributors] as points of divergence. As the scripts progressed the connection and ideas meant to associate with the UFO mythology began to differ so markedly the decision to venture into new territory altogether gradually occurred. Space:1999 was inevitably born out of UFO.

Muir points to Space:1999 as the "only serious space adventure of the early '70s." One could certainly argue or make a case for UFO as leading the charge to some degree, but it's likely the purple wigs take it out of consideration. There are three possibilities for Muir's omission. 1. It was an oversight on Muir's part. 2. It was too closely tied to Space:1999 to be counted. 3. The purple wigs and sex kittens took away any shot Muir would seriously go there. Despite the omission, UFO is an imperfect, but welcomed entry into the world of science fiction if not entirely serious on a substantive level to match the likes of Space:1999. It's easy to understand the omission.

Gabrielle Drake would eventually exit UFO prematurely. A fan favorite for obvious reasons.

Additionally, UFO has the least visibility and recognition of any of the three stateside entries covered here on Musings Of A Sci-Fi Fanatic next to Thunderbirds and Space:1999. It is one of the Andersons' most overlooked works. For more on the intriguing connections between the two series feel free to check out your source material like Muir's book and to some extent the work of Chris Bentley. Autobiographies are always of interest as well such as What Made Thunderbirds Go! The Authorized Biography Of Gerry Anderson and My Fab Years by Sylvia Anderson. Again, one cannot help but feel UFO remains a kind of candy-coated adult treat between the kidtabulous Thunderbirds and the more deadly serious Space:1999. So while interesting, UFO doesn't quite reach Space:1999 proportions as far as live action science fiction goes. The divide between the two is significant, but Space:1999 might not have been without it. For all of the fateful decisions made resulting in UFO's cancellation one can be thankful for the eventual evolution into Space:1999. Of course, that depends on which series you place your greatest loyalty.

Set production is close to Space:1999 quality.

The story of UFO centers on a cadre of brave men and women inside a unit dubbed S.H.A.D.O. [Supreme Headquarters Alien Defence Organization]. Their mission is furtive [a Gerry Anderson trademark of course especially in Thunderbirds] and their sole purpose: to protect humanity from a powerful extra-terrestrial enemy with an unquenchable quest to harvest humans. Not unlike the mysteries of Space:1999, UFO's alien threat remain a mystery. Humanoid in appearance they are simply referred to as "aliens." Special Effects supervisor Derek Meddings was also on the job to elevate the level of quality here. In fact, a number of players, who would later work on Space:1999, appear here on UFO like Director David Tomblin, Composer Barry Gray [Thunderbirds and Space:1999] and Producer Reg Hill [Thunderbirds] among others. Click here to learn more about the amazing Reg Hill. If anything, like Thunderbirds or Space:1999, UFO offers yet another colorful and fascinating Gerry & Sylvia Anderson universe worthy of your exploration. Of course, naked chicks with purple wigs is great incentive for the testosterone-enslaved.

The first thing that hits me is the almost psychedelic, retro score of Barry Gray. Well, retro in that I'm hearing it now and not when it was scored to be fair. It's very late sixties and I must admit that I love it. Based on those opening credits the purple wigs are sure to match the vibe of this early era space adventure. Further, based on the images in the opening sequence, there are a number of Moon-based and Earth-based assault craft to battle the enemy. It's sure to be a wild ride. To kick things off, three Brits are plugged by a futuristic, shiny, metallic, machine gun weapon. Two appear to be shot and killed.

Pretty nifty little action sequence. Very James Bond.

Colonel Ed Straker arrives in England. He has an attache case attached to his arm via a metal chain. He is whisked off a plane and taken directly to a covert British location. The late Ed Bishop, who plays lead character Ed Straker, bleached his hair to complement the other aesthetics of the series like the uniquely designed sets and the purple-wigged wonder ladies of S.H.A.D.O.. Straker presents to his fellow British officials film from his top secret case indicating the appearance of UFOs. Without warning, the British vehicle carrying Straker aboard and the accompanying escort bikes come under explosive fire. A UFO scanning them from above takes out the bikes and sends the car tumbling down a hill. Straker is thrown from the vehicle. His briefcase breaks opens with photos strewn about with evidence of the craft that has just forced this event. The pictures are on fire. How would the UFO know who was in the vehicle and why would they care?

The charismatic Ed Bishop as Commander Ed Straker.

UFO is set in the year is 1980. Based upon my love of Thompson Twins, Duran Duran, Spandau Ballet and the lot, UFO isn't that far off in its fashion predictions for the decade. At a location called Harlington-Straker Film Studios, we find S.H.A.D.O. Headquarters is masked to the public underneath a perfect film studio front. The futuristic cars look terrific. Costume and set design look to establish yet another spectacular Gerry Anderson winner.

We are introduced to secretary Ealand. Miss Ealand would be UFO's answer to Miss Moneypenny from the 007 films. Alec Freeman arrives and enters his office to descend into the basement location of the secret S.H.A.D.O. Headquarters eighty feet below the film studio facade. Freeman is greeted by a classic hottie in tights down below. She's not my type, but is a fairly impressive Earth specimen. He is taken to meet with Ed Straker. Straker runs the top secret S.H.A.D.O. operation below the studio coming and going as Harlington-Straker's Chief Executive Officer.

The name is Freeman, Alec Freeman.

