Tribeca Review: For the Love of Spock

by Sam Juliano

One of the most beloved characters ever created for a television series is one that is now become as a cultural icon, if not a worldwide phenomenon.  The Vulcan Spock was brought on to serve as science officer on the starship Enterprise for the pilot of a new futuristic series in 1966 by the show’s architect and Executive Producer, Gene Roddenberry, who insisted above network objection that his alien character be maintained beyond the debut appearance.  Spock was the only character on the show, titled Star Trek that was specifically written for an actor.  That fairly young but well-traveled thespian, Leonard Nimoy brought physical confirmation to what Roddenberry had envisioned, and with some crucial tinkering like the employment of pointed ears, Spock’s popularity even eclipsed that of the show’s central protagonist, Captain James T. Kirk, played by William Shatner.  The fascination with Spock was and continues to be his logical demeanor and lack of emotions.  Playing yang to Shatner’s ying Nimoy helped to forge one of television’s most indelible pairings, one that defined casting chemistry, and continued to captivate viewers from all walks of life in virtually all age groupings in the decades that followed the show’s three year run from 1966 to 1999.

Nimoy himself has been the subject of endless discussion and published volumes, and his life’s story, dominated by his role as Spock is the subject of a new documentary directed by his son Adam, For the Love of Spock.  The film is both an affectionate regard for a father that the younger Nimoy admitted he had to share with the world, and a public admission that their relationship was not always on firm ground.  Adam Nimoy confesses that both he and his famous father went through periods of alcoholism -Leonard’s was a long span that concluded with his surrender to support groups- while Adam attributes part of his own problems to the impasse in his relationship with his father.  Through a plethora of home movies Adam documents Leonard the man, and the cultural icon he became after his trademark character became one of the entertainment industry’s most revered and marketable brands.  The director well understood that the original series’ 50th anniversary is coming up later in the year and perhaps as a greater point of urgency the third film of the rebooted big-screen franchise is due out in the summer.  To that end Adam wisely enlisted the current Spock, Zachary Quinto to narrate the documentary, and the actor responded with a resonate and affectionate vocal performance.  Indeed Quinto’s awe and respect for Leonard are glowingly revealed in some of the comments that are featured in the film.

For the Love of Spock generously showcases numerous clips from the original show, several that emphasize the aspect of Spock that has always interested audiences the most – the infiltration of naked emotion in his seemingly stoic essence, and the various instances it occurs.  In one of the show’s greatest episodes, the opening segment of Season 2 – “Amok Time” Spock turns himself in after believing he has killed Kirk in a battle to the death on the planet Vulcan, only to find that the ship’s doctor “Bones” McCoy has simulated death with a compensating injection.  When Spock sees Jim alive he is so overcome that he is unable to contain himself during the closing scene aboard the ship.  He later recants after being called out by McCoy, but the scene is a Godsend for trekkies wanting to see their favorite character negotiate an emotional about face.  Similarly in the classic “This Side of Paradise” Spock is sprayed by spores on a faraway planet that turned into an excessively emotional romantic, who is later “cured” when exposed to violence.  The documentary notes that Nimoy’s career was well established before he received that fateful call from Roddenberry, starring in some B movies like Kid Monk Baroni and television shows like Gunsmoke (he also played in episodes of The Twilight Zone, Perry Mason, The Outer Limits and Bonanza among others).

Nimoy was clearly beloved by his colleagues on the show, and those who have worked with him behind and in front of the camera over the years.  Featured in the documentary are interviews with Walter Koenig (Chekov), Nicelle Nichols (Lt. Ohura) and George Takei (Sulu) who all felt a debt to Nimoy for being reinstated for the 1973 Star Trek Animated Series after the actor refused to participate unless they were inked on.  Many unforgettably relevant Star Trek facts and tidbits are included in this affectionate hodgepodge that never loses focus on its subject.  One is an ironic comment from Nimoy’s friend Barry Newman, who bluntly stated after Nimoy was hired for the role is that the show would be a “treadmill to oblivion.” The origin of the Vulcan neck pitch (Spock created it) and the Vulcan greeting with its Hebrew origin is explained, and Nimoy’s theatrical accomplishments in shows like Fiddler on the Roof, The King and I and Camelot are covered.  Similarly are Nimoy’s directorial assignments, especially his work in that capacity on the Star Trek film franchise.  The actor’s work as a songwriter, musician and author are also incorporated into this all-encompassing film, and are aided by some amusing anecdotes.

It is Nimoy’s octogenarian brother Melvin who brought on the most tears when he stated that the last words he spoke to his brother on his deathbed were that “what Leonard did had the world standing up and taking notice.”  Despite a bit of self-indulgent references to his own issues, the younger Nimoy served his iconic father well with this moving documentary, a telling testament to a man whose fame is sure to live on many generations into the future.  For trekkies it is a Godsend in advance of the upcoming film.

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