Establishing continuity and canon with any cinematic universe can present itself as a challenge, especially when two installments take place decades apart from one another and through two different mediums. WhenStar Trek II: The Wrath of Kahnhit theaters in 1982, fans were treated to a showdown between two adversaries who had first crossed paths on television and were once again out to do battle on a larger screen.Captain James T. Kirk (William Shatner)and Khan Noonien Singh (Ricardo Montalban) first clashed in the original series in the episode “Space Seed,” which had originally aired in 1967. 15 years later, their paths would cross once more.
The second confrontation between Kirk and Khan would feature a showdown between the two adversaries in the reaches of deep space and would take inspiration from one of the most cherished novels in the history of American literature,Moby Dick. Khan would assume the role of Captain Ahab, searching uncharted territories for the USS Enterprise, which had now become the white whale. Montalban, who had spent much of his career on the showFantasy Islandafter the cancelation of the originalStar Trekseries, would now be tasked with assuming the port of Mars, as William Shakespeare might have put it, and set out on a course for revenge inspired by the writing of Herman Melville.
Star Trek 2: The Wrath of Khan
The Wrath of Khan Is Laced with Moby Dick References
“Space Seed,” the episode in which Khan made his first appearance, introduceda unique Villaininto theStar Trekcanon.Khan, a genetically engineered human with physical prowess and a highly developed intellect, and his crew are found by the Enterprise in a state of suspended animation. After attempting to take over the Enterprise, Khan and his followers are marooned on Seti Alpha V. The ending of “Space Seed,” where Khan mentions Milton, who, inParadise Lost,described Lucifer’s descent with the quote, “It’s better to reign in hell than serve in heaven"establishes a link to the character and a rich literary canonthat will be present throughoutStar Trek II: The Wrath of Khan.
The saga ofMoby Dick, the white whale with whom Captain Ahab has an obsession with revenge, is referenced through Khan’s desire to wreak vengeance on Kirk and the Enterprise. Some of the most memorable moments of Montalban’s performance include lines paraphrased directly from Melville’s novel. Joachim (Judson Scott), Khan’s second-in-command, who’s certainly comparable to Starbuck, Ahab’s first mate on the Pequod inMoby Dick, suggests that Khan and his followers are free and no longer need to seek revenge. This mirrors Starbuck’s suggestion to Ahab that whales in the Atlantic Ocean should be hunted for oil and that the quest for revenge is pointless.
Khan’s now famous line, “He tasks me, and I shall have him…I’ll chase him around the moons of Nibia and round the Antares Maelstrom and through perdition’s flames before I give him up!” is adirect paraphrasing from an exchange between Ahab and Starbuck, though the locations that Ahab refers to are Good Hope, The Horn, the Norwegian Maelstrom. The juxtaposition between Khan and Ahab and their individual quests for vengeance is perfectly executed. From the characters to the reaches of deep space, replacing the Atlantic Ocean and the white whale of Melville’s novel, taking the form of the Enterprise.
Why Moby Dick Is Impossible to Adapt to the Big Screen
Moby Dick is an all-time classic, and though many people seem to know its story, every movie adaptation tends to miss the book’s true message.
A Final Battle and a Question of Ethics
Star Trek II: The Wrath of Khanis undeniably focused on adapting Melville’s novel of revenge and obsession, especially with Khan’s last words being identical to Ahab’s, ‘From Hell’s heart I stab at thee. For hate’s sake, I spit my last breath at thee.’ The film embodies many of the ethical and moralistic questions that the original series posed to its audience when the show was still in production.
If there’s a “MacGuffin” inStar Trek II: The Wrath of Khan, that is to say, a narrative device developed by Alfred Hitchcock to advance the plot, it would be a scientific project called “Genesis.” A torpedo, designed to create life on a barren planet, becomes the underlying plot device that connects Kirk and Khan together in their ongoing battle with one another, establishing asocial commentary of power being in the hands of the wrong individual being used for ill-mannered purposes.Star Trekhad done a wonderful job at providingsubversive commentary on the Cold Warthroughout its original run on television and continued to do so in various film adaptations.
A common moralistic debate among intellectuals is whether the “needs of the many outweigh the needs of the few.“This debate is tackled in the finale of the film, where Spock (Leonard Nimoy) sacrifices himself to ensure that the ship isn’t destroyed by Khan in the final battle. One of the most endearing aspects ofStar Trek, in its many incarnations, has been one in which our ethics, morals, and the human experience have all been questioned and thoroughly examined.
Leonard Nimoy Almost Quit Playing Spock Before Star Trek Even Aired
Leonard Nimoy’s Spock is an iconic and essential part of Star Trek’s history, but the actor almost left the role before the first episode.
An Examination of the Longevity of the American Literary Canon
Star Trek II: The Wrath of Khanis an enduring testimony to how important it is that we preserve the literary works that have defined the human experience.Star Trekhas a well-established reputationfor being at the forefront of popular culture. By adopting the aspects that madeMoby Dicksuch an important part of the literary canon, a whole new generation of fans got to experience Herman Melville’s epic saga of obsession and revenge. Whether it’s in the stars or on the sea, the capacity to preserve and adapt stories is essential.Stream on Paramount+.
