Star trek 6

Star Trek 6 Statistiken

Nach der Explosion des Mondes Praxis sind die Klingonen zu Friedensverhandlungen mit der Föderation gezwungen. Die Enterprise soll den klingonischen Kanzler Gorkon sicher auf die Erde begleiten. Doch die Sache geht schief und Captain Kirk und Dr. Star Trek VI: Das unentdeckte Land. aus Wikipedia, der freien Enzyklopädie. Zur Navigation springen Zur Suche springen. Filmdaten. Deutscher. Sternzeit ,6. Computerlogbuch der USS Excelsior Captain Hikaru Sulu: Nach drei Jahren, die ich nun Kommandant dieses Schiffes bin, habe ich meinen​. ekarnasgolfmotell.se: Finden Sie Star Trek 6 - Das unentdeckte Land in unserem vielfältigen DVD- & Blu-ray-Angebot. Gratis Versand durch Amazon ab einem. Die Enterprise führt einen Kampf für den Frieden in diesem spektakulärsten Star Trek Abenteuer aller Zeiten! Nach Jahren des Krieges bereiten sich die.

star trek 6

Über Filme auf DVD bei Thalia ✓»Star Trek 6 - Das unentdeckte Land«und weitere DVD Filme jetzt online bestellen! ekarnasgolfmotell.se: Finden Sie Star Trek 6 - Das unentdeckte Land in unserem vielfältigen DVD- & Blu-ray-Angebot. Gratis Versand durch Amazon ab einem. Star Trek VI - Das unentdeckte Land ist der letzte Teil mit der Originalcrew der Enterprise und führt sie in eine Verschwörung gegen Friedensbemühu. Über Filme auf DVD bei Thalia ✓»Star Trek 6 - Das unentdeckte Land«und weitere DVD Filme jetzt online bestellen! Die DVD Star Trek VI: Das unentdeckte Land jetzt für 7,99 Euro kaufen. Star Trek VI - Das unentdeckte Land ist der letzte Teil mit der Originalcrew der Enterprise und führt sie in eine Verschwörung gegen Friedensbemühu.

Kirk and the crew of the U. Enterprise explore the galaxy and defend the United Federation of Planets. Set almost years after Captain Kirk's five-year mission, a new generation of Starfleet officers set off in the U.

Enterprise-D on their own mission to go where no one has gone before. The crew of the USS Enterprise explores the furthest reaches of uncharted space, where they encounter a new ruthless enemy, who puts them, and everything the Federation stands for, to the test.

After an explosion on their moon, the Klingons have an estimated 50 years before their ozone layer is completely depleted, and they all die.

They have only one choice - to make peace with the Federation, which will mean an end to 70 years of conflict. Captain James T.

Kirk and crew are called upon to help in the negotiations because of their experience with the Klingons. Peace talks don't quite proceed, and Kirk and McCoy are convicted of assassinating the Klingon High Chancellor, and imprisoned on Rura Penthe, a snowy hard-labor prison camp.

Will they manage to escape? And will there ever be peace with the Klingons? In the theatre years ago when I saw this film I thought gosh this is really different for a Star Trek film.

It had so much suspense and conspiracy, and so much mystery that this was one of the best films in the collection.

The acting is great, the action and the effect are superb, and the music is very good! I recommend this to all Star Trek and sci-fi film fans!

Sign In. Keep track of everything you watch; tell your friends. Full Cast and Crew. Release Dates. Official Sites. Company Credits. Technical Specs.

Plot Summary. Plot Keywords. Parents Guide. External Sites. User Reviews. User Ratings. External Reviews. Metacritic Reviews.

Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. The Enterprise crew must help them escape to thwart a conspiracy aimed at sabotaging the last best hope for peace.

Director: Nicholas Meyer. Watch on Prime Video included with Prime. Added to Watchlist. From metacritic. What's New on Prime Video in June.

