Thirty years after Star Trek IV: The Voyage Home forever put a stake in the ground that whaling is a bad thing, you wouldn’t think a true-life whaling story would fare well, especially in movie theaters. And you’d be right–director Ron Howard′s In the Heart of the Sea unfortunately lost more money than it cost to make. And yet Howard’s deft direction combines some of genredom’s top stars with a solid script in a worthy interpretation of Herman Melville’s inspiration for Moby Dick apt to provide any audience with something to cheer about. Far and Away meets Apollo 13, sea disaster and cannibalism in this 2015 release, a prime survival story now streaming on multiple platforms.
This month sees the bicentenary of acclaimed American author Herman Melville′s birthday, August 1, 1819. If you were an artist and asked to draw a defining interpretation of the author’s creations, what would you draw? Ahab, Ishmael, Queequeg, the Pequod, the whale, or some other inspiration from Moby-Dick, right? So the fascination for many of a new book of artwork interpreting and saluting the 19th century American author will be searching out how the 1851 classic novel Moby-Dick; or The Whale is interpreted, and what other creative ideas found their way to paper recalling his other, lesser-known works. This Wednesday comic book publisher A Wave Blue World/AWBW will be releasing such an assemblage, From Hell’s Heart, a full-color, hardcover volume featuring the works of 57 artists.
Most readers today will look at the title and first recall Ricardo Montalban uttering the title as the villain Khan in Star Trek II: The Wrath of Khan, part of his many monologues pulled by screenwriter Nicholas Meyer from the likes of Melville and Shakespeare. But you might also recall from grade school days the short story of Bartleby, the Scrivener, a character study of the early poster boy for the modern office’s work-averse workforce. Artist Nacho Yunis provides a superb mock retro-style comic cover for his entry honoring that story, and Fernando Blanco’s contribution is perhaps the most evocative snippet in the book from the mind of Melville. The artists stepped up to create imagery more interesting than the Melville excerpts you were have likely to been force fed-in junior high American literature class. Surprisingly, most of the artists conjured images taking on the feel of H.P. Lovecraft in their haunting beauty, including the image of psychological horror on the cover by the artist known as Well-Bee.
Comic book readers will find renderings from some familiar artists in these pages, including Andrea Mutti, Maxim Simic, Ryan Sook, Denis Medri, and Brandon Graham. As expected, the bulk of the artwork is devoted to the great whale. Bjarne Hensen provides a strikingly colored street scene from Moby-Dick. Victoria Maderna and Federico Piatti contributed a fantasy image that begs for an entire reprint of the novel with their artwork peppered throughout. Steve Baker opted for fun, depicting the whale as a dog and kids playing Moby-Dick as they might play Cowboys and Indians. Cosimo Miorelli gets the mood in his image just right.
Star Trek: The Wrath of Khan–a member of that fabled Class of 1982’s “best summer of movies”–turned 35 this year, and to celebrate, the film is returning to theaters as part of the Fathom Events series. It has been said the film’s director and screenplay writer Nicholas Meyer saved Star Trek. Meyer was well-known as the author of the New York Times bestselling novel The Seven-Per-Cent Solution and its screenplay, which earned him an Oscar nomination, and for directing and writing the screenplay for the fan-favorite, time travel thriller, Time After Time. After the lukewarm response at the box office to Star Trek: The Motion Picture, executive producer Harve Bennett tapped Meyer to take the franchise in a bold, new direction, and the result, Star Trek II: The Wrath of Khan, became the best reviewed film of the franchise and a classic among all science fiction. Many details about Meyer’s work have been recounted in Allan Asherman’s The Making of Star Trek II: The Wrath of Khan and Meyer’s own memoir, The View from the Bridge. Meyer has also shared a trove of his thoughts and work on the film in director commentaries accompanying the film’s various home releases. He’s not quite finished with Star Trek yet–he’s back again as a writer and producer on the new series, Star Trek: Discovery, premiering next month.