Straker informs Freeman of a variety of UFO [pronounced you-fo] attacks and sightings. Freeman is charged with the Utronics project. Shane Rimmer, a.k.a. Scott Virgil of Thunderbirds, guests on UFO as a pilot flying Freemen to Los Angeles on SHADAIR. Anderson does create the illusion of an expansive universe in UFO. Straker contact Moonbase. It's impressive, but small when compared to the more imposing and spectacular Moonbase Alpha.

Gabrielle Drake [left] as Lt. Gay Ellis.

All the lassies on S.H.A.D.O.'s Moonbase wear purple wigs. Gerry and Sylvia Anderson fancied themselves as trendsetters and projected military operations might be utilizing wigs as part of their attire in years to come. Purple-pink wigs might have been a stretch in that calculation. Their predictions regarding technology weren't that far off when looking at some of the voice-recognition software found on UFO or the CommLock communication devices of Space:1999. It's all happening today.

Gay swaps her tights for a mini-skirt on break. I really need to get a new job.

Straker reaches out to Lt. Gay Ellis and places Moonbase on yellow alert. SHADAIR is to be monitored closely. Okay, so I don't think I'm going out on a limb here when I say, British chicks are hot! I love British chicks! Okay, I love American chicks too, but British chicks are way too damn sexy for their shirts or skirts. Lt. Ellis, played by Gabrielle Drake, is a purple-wigged smokin' hottie. She appears to be the one to watch here. If the show goes nowhere, at least we have Lt. Ellis. The sets are amazing for a show of its era. Though, thankfully, reel to reel tape storage has become a thing of the past. Reel to reel always looks cool in science fiction though. ATTENTION: Semi-naked babe alerts! They even dress down. British boys must have been out of their trees back then. This is too much! YUM-A-RAMA! Captain Lew Waterman apparently gets to stick around for the debriefings. Those are my kind of debriefings. We don't have debriefings like that. The music and visuals are irresistable. HOLY SMACKEREL! Some of these little moments are making the episode extremely worthwhile. See for yourself.

It's fitting Gay should be reading Design magazine. I'm thinking science books aren't her thing.

I'll bet you could do with a bit of action there big fella. Moonbase must get lonely unless you have distractions like Lt. Gay Ellis around. Gay could keep things interesting on Moonbase. Although she is incredibly sexy, Lt. Ellis does appear to be one of the intel heads of the operation. Thank God for small favors. Intelligent and ultra hot lieutenants. Thank you! Apart from the sex appeal of the ladies, some of the men wear icky mesh tops. "You can see their nipples" says the Boy Wonder. Not the ladies I'm afraid just the men friends.

Artificially intelligent SID [Space Intruder Detector]

Meanwhile, as Identified continues to tableset the series, we discover an underwater sub unit dubbed Skydiver is handling all underseas operations. S.H.A.D.O. is everywhere. Is the Captain of Skydiver the same man who was shot running from the UFO at the beginning of the installment? Sci-Fi Fanatic is puzzled for the moment, but believes it may be the same man. Straker reams one of his subordinates a new butthole for slacking on security. "Don't ever tell me security's difficult." The scene certainly highlights what is notably a wise decision, employing Ed Bishop as effective leader Ed Straker. He's solid in the role out of the gate. We lack much of this discipline in today's world. It's all much more touchy-feely. I bet the folks on Moonbase wished it was touchy-feely back then. Actually, in that way, it was probably more touchy-feely back in the day.

Did I mention Lt. Gay Ellis?

On Moonbase, Lt. Ellis contacts SID [Space Intruder Detector], an artificially intelligent satellite. All eyes are on SHADAIR currently in flight. On SHADAIR, Freeman is very Bond-like and a bit of a flirt. There's plenty of inherent, Bond-light, 007 sexism in the show. Nice stuff and all in good fun. He flirts with a beautiful woman aboard SHADAIR.

Back at Moonbase, the purple-haired ladies are Red Alerted to incoming UFOs by SID. The women of Moonbase are clearly on the job. The ladies alert the Interceptors to launch. In an allusion to Thunderbirds, the pilots jump into sliding launch tubes. Gerry Anderson loves sliding launch tubes!Condition Red. The Interceptors are very much an early, preliminary design to Battlesta Galactica's Vipers. One thing UFO doesn't lack that Space:1999 remedies is its heavy reliance on techno-jargon. There's plenty of Star Trek-like nonsense talk abound here.

The Interceptor: An influence on the Battlestar Galactica Viper?

The Interceptors fire missiles. Moonbase confirms the UFOs are still en route. Straker warns Skydiver and SHADAIR. On SHADAIR, Freemen tells all passengers to fasten their seatbelts. He reassures the sole beautiful woman not to worry. "We have a dinner date. I wouldn't let anything interfere with that." He's a cocky, confident bastard! He is a character.

Scott Virgil's Shane Rimmer, puppet-free.

A UFO enters Earth atmosphere. Straker indicates the UFOs are susceptible to vulnerabilities inside the Earth's atmosphere. It's their greatest protection strength against them.

Skydiver launches its own Interceptor. There's a hint of Thunderbirds to the launch proceedings reminiscent of Thunderbird 2. Freeman's not too crazy about the lack of cloud cover. There's "about as much cover as a G-string on a belly dancer." He's one to watch. Look out Gay! You could be next.

The UFO and Skydiver Interceptor have at it. YOU FO going down! The Skydiver reports the UFO shot down and in the drink. A body is spotted. Based on Straker's reaction, they've never actually recovered or "identified" their enemy this intimately.

