Looking for the cryogenic suspension facility so as to revive someone who can help them, the hero trio are set upon by a band of aggressive tribespeople. “I’ll be all right!” shouts Garth as the other two escape to safety leaving him facing the enemy horde, and indeed they believe him, it’s a full six minutes and fifty seconds before Devon says “…and we’ve got to get help for Garth.”
Anyway, the A plot is that Devon and Rachel manage to revive an engineer, only to find that 1) he’s the wrong kind of engineer, and 2) the reason he’s in suspension is because he was exposed to a “radiation virus” (how very 1973) and has two hours to live. Again, this is an interesting enough idea which could have been quite powerful in the right hands, but this is underplayed so awkwardly that there’s no emotional heft to what ought to have been a quite tragicomic situation. At least he manages to infodump a lot about the ship and what they need to do next.
The B plot is, of course, the tribespeople, who are dressed in the rags of crew uniforms, are apparently descended from surviving security personnel, and are the sort of thing LEXX would have been able to get away with. There’s two ways you can go with this sort of setup, and, to its credit, The Starlost goes with the optimistic version (befriending the tribespeople and helping them find a home in an abandoned dome). We’re never going to see them again, of course, but it’s just as well.
Yes, that’s really what it’s called. There’s an alternate title, “Voyage of Discovery”, but that’s similarly meaningless.
Keir Dullea is a young man with a gigantic moustache in the Amish-type religious peasant community of Cypress Corners. For some reason he’s named “Devon” although everyone else, bar his friend and love-rival Garth, has an Old Testament name. The initial setup is interesting enough: Devon has been forbidden from marrying the woman he loves, Rachel, because the match has been deemed genetically undesirable, and the Word of God that the people obey appears to be coming from a supercomputer. In an even more interesting twist, Devon later discovers that it isn’t even that: the community elders record the divine pronouncements on micro cassettes and the computer is nothing more than a playback machine. Devon of course rebels and is cast out of the community only to discover— surprise!— that they are all on a generation ship, that there are thousands of other communities on there, and that the ship is off course and going to collide with a nearby “solar star” (tautological as that sounds), since the bridge crew are all dead and the bridge in ruins. There’s a supercomputer on the ship, played by a man with an excellent beard, but of course it has a lot of plot-convenient gaps in its memory. Devon, Garth and Rachel must now embark on a quest to save the ship and humanity and et cetera.
As a story, it’s not too bad. It’s a bit obvious (will Devon rebel, or will we spend sixteen episodes watching him raise barns and plough fields?) but then a lot of setup episodes are. The production values are pretty good for 1973, even if the CSO sequences haven’t aged well. I actually quite liked the uneasy relationship with technology in the Amish-type community: you expect the twist to be that the elders all know God is a computer, but the further twist that the computer doesn’t work and the elders are actually doing a different technological hack, was cleverer.
The main problems so far have to do with production decisions, dialogue, and performances. It would have been much more effective to shoot the early sequences on location (Black Creek Pioneer Village, not too far from the studio, had been running since 1960), which would have made the contrast with the spaceship sets more dramatic and given the whole thing a real sense of a ship big enough that people can live in it for generations.
As for the script, oh dear. The dialogue was mostly stilted pronouncements along the lines of “why must we obey the word of God?”, and the actors all spoke it with forced-sounding emotion, as if everyone was reading off cue cards. There’s barely a moment of naturalistic acting in the story. Also, the face Keir Dullea pulls when Devon accidentally sets off an inter-ship transporter and is hurled up the corridor is inadvertently hilarious.
The Starlost is a 1973 series which is slightly notorious in the history of telefantasy. It starred Keir Dullea, accompanied by such well-known guest stars as John Collicos, Barry Morse and Walter Koenig, was created and developed by Harlan Ellison with Ben Bova as scientific advisor and Doug Trumbull as producer…. And yet, despite all this talent, it was a notorious flop. Ellison took his name off the project (it’s credited to “Cordwainer Bird”), and Bova later wrote a notorious roman-a-clef about his time on the series.
It’s also of note for being a rare example of a pre-1990s Canadian-made SFF television programme (I can’t think of any other beyond the children’s series Read All About It, unless you count cartoons).
Now, I like television, and I have a certain fondness for bad television, particularly of the so-bad-it’s-postmodern variety, so I wanted to check it out. Having discovered that the whole series is available on YouTube, that place where once-forgotten television shows enjoy surprising second lives, I girded my loins and watched the whole thing. Let’s just say it was tough going, even for me.
Starting from next week, I’ll be posting the cleaned-up and edited version of the reviews I posted on Facebook earlier this year, for your edification, enjoyment, and warning.