Deep Science Fiction. Use the HTML below. You must be a registered user to use the IMDb rating plugin. Nominated for 2 Oscars. Edit Cast Cast overview, first billed only: William Shatner Kirk Leonard Nimoy Spock DeForest Kelley McCoy James Doohan Scotty Walter Koenig Chekov Nichelle Nichols Uhura George Takei Sulu Kim Cattrall Valeris Mark Lenard Sarek Grace Lee Whitney Excelsior Communications Officer Brock Peters Admiral Cartwright Leon Russom Chief in Command Kurtwood Smith Federation President Christopher Plummer Chang Rosanna DeSoto Determining that Enterprise did not fire the torpedoes but that the assassins are still aboard, the crew has begun a search for them.

The two assassins are found dead, but Kirk and Spock trick their accomplice into believing they are still alive.

To discover the identity of the conspirators, Spock initiates a forced mind-meld , and learns that a group of Federation, Klingon, and Romulan officers plotted to sabotage the peace talks.

The torpedoes that struck Gorkon's cruiser came from Chang's prototype Bird of Prey that can fire while cloaked.

Enterprise and Excelsior race to Khitomer, the location of the peace talks. Chang's cloaked Bird of Prey attacks and inflicts heavy damage on both ships.

At the suggestion of Uhura , Spock and McCoy modify a torpedo to home in on the exhaust emissions of Chang's vessel.

The torpedo impact reveals the Bird of Prey's location, and Enterprise and Excelsior destroy the ship with a volley of torpedoes.

Crew from both ships beam to the conference and halt an attempt on the Federation President's life. Having saved the peace talks, Enterprise is ordered back to Earth by Starfleet Command to be decommissioned, but Kirk orders a course set for " the second star to the right, and straight on 'til morning ".

As Enterprise cruises towards a nearby star, Kirk records in his log that though this mission is the final cruise of Enterprise under his command, others will continue "to boldly go where no one has gone before".

The Undiscovered Country ' s cast includes the final group appearance of the major characters from the original television series, and new actors and characters.

Casting director Mary Jo Slater loaded the film with as many Hollywood stars as the production could afford, including a minor appearance by Christian Slater , her son; Cinefantastique considered the cameo a likely attempt to lure younger audiences.

Meyer was interested in casting actors who could project and articulate feelings, even through alien makeup.

The Final Frontier , the previous film in the series, was a critical and financial disappointment; the cast and crew were worried that the franchise would not be able to recover from the blow.

The prequel was designed to be a way of keeping the characters, if not the actors, in what was called " Top Gun in outer space".

The script shows Kirk and Spock's upbringing, their meeting McCoy and Montgomery Scott at the Academy and defeating a villain before parting ways.

The script would have established that George Kirk, James T. Kirk's father, was a pilot who went missing—presumed dead—during a warp experiment with Scott.

The script is set before the "enlightenment" of the Federation; slavery and racism are common, with Spock being bullied because he is the only Vulcan student.

Nurse Christine Chapel cameos in the script's climax. Actor James Doohan claimed that Paramount chief Frank Mancuso had fired Bennett following negative reaction from the core cast, Roddenberry, and fans.

I want to do the Academy. The Enterprise crew, except Spock, are forced to retire for not meeting fitness tests. When Spock and his new crew are captured by a monstrous worm-like race of aliens which Koenig described as "things that the monsters in Aliens evolved from " , the old crew must rescue them.

In the end, all of the characters except McCoy and Spock die. Mancuso asked Leonard Nimoy to conceive the new film to serve as a swan song for the original cast.

Nimoy visited Meyer's house and suggested, "[What if] the wall comes down in outer space? You know, the Klingons have always been our stand-ins for the Russians Okay, we start with an intergalactic Chernobyl!

Big explosion! We got no more Klingon Empire! He thought it was plausible that the Klingon leader who turned soft towards the enemy would be killed like similar peacemakers throughout history: Anwar El Sadat , Gandhi , and Abraham Lincoln.

Meyer's wife was the first person to suggest that he should direct. Meyer and his friend Denny Martin Flinn wrote the screenplay by the nascent means of e-mail ; Meyer lived in Europe while Flinn was based in Los Angeles.