Back at S.H.A.D.O. Headquarters, Straker and Freeman discuss the find of a decade. Straker indicates they have been looking for a break like this, a humanoid lifeform, for ten years. The first sighting of a UFO took place ten years ago. Speculation went on about the UFOs roughly ten years prior to the first sighting. Freeman toasts Straker for the job he's done running S.H.A.D.O. thus far. There appears to be a mutual respect between the two men. "What are they? Where do they come from? What do they want?" questions Straker.

Cheesy, but good.

The humanoid creature is carted down the hall. Green-painted skin and plastic lenses covering the eyes create a particularly odd-looking humanoid. It is learned the aliens travel utilizing space uniforms and liquid-breathing apparatus. Earth has been experimenting with such a possibility [remember The Abyss?], but these creatures appear to be advanced. A gruesome discovery is uncovered.

Yes, humans are being harvested for alien survival and with Earth the farm and harvest is the limit. Before long, following prolonged exposure to Earth's oxygen, the alien ages rapidly and dies. Straker concludes everything in the post-mortem report points to a technologically advanced, but "dying race," hence the needs for human organs. The deceased humanoid indicates there were five organ and gland transplants from Earth humans. These creatures must know the risks of entering Earth's atmosphere and must need to take that risk for survival, "the greatest force in the universe," declares Straker to a riveted S.H.A.D.O. team.

In the end, Straker informs Captain Peter Carlin of the circumstances surrounding the death of his once missing sister before he heads back to Skydiver. The twist, Lela Carlin was the victim of a transplant. Her heart was found in the humanoid body. The earlier prelude to Identified clearly saw Lela Carlin and Captain Carlin on the run from the UFO attackers. Lela died and Peter Carlin survived. No one knew of Lela Carlin's fate ten years ago until now. Peter Carlin now works for S.H.A.D.O.. The earlier incident involved the Carlins and took place ten years ago before S.H.A.D.O. was ready. The series clearly shoots for the dramatic, achieving melodramatic at times, but generally doesn't quite hit the right notes in Identified due to the fairly unchallenging script. Still, this is a good start and getting a good start is half the battle with any show.

An impressive camera shot of Straker at episode's end.

So the irony of UFO's Identified is that while the aliens aren't exactly unidentified, they are not specifically identified either, but at least they no their intentions and that's a start. Can you imagine seeing this on TV today, even SyFy [I hate that logo]? UFO is not only a bridge in style and substance between the series Thunderbirds and Space:1999, but it is also a bridge to more thoughtful writing and more challenging scripts. The writing here is clearly far less complex or ambitious as Space:1999, but it is only the first episode. It's an intriguing, if mildy satisfying start to a colorful series with potential.

*

Identified: C+

*

Writer: Gerry & Sylvia Anderson and Tony Barwick.

Director: Gerry Anderson.

.

.

.

.

.

.

.

.

.

.

The Cast:

.

Commander Ed Straker [Ed Bishop]

Colonel Paul Foster [Michael Billington]

Lt. Gay Ellis [Gabrielle Drake]

Colonel Alec Freeman [George Sewell]

General James Henderson [Grant Taylor]

Colonel Virginia Lake [Wanda Ventham]

Captain Peter Carlin [Peter Gordeno]

Lt. Nina Barry [Dolores Mantez]

Captain Lew Waterman [Gary Myers]

Lt. Keith Ford [Keith Alexander]

Lt Ayshea Johnson [Ayshea Brough]

Dr. Doug Jackson [Vladek Sheybal]

Lt. Joan Harrington [Antonia Ellis]

Miss Ealand [Norma Ronald]

Lt. Mark Bradley [Harry Baird]

Space Intruder Detector [Mel Oxley]
*

A Gerry Anderson Button Pusher and he's a whisky man.

DVD Extras: My biggest gripe is the video quality. Close-ups are fine, but get a wide shot that doesn't frame up close and the image is slightly askew and blurred. That's not pleasant to the viewing experience. When I get a DVD Box Set indicating Remastered, I would kind of like it that way. I think that's fair and not a lot to ask. Other box sets have similar problems with such claims like Babylon 5. Nifty extras are historical in some respects and offer a real treasure for fans of the series and actors. Commentaries are provided by Gerry & Sylvia Anderson, Director Alan Perry, Actress Wanda Ventham, the late Actor Mike Billington and the late Ed Bishop. Outtakes are always worth a look.

Jonathan Harris [1914-2002]: Dr. Zachary Smith

I have completely immersed myself within the world of Lost In Space. Like anything else, I take on the task with clear abandon [or until I get bored and give up for a brief time]. I have been absorbing all things Lost In Space. So, I bring you all things Dr. Zachary Smith and the man who played him, the late, great Jonathan Harris [1914-2002].

I stumbled across Starlog #248 [March 1998] from my collection. This got me thinking about how much I miss Starlog Magazine. Starlog was a wonderful science fiction publication and one of the rare breeds that genuinely embraced though science fiction investigations on any subject it touched. I do miss it so. There isn't a magazine on the market today that comes close. Starlog, like a number of publications stumbled in sales at the turn of the century and hung on as long as they could before closing their doors. Given it's prestigious history and vast library of publications, it makes it all the more disappointing when considering it is gone. It was a genuine loss to folks like myself. In fact, getting back issues is not exactly easy today since its folding. Not only did they close their doors, but shortly before the finality of that day the company suffered a terrible break when their warehouse suffered a fire and burned thousands of their classic back issues in December 2007.

