Just knowing that someone acknowledges the intense mastery of story-writing seen in this (the 10th) Star Trek movie, gets my juices flowing. Not only have they brilliantly re-worked the original story-line that was the basis for the 3 seasons of TOS (thereby giving the audience something NEW), they’ve artfully spun and developed the two very different mystiques of Spock and Kirk within a triple-layered plot that plays with the very essence of story-telling: time.
I’m looking forward to reading this from a writer’s perspective.
[Not to mention my unwavering and long-held love for TOS, spock, (consequently and out of affection, william shatner), and more recently, lens-flare, j.j. abrams and zachary quinto.]
I especially love the following observation, in which the blog’s author is referring to the opening scene of Kirk’s birth:
“..the scenes cut from Mom giving birth to Dad giving his life. Birth and death, hope and sacrifice are suddenly in perfect harmony.”
In particular, this echoes the same birth-death-duality spine-tinglingly depicted in that other sci-fi epic, Star Wars. I’m talking about, of course, Episode III, when Padme gives birth to the seeds of the original trilogy, as Anakin Skywalker is simultaneously (in a back-to-back editing montage) re-birthed as Darth Vader.
As a certain lover of the classic film narrative once told me, all good stories are the same in their essence. Birth, conflict, climax, death (or something like that). Lucas himself has been known to state that it’s all the same story. There are just many different ways of telling it.