The pair worked out a system where Flinn would write all day and then send the draft to Meyer, who would read and make revisions.

The script constantly changed because of demands made not only by the core cast, but also the supporting players. In the opening, each of the crew was to be rounded up out of unhappy retirement for one final mission.

Flinn recalled that "the scenes demonstrated who [the characters] were and what they did when they weren't on the Enterprise.

McCoy is drunk at a posh medical dinner; Scott is teaching Engineering while the Bird of Prey from The Voyage Home is pulled from San Francisco Bay; Uhura hosts a call-in radio show and is glad to escape; and Chekov is playing chess at a club.

The script was finished by October , five months after Nimoy was approached to write the story. Several months were spent working out the budget; because of the disappointing box office returns of The Final Frontier , Paramount wanted to keep the sixth film's budget approximately the same as the previous installment, although the script called for space battles and new aliens.

Meyer estimated that almost two months were spent fighting with the studio about the budget. While not expensive for a Hollywood production, this would have presented a risk due to Star Trek films' niche audience and lower international appeal.

Star Trek' s creator, Gene Roddenberry , who wielded significant influence despite his ill health, hated the script. As with Meyer's previous Star Trek film The Wrath of Khan , the script had strong military overtones, with a naval theme present throughout.

Far from being idealized, the characters were shown as bigoted and flawed. In contrast to Roddenberry's vision of the future, Meyer thought there was no evidence that bigotry would disappear by the 23rd century.

She was not Gene's. If he doesn't like what I plan on doing with her, maybe he should give back the money he's made off my films.

Maybe then I'll care what he has to say. Roddenberry would voice his disapproval of elements of the script line by line, and he and Meyer would square off about them while Winter took notes.

Overall, the tone of the meeting was conciliatory, but the producers ultimately ignored many of Roddenberry's concerns.

Cinematographer Hiro Narita 's previous work had been on effects films such as The Rocketeer , where he had time and money to make a lavish period fantasy; with The Undiscovered Country , he was constantly under time and budgetary pressures.

Visual effects supervisor Scott Farrar said that Narita did a "good job of keeping [the set] dark. When you get into a stage situation of aluminum walls and shiny metal, it can be a problem.

But by keeping the light down, you see a little less and it becomes more textural. Hiro was very keen to avoid that over-bright stage look.

The set used for Spock's quarters was the same as the one for Kirk's, but with the addition of a central column.

The galley was the set used for Deanna Troi 's office, the dining hall was a redress of the USS Enterprise-D 's Observation lounge, and the Federation president's office was a redesign of the Ten-Forward lounge, the exterior doors to which accidentally retained their Enterprise -D markings.

Meyer had never been happy with the brightly lit corridors and feel of the Enterprise , a dissatisfaction that extended to his work on The Wrath of Khan.

The corridors were reduced in width and included angled bulkhead dividers, with exposed conduits added to the ceiling to convey a claustrophobic feel reminiscent of the submarine film The Hunt for Red October.

For that reason I decided to keep the look of the Enterprise pretty clean, but with a little more contrasty lighting," Narita said.

The director was insistent that panel labels contain descriptive instructions that might be found on a starship, rather than made-up gibberish, greeking , or gag text.

Designer Michael Okuda had finished a schematic of the Enterprise ' s decks when Nimoy pointed out he had misspelled "reclamation"; while Okuda was fairly certain no one else would notice the single spelling error on the print, he had to fix it.

Although the original series mentioned a galley in the episode " Charlie X ", only machines able to synthesize food had been shown before.

Paramount made a decision early on to use existing ship models for filming, meaning the old models—some more than a decade old—had to be refurbished, adapted, and reused.

As some ships had not been examined for some time, electrical problems had developed. Despite representing a new vessel, the Enterprise -A was the same model that had been used since Poorly regarded by earlier effects artists because of its complicated wiring and bulk, [45] the Enterprise ' s hairline cracks were puttied and sanded down, and the internal circuitry was redone.