Starlog #248 featured a piece relevant to one of our topics of late here at Musings Of A Sci-Fi Fanatic called simply Dr. Smith, I Presume. Other articles included segments on Wayne Alexander who played Jack The Ripper/ Sebastian and Lorien and a host of other make-up riddled parts on Babylon 5.

First, I was most intrigued by this article/ interview with Jonathan Harris who played the villainous Dr. Zachary Smith. I have captured a number of the key quotes from the piece that shed light on his beloved character from Lost In Space as well as who he was as an actor. Harris had a pretty fascinating life. So, Dr. Smith, I Presume is officially excerpted from Starlog #248 and the article was written by Ian Spelling. I thought fans of the original show would enjoy the highlights from the piece. Second, I purchased the Biography Channel's bio on Jonathan Harris. I was interested in seeing the documentary entitled Never Fear Smith Is Here. It was delivered to my mailbox in a plain DVD box case. There's no special artwork. It's like a homemade DVD, but his story offered a wonderful journey and I grabbed a few clips capturing Harris' voyage on Lost In Space during Season One, Season Two and Season Three. Here's the scoop on Lost In Space Season One from Harris himself along with Bill Mumy. Enjoy.



On the remake of the series via the 1998 Stephen Hopkins-directed film Lost In Space: "They did offer me an innocuous six-line bit that they laughingly referred to as a cameo, and I told them exactly where to shove it." He adds, "The director, Stephen Hopkins, was a very nice man. He called me from London and we had a very nice chat. He asked me what he could do or say to convince me to be in the movie. I said, 'There is nothing you can do and there is less you can say.' I felt, and I still feel, rather proprietary about Smith. I created him and at the risk of sounding immodest, I feel I own him." He went on to conclude after being offered an extended part, "Yes, yes, yes. You'll extend the part and then it will end up on the floor and I'll end end up with the six-line innocuous bit. Thank you very much and goodbye. The only thing that would have appealed to me, as far as the Lost In Space film was concerned, was playing Dr. Smith." Here is more from Harris and Mumy on Smith, Season One and the transition to Season Two on Lost in Space.



On meeting again with the creator of Lost In Space, the late Irwin Allen, in 1990: "I had lunch with Irwin. He told me he was preparing to do a Lost In Space movie. He thought it was time to do one, and I said I thought it was a bit late myself. He was furious about that. He didn't look well and that worried me. It was the last time I saw him and he died very soon after." Irwin Allen died in 1991. If he had done the film, "He would have...maintained some sort of honesty and accuracy to the original, classic series." Harris makes it fairly clear that the film did not do the series justice. I thought it was pretty evident as well. There really isn't much good to say about Hopkins' film. Harris is loyal to the character of Dr. Smith and the original series. He was indeed a character. I admire Harris for his unflagging, unflinching, unrelenting loyalty to Dr. Smith through the years. Loyalty is one of those qualities I admire.

On his perfect description of the Smith character: "Smith was despicable, desperate, selfish, cowardly, delightful, charming, awful, dreadful and marvelous. All of that I gave him. I was a lovable, comic villain." Yes, he was lovable and loathable. I think that is exactly one of the reasons why we loved Dr. Smith so much. He had all of these great traits rolled up into one like so many of us. It was a bit like looking in the mirror at times. But, despite the comedic nature of Season Two and Season Three's Dr. Smith, detracting from the series for some, many were willing to look passed it and enjoy the character and what Harris had to offer. Here is more on the antics of Lost in Space Season Two and especially Season Three.



On getting the part of Dr. Smith: Harris told his agent, whom he refers to in the article as Mr. Ten Percent, he would not send a snippet of his work to Irwin Allen and that he would be happy to meet him if he was interested. Mr Ten Percent said, "Irwin wants to know who the hell you think you are and he'll see you at 4:00 p.m.." The man, Harris, was indeed a character.

On the fate of Dr. Smith: Harris felt Smith was destined to be written out of the show despite being hired for every episode. The character was just too nasty in his eyes. "I knew that playing Smith as that awful man, that dreadful spy, that they would have to get rid of me. It just wasn't working. It just wasn't palatable. And that's when I started my little tricks." He continued, "My Smith was not on the page. The original Smith was a deep, dark, scowling villain and I hated him. Quite honestly, I thought they might have to kill me off in five episodes because he was just so damn rotten. I didn't like the idea of being unemployed again, which is a dreadful state of affairs." Harris was one of a kind. "I decided to take a chance...the main thing I snuck in was comedic villainy, which I adore." Irwin visited Harris regarding these changes and appearing steamed he told Harris, "I know what you're doing- do more." And there you have it. Harris maintains "Irwin had no loyalty to anything else but the ratings and the crazier I got, the higher the ratings went up. It worked."

Much has been said about the second and third seasons of Lost In Space and the crazy antics of Dr. Smith. Arguments have been made ad nauseum for and against the change in Harris' character. In the end, I would have to place myself in the camp in favor of the more colorful Smith. As much as I enjoyed the darker Smith of the first season, especially now, I'm not sure that character could have endured without change. Harris' version of Dr. Smith spoke to me as a child and to be robbed of Harris' performance back then would have been criminal. My childhood might have been a far emptier place for it. The direction Harris took that character was natural given their surroundings and he hams it up to perfection. I can't imagine not experiencing Lost In Space without having access to the character created by Harris for my child-like wonderment. It just wouldn't have been the same. He hit just the right notes for me then and bounced off the other characters with campy abandon. It was clearly one of the series' highlights. Here is more regarding Harris and his move into Season Three and the end of Lost In Space.



