In the mid-1970s, ‘Star Trek‘ was experiencing a unique phenomenon in the entertainment industry. The original series, canceled in 1969 after three seasons of discreet audiences, had found an unexpected second life. Continuous reruns and fan enthusiasm (the first phenomenon of its kind to develop pop culture) encouraged Paramount to extend the original mythology. In 1976, a full-page advertisement appeared in ‘The New York Times’ proclaiming the imminent production of a Star Trek film: ‘Planet of the Titans’, and which aspired to take the franchise into uncharted cinematic territories.
The origin. Producer Gerald Isenberg assumed executive control of the project in July 1976, intending to transform ‘Star Trek’ into a first-rate cinematic event. To direct, Paramount hired Philip Kaufman, a filmmaker whose profile was unconventional for a franchise. Kaufman would direct acclaimed works such as ‘Chosen for Glory’ and would delve into a science fiction very different from ‘Star Trek’ in the remake of ‘Invasion of the Ultracorps’ in 1978. But by 1976 he had already directed the western ‘No Law or Hope’ and the arctic adventures of ‘The White Dawn’.
Chris Bryant and Allan Scott, British writers of the superb and extremely rare ‘Shadow Menace’, were chosen as scriptwriters. The conceptual basis of the project was nourished by ambitious sources: Kaufman and Isenberg structured the narrative inspired by the novel ‘The Last and the First Humanity’ by Olaf Stapledon, which traces human evolution over billions of years. As a scientific advisor, Paramount hired Jesco von Puttkamer, a NASA engineer. Ralph McQuarriewhose conceptual work for ‘Star Wars’ was then in full development, would do the designs.
The conflicts. Creative tensions quickly emerged. Kaufman aspired to create a cinematographic work that would dialogue with ‘2001: A Space Odyssey‘ in visual and philosophical complexity. Gene Roddenberry, creator of the original series, defended its essence. Bryant and Scott they were trapped between these two incompatible visions, trying to balance the artistic ambitions of one and the fidelity of the other. The budget, initially set at three million dollars, rose to 10 million.
What was it about? Captain James T. Kirk has disappeared three years ago, during a rescue mission near a black hole. The Enterprise remains operational, but Spock has returned to Vulcan. When Starfleet detects anomalous energetic emissions coming from the same black hole where Kirk was lost, Spock rejoins. They discover a planet trapped inside the black hole, the mythical home of the Titans, an ancient civilization possessing technology superior to that of humans.
The planet is being inexorably sucked into the black hole. Spock locates Kirk, scarred by years of isolation and transformed by cosmic forces. The planned outcome was the most radical bet: to escape collapse, the Enterprise deliberately enters the black hole, emerging not in its time, but in our prehistory. The crew discovers that they themselves are the Titans of mythology. Kirk is Prometheus, the bringer of fire to early humanity. The script does not clarify whether the crew would finally manage to return to their time or would be trapped observing the slow development of human history that they themselves had started.
Kirk is dead. But… why make a movie in which the legendary Kirk is practically absent? William Shatner’s contract with Paramount had expired, leading Bryant and Scott to develop a first draft that eliminated Kirk. After several weeks of work, the studio informed them that an agreement had been reached and that Kirk should be reinstated as the lead. This twist forced a substantial rewrite of the material. And the situation with Leonard Nimoy was even more complex: the actor withdrew from the project due to a conflict over the unauthorized use of his image as Spock in a Heineken advertisement, but an agreement was finally reached.
The cancellation. Bryant and Scott submitted their first completed draft on March 1, 1977, after months of intense creative negotiations, but ultimately walked away from the project. Kaufman personally took on the rewrite of the script. His version intensified the role of Spock and developed the dynamic with a Klingon played by none other than the legendary Toshiro Mifune. Just when he was convinced he had found the definitive story, he was told that Paramount had canceled the project. This happened in May 1977, just seventeen days before the premiere of ‘Star Wars’. Kaufman would always remember the phrase that a studio executive told him as justification for the cancellation: “there is no future in science fiction.”
Why was it cancelled? They converged different factors: the increase in costs, the fear that ‘Star Wars’ would saturate the science fiction market and the belief that they had distanced themselves too much from the original series. When ‘Star Wars’ grossed more than $775 million worldwide, Paramount pitched ‘Star Trek: Phase II,’ a television series planned as the flagship of a new company television network. It would also be cancelled, although one of its scripts would eventually become the basis for ‘Star Trek: The Motion Picture’, released in December 1979.
The legacy. ‘‘Planet of the Titans’ was not the first failed attempt to bring ‘Star Trek’ to the cinema, but rather one more link in a chain of frustrated projects that reflected Paramount’s uncertainty about how to capitalize on the franchise: there are cases as popular as the legendary and disturbing film ‘The God Thing’, written by Roddenberry himself in 1975, or the many attempts to recruit science fiction authors to contribute ideas for films, as happened with Harlan Ellison in the late seventies.
And although something remained from the film in the future after the cancellation of ‘Planet of the Titans’ (for example, the concept designs They were reused in 2017 in ‘Star Trek: Discovery’), this cursed movie is the perfect example of what ‘Star Trek’ has always been. A sign that there are more ways to do science fiction outside of spectacle pulp of Star Wars and, at the same time, the confirmation that it is very complicated to do so.
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