This was before Star Trek, so VOYAGE TO THE BOTTOM OF THE SEA has bragging rights.
For those unaware, it is a science fiction TV series in which a civilian designed submarine is built beyond the wildest specifications for deep sea research. It surpasses any underwater vehicle of any military. The admiral is a brilliant scientist, played by Richard Basehart, one of the icons of the hip crowd of the day, in famous roles such as a tightrope walker who foils strongman Anthony Quinn, a reluctant hero in the Korean War,a recruiter of Germans to spy for the Allies, and his most ironic role as a Russian brother to William Shatner.
While Admiral Nelson is a saner, more balanced Captain Kirk, David Hedison as Crane, plays a bit more human version of Spock. The Chief is an equal of Scotty, the blonde Chip had to be darkened to Chekhov during the seventies when men weren't allowed to have blonde hair, Kuwaski may be the closest to the doctor as an emotional constituent, and Patterson is Sulu.
I must confess I was too young to understand this show when it came out, being born in 1956, but I remember my brother telling me it was the predecessor of STAR TREK. I hadn't realized how much until I got the dvds of the first two seasons. I vaguely remember shows that came afterward.
Even up to now, most action series, and even some comic series, had a group of plots which had to be used. Indeed, as in all action episodes, we find the TEN LITTLE INDIANS, THE MOST DANGEROUS GAME, the prophecies of MACBETH, and all the usual plots that must be used.
The difference is in the intelligence in which this show is handled, and the iconoclastic Nature. It broke all barriers, barriers Star Trek tried to avoid. Usual stable heroes like Leslie Nielson were deranged, usual sneaky cowards like Michael Pate were honorable. Even Michael Ansara, who played a radical in the film went against type to be a balanced, stable character in an episode.
It wasn't a perfect series. There were episodes when it looked like it was filmed XENA style, with the action filmed first and the plot added later, such as in a hastily put together Manchurian Candidate episode with Manchurian villain Silva. A few episodes like this lost logic altogether, but were still held together by the interesting credibility of the Seaview characters. For most of us, Entertainment and Interest is best served by credible characters in incredible situations instead of the seventies pattern of non-credible characters in credible situations.
There was always over the top encounters, but the crew of the SEAVIEW, as the submarine was called, was always very three dimensional. They had human foibles. Nelson would show irritation and jealousy, Crane would show insecurity. Chip would show fear. Kowaski would show disapproval of authority.
This made the regular characters not only more identifiable and easier to relate to, but more exciting than STAR TREK, I dare say.
For those unaware, it is a science fiction TV series in which a civilian designed submarine is built beyond the wildest specifications for deep sea research. It surpasses any underwater vehicle of any military. The admiral is a brilliant scientist, played by Richard Basehart, one of the icons of the hip crowd of the day, in famous roles such as a tightrope walker who foils strongman Anthony Quinn, a reluctant hero in the Korean War,a recruiter of Germans to spy for the Allies, and his most ironic role as a Russian brother to William Shatner.
While Admiral Nelson is a saner, more balanced Captain Kirk, David Hedison as Crane, plays a bit more human version of Spock. The Chief is an equal of Scotty, the blonde Chip had to be darkened to Chekhov during the seventies when men weren't allowed to have blonde hair, Kuwaski may be the closest to the doctor as an emotional constituent, and Patterson is Sulu.
I must confess I was too young to understand this show when it came out, being born in 1956, but I remember my brother telling me it was the predecessor of STAR TREK. I hadn't realized how much until I got the dvds of the first two seasons. I vaguely remember shows that came afterward.
Even up to now, most action series, and even some comic series, had a group of plots which had to be used. Indeed, as in all action episodes, we find the TEN LITTLE INDIANS, THE MOST DANGEROUS GAME, the prophecies of MACBETH, and all the usual plots that must be used.
The difference is in the intelligence in which this show is handled, and the iconoclastic Nature. It broke all barriers, barriers Star Trek tried to avoid. Usual stable heroes like Leslie Nielson were deranged, usual sneaky cowards like Michael Pate were honorable. Even Michael Ansara, who played a radical in the film went against type to be a balanced, stable character in an episode.
It wasn't a perfect series. There were episodes when it looked like it was filmed XENA style, with the action filmed first and the plot added later, such as in a hastily put together Manchurian Candidate episode with Manchurian villain Silva. A few episodes like this lost logic altogether, but were still held together by the interesting credibility of the Seaview characters. For most of us, Entertainment and Interest is best served by credible characters in incredible situations instead of the seventies pattern of non-credible characters in credible situations.
There was always over the top encounters, but the crew of the SEAVIEW, as the submarine was called, was always very three dimensional. They had human foibles. Nelson would show irritation and jealousy, Crane would show insecurity. Chip would show fear. Kowaski would show disapproval of authority.
This made the regular characters not only more identifiable and easier to relate to, but more exciting than STAR TREK, I dare say.