On Irwin Allen, Guy Williams, Mark Goddard and his own popularity: Irwin Allen was not exactly loved by many of the directors who filmed for Lost In Space. Harris recalls directors being at the mercy of Irwin Allen and that he was a "tough cookie." As it turns out, Harris was not exactly beloved at times by cast or crew and it seemed to correlate with Smith's growing popularity. Harris re-wrote much of the dialogue for his character. No one knew his character better than he. "On every series I've done, there was always a degree of tension. You have to understand that Guy Williams, who was charming and lovely and a bright man, was hired to be the father image and star of the piece. And, as you know, he ended up with an occasional line every other week. That's very difficult for an actor to put up with- really, really bad." Harris makes some great television observations as well. "It seems to me that in every series, the audience will pick up on something or somebody they love and must watch every week. So there was tension. Every once in a while, it got a little out of hand, but that was not unusual. Did I partake in that? No sir! I did not have any time for that. Nothing interferes with my work." Mark Goddard claims Lost In Space was an "angry" show. Harris calls that "Bullshit." Mark Goddard's memoir, To Space And Back: A Memoir [2008], will have to be for another day.

On the cancellation of Lost In Space after three seasons 1965-1968: "The real story of why we were cancelled is interesting. We had a fourth year ahead of us at CBS. The ratings were high enough and the fan mail was still coming in from all over the world. But CBS and Fox had a meeting with Irwin and said, 'You're spending too much money for the fourth year. We're going to cut the budget.' He said, 'Over my dead body. No cutting the budget.' Irwin was that way. He loved the set and all the gadgetry and he wanted it in every episode." That makes two of us. I always enjoyed the colorful, vivid sets of Season Two and Three of Lost In Space. So, Irwin refused to cave in to budgetary restraints and according to Harris that is why the show was cancelled.

Harris went on to provide voice work to an animated version of Lost In Space.



So there you go, the fascinating character of Jonathan Harris, a.k.a. Dr. Zachary Smith. He has done a breadth of voiceover work. Did you know he did the voice of Lucifer in the original Battlestar Galactica?



You may have known about that one. How about Jonathan Harris as Manny the Mantis in Pixar's A Bug's Life.



Harris as Manny again.



Harris loved acting. It was his first love and he appeared in series far and wide over his lifetime [The Third Man, The Twilight Zone, Get Smart, Land Of The Giants]. He was best known for his role as Dr. Zachary Smith on Lost In Space. Harris passed away at 88 years of age survived, at the time, by his wife Gertrude, whom he married in 1938, and his son. This is a belated tribute to the special "character man."

Starter Or Closer?

I have a confession about myself when it comes to projects. With the baseball season upon us, I thought it a fitting analogy to bring up one minor imperfection about myself [of many] with a comparison to Major League Baseball Pitchers. In baseball, the role of pitcher has assumed astronomically specialized proportions.

There is of course the starter. There is often a middle reliever. There can be a set-up man. There can be the lefty specialist. Finally, we have the ninth inning closer. The closer will sometimes give you two innings, but it's certainly not advisable unless you're Mariano Rivera [bastard!].

Anyway, when it comes to writing I'm essentially a starter and I like to think I'm a really strong starter, but, truth be told, I'm not a strong finisher. If I was a pitcher I would probably need a middle reliever around the seventh inning, but I definitely would need a closer. Closing things out is really hard for me.

This is why I give myself small props for finishing the series Babylon 5 here on the blog. It was five seasons and it was a significant mental undertaking and it proved to me, little old Sci-Fi Fanatic, that I could indeed finish or close things out when I set my mind to it. You see blogging teaches us things about ourselves we questioned. I sit before you, like a knight slaying his dragon that I have defeated my greatest weakness, finishing the deal.

So if I do digress from time to time, it is my natural inclination to stray or lose interest, more out of exhaustion than disinterest. Taking on something fresh, new or different essentially recharges me and gets me rolling again. It seems to anyway.

I can't explain it, but I'm quite simply a starter. How would you classify yourself? Are you a starter, reliever or closer? I'm a bit like Nolan Ryan myself. Well, okay, that may be taking the analogy too far.

Space:1999 Y1 Ep7: Missing Link

A beautiful shot of my favorite space vessel, The Eagle. The violet planet, Zenno, set against the vast darkness of space with The Eagle in the foreground is a genuine beauty. It's one of the many things I love about Space:1999s eerie ability to create a sense of isolation.
*
Friends, grab your stun guns, it's FAB Friday! [and a look inside the creative minds of Gerry & Sylvia Anderson].
*
The bird goes down. White Eagle Down.

The latest entry is an allusion to the concept of the missing link in evolutionary theory. This refers to the missing transitional lifeforms that somehow bridge the gap between one evolution to another, like primates to humans.

The entry opens with some terrific shots of space and a wonderful miniature shot of Moonbase Alpha. For a show that is decades old, it still looks positively stunning! Paul Morrow reaches out to Eagle One. Commander John Koenig is returning to base with Alan Carter, Professor Victor Bergman and Sandra Benes. They were descending to a nearby planet's surface when suddenly without their control their speed accelerated. Koenig and company feel the g-forces pulling them toward the planet's surface. Bergman indicates all readings point to normal sustained g-forces despite the experience. Bergman indicates whatever it was "it wasn't anything we know about." Exactly, this is the world of Space:1999. Bergman can only stand puzzled like the rest of us and right alongside those perplexed on-board computers. Our heroes never know what to expect in outer space. It is simply a mystery best summed up by Bergman's often confounded remarks. Koenig indicates all power was needed to break away. Suddenly, without warning, the Eagle loses power and all control systems. You have to appreciate traditional special effects and the resourceful ingenuity of them. They are breathtaking.