I was ecstatic to interview Nicholas Meyer this past week and listen to him reminisce as director and screenwriter of The Wrath of Khan for the approaching anniversary theatrical release, and ask him questions I’ve had for years about his long writing career. Meyer sees himself first as a storyteller. In addition to The Wrath of Khan, he wrote the screenplay for Star Trek IV: The Voyage Home and he directed and wrote the screenplay for Star Trek VI: The Undiscovered Country. I think you’ll discover—or rediscover—that in Meyer’s selections of leading stage and screen actors like Christopher Plummer, Meyer provided gravitas to the Star Trek universe, and by infusing classical literature into the voices of characters from the likes of Shakespeare, Doyle, and Melville, he elevated Star Trek’s story beyond mere popular science fiction. Everything that would come after The Wrath of Khan in the Star Trek franchise exists as a direct result of Meyer’s success on that film.
Director Nicholas Meyer observing final detail work as Ricardo Montalban’s headwrap is applied, filming the first appearance of Khan in Star Trek II: The Wrath of Khan.
CB: Welcome to borg.com. Thanks for chatting with me and borg.com readers today and congratulations on the 35th anniversary of Star Trek II: The Wrath of Khan.
NM: Thank you so much. It’s a real pleasant surprise—As Kirk said to Scotty, “That’ll be a pleasant surprise.”
CB: Let’s talk about Ricardo Montalban as Khan. I have always loved this line: “I’ll chase him ‘round the Moons of Nibia and ‘round the Antares Maelstrom and ‘round Perdition’s flames.” When you write something like that, do you know that you’ve got it, and when you see Montalban saying it and it appears on the screen, do you get any satisfaction of seeing that all come together?
NM: Absolutely! I have to say, first of all, I didn’t write it. Herman Melville wrote it. I substituted a few planets or something. This is all Ahab. I just cribbed it. I remember with some satisfaction what I took to be at the time my cleverness (which turns out to be the curse of Kirk: “I patted myself on the back for my cleverness”). It wasn’t until I saw Ricardo actually do it that I got goosebumps, and thought, “Holy cow. This is wonderful!” And I said to him actually at some point during the movie, “You really should be playing Lear.” He sort of looks like Lear–with a big set of pecs. Because he has been on stage, he was on Broadway, he did legit plays. He was very touched, I think, that I had told him this, and he made some disparaging remark about his Hispanic accent. I said, “That’s all bullshit. You enunciate perfectly. You could do this.” I think Khan was as close as he ever got to doing it.
Written in 1971 by notable sci-fi author Philip José Farmer, The Wind Whales of Ishmael is intended as a sequel to Herman Melville’s Moby Dick. As to genre, it fits into modern steampunk, with its exploration of Earth’s future without reference to the scientific realities of the latter 20th century, and its sailing ships in the sky. Wind Whales continues the story of Ishmael, the only survivor of Ahab’s failed whale hunt in Moby Dick, a story many literature students have struggled to get through because of its dauntingly long passages of a solitary life at sea. Ishmael is rescued but by clinging to Quequeg’s canoe coffin he is plunged through some type of vortex, much like the Bermuda Triangle, into Earth’s distant future. This future world is unrecognizable, and has a few similarities to the distant planet from Avatar. Along with other of Farmer’s works, Wind Whales is being re-issued by Titan Books in a new library aimed at steampunk readers. The new printing of The Wind Whales of Ishmael hits bookstores tomorrow, March 12, 2013, with a foreward by editor Michael Croteau and an afterward by Farmer’s nephew, author Danny Adams.
The oddity in Wind Whales is that it has very little in relation to theme, writing style, and characterization to Herman Melville’s Moby Dick. So it could have been a standalone story, or a sequel to any number of classic works. There is of course a future world of whaling and fighting “air sharks” which ties Ishmael to his past life where he threw away all else to enter a life at sea. Yet the future world of far distant Earth is so different that Wind Whales may have more in relation to Frank Herbert’s Dune series with its giant worms.