*

Prepare yourself for the latest installment of Space:1999, Year One, Episode 7, Missing Link. Missing Link may be best remembered as the vehicle featuring special guest star Peter Cushing. Yes, THE late Peter Cushing of Star Wars Episode IV: A New Hope Grand Moff Tarkin fame and acclaim. He makes an appearance right here in our latest entry of the oft-slighted, but wonderful Space:1999. Gerry Anderson had some considerable sway and pull to call upon a host of talents throughout his series' run.

The hydraulics, yes, another Eagle money shot.

Paul tries to contact Koenig and company. Computer, which has access to their life signs, locates them in a crater 100 miles from Moonbase Alpha. Three are alive, but Computer has lost contact with Koenig. He's flatlined on the readout. Paul has Dr. Helena Russell get a medical team over to launchpad seven. There is an extra nifty close up of one of the legs of the medical Eagle lifting off. We get a real good look at the shock absorbing hydraulics and the uniquely identified Rescue or Medical Eagle. The team also heads over in their classically designed, bright orange Moonbase gear.
*

Oddly, as the Eagle lifts off, we witness Commander Koenig motioning to them from the Moon's surface, yet he's unconscious on the Eagle. This show is definitely a mind trip. Back at the crash site, Carter regains consciousness. Carter reports from the downed Eagle to Moonbase that Koenig is badly injured. An ultra hot babe receives his communication [unimportant trivia I know]. Meanwhile, the roving Koenig has entered a Moonbase air lock. Paul reports to Russell that Koenig is still alive, but injured. Russell is en route to the location. The conscious Koenig, no doubt a spirit of some kind, is inside the travel tube and attempting to contact Paul and Russell, but there is no response. A ghostly humanoid image fades in and out behind Koenig as he wanders inside Moonbase Alpha.
*

Back inside the crashed Eagle, Carter tends to Bergman and Benes. On Moonbase, Koenig enters a vacant med lab. It's like a ghost town. He looks at the vital signs illustrated by Computer's monitors. Benes is fine, but he notices his own vitals are flatlining. Koenig is clearly undergoing a kind of out of body experience in his current comatose state.
*

At the crash site, the Rescue Eagle lands.



The Freighter Eagle.

Koenig meanders about portions of Alpha, but appears out of sorts. He is beginning to sense a kind of otherworldly experience, literally in this case. Koenig sees a humanoid female apparition in colorful garb fade in and out.
*

At the crash site, Russell is uncertain of Koenig's condition and he needs transportation back to Alpha for proper medical care. Carter requests a Cargo or Freighter Eagle. The team plans on separating the Eagle's Command Module from the Service Pod and Superstructure so the section can be detached for lifting back to Alpha.
*

Moonbase Alpha.

On Moonbase Alpha Koenig attempts to contact Paul, but it is an exercise in futility. He reaches Main Mission and finds, it too, is empty. All instruments are functioning. The instruments are on, but no one is home so to speak. The room begins to spin around Koenig. The technique is perfect transporting Koenig and the audience to another place. He is now in a yellow-illuminated room greeted by one Peter Cushing who wishes Koenig an enjoyable stay on the planet Zenno. He assures Koenig that he is not experiencing a dream. Zenno is in the Triton Solar System, five million light years from Earth. Yes, Moonbase Alpha and its residents are a long, long way from home. Koenig informs the humanoid being that Computer had informed him that all planets were lifeless in the region. Of course, the alien indicates those readings were by his design. These are indeed superior beings. These are Zennites. All that is needed or desired is created by their minds. Poor Computer is always at the whim of foreign forces. Zenno is their home and made of light. Koenig is shown the city of light. "Light is alive, color is alive. Magnificent." Indeed, the designs, matte work and overall look of Space:1999 never ceases to move me. Even contemporary shows could learn a thing or two from the creative team behind Gerry Anderson's projects. The alien, played by Cushing, is Raan, Koenig's host. "This must be a dream," admits Koenig. Here is a clip referencing my earlier thematic allusion as suggested by this installment's title, Missing Link.


*

I believe "permanent guest" might be equitable to prisoner here. Yes, Raan believes Koenig is the missing link of the Zenno people. Koenig trusts he may be slated for experimentation like nothing more than a human guinea pig. Raan's daughter, Vana, does not believe her father will do such a thing. She indicates Raan would merely read his mind. In other words, he will mentally violate Koenig for his needs. Things get pretty intense in this moment between Vana and Koenig. Koenig demonstrates he is unwilling to stay.


*

Meanwhile at the crash site...


*

The Freighter Eagle connects with the Command Module of Eagle One. Charges are accurately set to dislocate the head of Eagle One for its return to Alpha. Koenig is safely removed back to base.

Back on Zenno, Raan informs Koenig he will be returned to Alpha for part of his first experiment. A mental projection of Bergman tends to Koenig and informs Koenig he's been unconscious for two days. Bergman informs Koenig Sandra Benes has died. Bergman assures Koenig Russell tried everything to save her. Unfortunately, all is not right with this particular version of Alpha as created by Raan. To make that clear, Bergman's reaction is out of character and quite unnerving. It's a terrific moment.


*

The terror and rape of Koenig's mind continues...


*

Simple, but effectively horrifying.

The experiment is ultimately terrifying. This is not pretty stuff and Koenig is put to the test. Raan's use of violence from the ancient books fascinates. A fellow Zennite feels Koenig's mind should be neutralized. Raan believes not. He feels Koenig must have free will and free choice in responding to situations. "His reactions must be true." Raan wants to see Koenig's response to violence. Questions of free will and human decision are often posed within the frightening framework of Space:1999.
*

Back at Alpha, the real Alpha, Bergman and Russell monitor Koenig worried for him in his comatose condition. Bergman asks why John? Why not him or someone else? Russell answers somewhat cryptically, "it may simply be John's time to die." This is not feel good stuff. The Space:1999 universe is never sugarcoated with warm fuzzy answers or easy outs. The cold, harsh and even ghostly reality of space is constantly in play against the Alphans. Author John Kenneth Muir points to comments made by Writer Johnny Byrne about the Alphans essentially being the pilgrims of a new world in space, a new frontier of sorts. This umbrella element certainly embraces the series' sense of discovery and hardship in nearly every installment in unique and interesting ways.



Back on the new world of Zenno...


*

I love Space:1999 philosophy. On Zenno, Koenig is visited by Vana. Koenig explains to Vana that her father's experiments are steeped in deception. He claims scientists often claim there is no deception in their work when often the reverse is true demonstrating the commander's skepticism with science. "The end justifies the means," believes Koenig. Koenig confronts Vana about life and death, and hate and love, probing her for what she feels as a Zennite. Vana notes Koenig is refusing his meals. He is fasting in defiance of his imprisonment. Vana wishes Koenig's free will would open his heart to Zenno.
*

On Alpha, tensions are high as Kano reams out a fellow Alphan for spilling coffee. Paul comes to her defense. Paul is thinking he and Kano should put on space gear and take it outside.


*

David Kano is a bit of an ass in that scene, but he is an uptight fellow. In the Medical Unit, Russell, in what seems like an odd medical decision, applies shock treatment to the comatose Koenig. Is that really a good medical decision? She means business and thrusts her hands forward with real strength. He writhes in agony too. To make matters worse she raises the treatment three points and that could kill him she's told. She commands do it anyway. The torture ceases. She begins pounding Koenig's chest attempting to gain some response from Computer regarding his flatlined vitals. It's a fairly emotional moment for Russell who is left without results. The moment highlights the subtle fact she loves Koenig and is deeply upset about his condition. She's beginning to realize he may just die and it's tearing her apart inside. She masqued her pain earlier on, a common character trait for Russell, and now it's beginning to show.



A touching moment from actress Barbara Bain.

It made me wonder. If Koenig was to remain on Zenno, would his physical vessel back on Alpha need to remain alive for him to exist there? I believe so. Should the Alphans pull the plug, I suspect it would be over. Vana discusses Raan's work regarding his experiments on Koenig and makes an exceptional point about the variables in the study. Vana believes Raan will not truly understand the human race based upon his experimentation, because the controlled variables are in conflict. A. The images presented to Koenig are unreal. B. His reactions, "though honest," are therefore unreal too. "His blood is our blood," Vana proclaims, because, in essence, if he is the missing link, he is an ancestor to the Zennites. Vana feels because Koenig is an individual they do not have the right to exploit him. Vana has an affection for Koenig and Koenig likewise for Vana. Raan asks Vana if he should send Koenig back, but Vana is confused. Could this emotionless denizen of Zenno be experiencing something called love?

Vana reappears in Koenig's accomodations. There is distinct chemistry developing between them. Vana wants Koenig to stay. Koenig kisses the alien skinned Vana. Captain James T. Kirk would be proud, but he has a taste for green skin over gold. Heck no, who am I kidding? Kirk will try any woman with a pulse.

On Alpha, Sandra speaks with Russell about Koenig's condition. Sandra implores Russell not to allow John to die. Russell believes he is already dead in his current state. Sandra pleads with Russell to wait. I was a little surprised Russell was so ready to pull the plug on Koenig. Would you not hold out hope that he might just one day snap out of his coma? It happens. There are documented cases.

On Zenno, Koenig seems to be accepting his fate and enjoying his time with Vana. He considers the possibilities of "a world without fear." Vana wishes to be united with John as one. Nice. Raan disapproves calling the merger "impossible." Raan believes Vana is still too young. Koenig wishes to stay with Vana. Raan delivers Koenig the stern Grand Moff Tarkin treatment.

On Alpha, Paul expresses the tensions among Alphans over Koenig's status. Bergman tells Carter, "we need a leader." Bergman recognizes the uncertainty of what has happened to Koenig is affecting the residents. Carter is hot-headed in his reaction over who will lead. Carter believes as long as Koenig lives and breathes he will be the commander. It raises a great point about leadership and the need for it in society. Without it, order ceases and chaos reins.

Nice score Commander. Kirk who?

On Zenno, Koenig and Vana engage in their exploration of love. The two kiss again. Life on Zenno is good. Raan disrupts the proceedings by bringing Sandra Benes before Koenig. Koenig is happily cozying up with Raan's daughter. Suddenly Raan is not so keen on his new ancestral connection. Koenig does not believe it is truly Benes. Benes knows he wishes to stay on Zenno. Did he have a choice? Originally, he did not, but now it would seem Raan has had a change of heart and is prepared to see him go. Raan gives me the answer to my earlier question. Must Koenig's physical body survive on Alpha for him to live on Zenno? The answer is no, but his physical vessel is dying back on Alpha and Raan will not be able to sustain it much longer if he plans on returning. Benes urgently informs Koenig Russell is going to disconnect his life support system. Benes assures Koenig she will explain to Russell what she has seen on Zenno. Raan springs the bad news, Benes will not remember a thing and that Russell must make her decision uninfluenced. Koenig doesn't trust Raan. He points out Raan had brought Bergman's image before him on Zenno. Why would this representation of Sandra be any different? But Sandra is real implores Vana to Koenig. Raan inquires, "which one do you choose now?" Koenig is torn. Surprisingly, in the end, Raan allows Koenig freedom of choice. Sandra looks upon the city on Zenno and imagines it to be a dream. Koenig tells her it is not a dream.

On Alpha, Russell prepares to end John's life. On Zenno, Koenig makes the decision to return to his own people and his own time. Vana wishes to go with him, but Koenig explains Vana must stay with her people. Koenig tells her to bridge the gap, make the link with her heart and mind. Vana will try. It seems a deficiency within the Zennite people. The missing link of the installment is as much an emotional link as an evolutionary link that is missing here. "Do not forget me," Vana tells Koenig.

On Alpha, Russell has decided to end it. Carter stops the decision and engages in a brawl with security. Carter is definitely a balls to the wall Aussie fighter prepared to let the fisticuffs fly loyally protecting Koenig. If I was playing Dodgeball I would pick Carter for my team. No question about it. "You're not gonna kill him," he struggles looking back at Russell as he is subdued. It would seem Carter has given Koenig just enough time to get back to his physical body on Alpha. On Zenno, Raan indicates the experiment was a failure. He is grateful to Koenig for what he shared with his family. Koenig feels he has learned that it is still more important to feel than to think. "It is the perfect balance between the two that must be achieved." The two part with a civil goodbye. Both worlds have much to learn in striking up this balance and making the link between the heart and mind.

On Alpha, Russell turns off life support only to see Koenig return in a nick of time. It's a sweet, final melodramatic moment. Technically, Koenig never really physically cheated on Helena either if we're counting.

Missing Link delivers another thoughtful, heady episode that ranks as one of the strongest entries to date. It strikes just the right balance of physical and character drama to entertain the heart and mind.

Missing Link: B

*

Writer: Edward DiLorenzo

Director: Ray Austin

In Exploring Space:1999, Author John Kenneth Muir dubs Missing Link the biggest "romantic story" in Year One of Space:1999. I suspect this may be as hot as it gets between the male and female characters. So if you're looking for a plethora of Kirk-like womanizing you may need to keep an eye on Star Trek: The Original Series. You won't find that here. Muir points out the strengths of the entry are found in both the romantic and philosophical facets. This balance of character chemistry and ideas is precisely why I think the installment worked so well.

*

Muir points to the terrific camera work under the direction of Ray Austin. True, Austin spreads his wings a bit and serves up a much more improved visual entry over his first appearance on Ring Around The Moon. Though, Austin cannot be faulted for the aforementioned material that still remains the flattest of the series to date. There are some genuinely peculiar angles that add to the disorienting atmosphere of Koenig's journey. Interestingly, the scriptwriter behind Ring Around The Moon, Edward DiLorenzo, also salvages his reputation by returning with Austin here. DiLorenzo's Missing Link, while philosophic and pensive, is far more comprehensible than the esoteric and seemingly impenetrable story found in Ring Around The Moon.

Muir also points to Koenig's initial walk through a vacant Alpha as far too lengthy. The walk is seemingly endless and we get the point long before it has concluded. His greatest analysis of the entry is the parallel established between Zenno and Alpha. Alpha is filled with emotion and volatility in comparison to Zenno, which is essentially sterile and devoid of emotion. He makes this point and the juxtaposition throughout the entry is well established.

Special Guest: Peter Cushing [1913-1994]. British born. Cushing, for me, will forever be best known as Grand Moff Tarkin from Star Wars [1977]. As an actor, his career is distinguished. He also played Dr. Who in two non-cannon Doctor Who films in 1965 and 1966. He appeared with Doug McClure in Edgar Rice Burrough's At The Earth's Core [1976] directed by Kevin Connor [who would also direct two episodes of Space:1999 in Year Two]. Cushing's filmography is huge. He worked extensively for Hammer Films as Dr. Van Helsing and more. He often appeared opposite actor and friend Christopher Lee who appeared in Space:1999, Year One, Episode 5, Earthbound. And without further adieu, Peter Cushing, as he will always be best remembered, the infamous Grand Moff Tarkin and that wonderful Darth Vader choking sequence featuring actor Richard Le Parmentier as Admiral Motti.

*

*

Do you lack faith and if so, is it disturbing to you?

*

In the trivia department, American born British Actor Richard Le Parmentier [1946-present] will be best remembered as Admiral Motti. Le Parmentier would marry British Actress Sarah Douglas. The two appeared together in Superman II and The People That Time Forgot [1977] by Director Kevin Connor. The two were wed briefly from 1981-1984. Douglas would appear in Space:1999, Year Two, Episode 12, The AB Chrysalis. Le Parmentier would appear as a guest in Space:1999, Year Two, Episode 21, Dorzak. Fellow Star Wars castmate David Prowse would also appear as the creature in Space:1999, Year Two, Episode 14, The Beta Cloud [a personal favorite]. Prowse also appeared in The People That Time Forgot. Folks, does the web get any more tangled?