The new model's running lights were matched to similar intensities, saving the effects artists time because the lights would look correct with only a single pass, instead of three passes required previously for the sensor dome, running lights, and window lights.

One unfortunate byproduct of the fixes was the loss of the model's distinctive pearlescent finish. The elaborate sheen was never visible on screen lighting schemes prevented reflections while filming so the ship could be properly inserted into effects shots and so when the model was repainted with conventional techniques the effect was lost.

To suggest singes, the model had been painted with black-tinged rubber cement, with the expectation that this application would rub off.

The cement instead sat on the model and baked itself to the model surface, and had to be scrubbed off. Greg Jein , best known as the builder of the alien mothership from Close Encounters of the Third Kind , was called on to build props for the film.

Jein was a longtime Star Trek fan who had constructed the props for The Final Frontier , but was forced to remake props that had since mysteriously disappeared.

Elements from The Final Frontier were modified and reused; a medical implement from the film became Chekov's blood tester, and the assault phasers first seen in The Final Frontier became standard issue.

Two copies were strong enough to support David Warner's weight; another two were designed to be light enough to be hung from wires for the zero gravity scenes.

Since the Klingon phasers were redesigned for the third film, the original holsters no longer fit the weaponry; as a result, no Klingons had ever been seen drawing a phaser.

Meyer was adamant about having the actors be able to unholster their weapons, so the existing pistols had to be redesigned. The Klingon sniper rifle was broken into sections, with parts modeled from real weapons.

The Klingons received the first major revision in design since their appearance in The Motion Picture. Dodie Shepard designed new red and black uniforms for Chancellor Gorkon and his staff, as it was judged that it would be unseemly for the chancellor to wear common warrior garb.

Another concern was that there was not enough of designer Robert Fletcher's The Motion Picture uniforms for all the Klingons in the film.

Transforming an actor into a Klingon took three and a half hours. Hairstylist Jan Alexander designed braids and jewelry that suggested a tribal people with a long and treasured heritage.

The main reason for the diversity of Klingon designs, hairstyles, and appliances stemmed from the fact that there were more Klingons featured than in all the previous films combined.

Eighteen unique designs were used for the main characters, with another thirty "A" makeups, forty "B" foam latex makeups, and fifty polyurethane plastic masks for background extras.

The designs for the foreheads came from Snell's own ideas and co-workers, but the actors were also allowed input into their character's appearances.

Christopher Plummer requested his character's forehead have more subdued spinal ridges than Klingons in previous films, to look unique and to humanize his character.

During makeup tests, Snell was about to apply Plummer's wig when the actor muttered that he wanted no wig, with Chang's small amount of hair swept back into a warrior's topknot.

Snell worked through several nights to redesign the back of Chang's head and add more detail. Gorkon's appearance was of special concern to Meyer, who had two specific role models: Ahab and Abraham Lincoln.

He wanted there to be uncertainty about Gorkon's true intentions. Did he want peace, or was there something sinister in his mind? From his appearance, it was impossible to tell if he was friend or foe.

Subliminally, there were aspects of both. Along with Klingon cosmetics, makeup supervisor Michael J. Mills was kept busy preparing the large number of other aliens called for in the script.

Because the alien creatures played such an important role in the film, there was a concerted push to provide enough money to the makeup department to make sure the complex work was finished.

According to Mills, "[if] we could prove to [Ralph Winter] that we needed something to get the shot done, then we'd have it. The large, hulking form the shapeshifter Martia assumes while on the surface of Rura Penthe was dubbed "The Brute" by the production team.

The creature's Yeti-like appearance was based on a Smithsonian cover of a marmoset. Also created for the Rura Penthe shoot was a frozen Klingon with a horrified expression.

Makeup artist Ed French found a spare Klingon headpiece in Richard Snell's possession and attached it to his own head. The designers used striking colors and new techniques for some of the aliens; ultraviolet pigments were used to create a particularly hostile alien that fights Kirk in Rura Penthe.

As it was intended to be Nimoy's last portrayal of Spock, the actor was adamant that his appearance be faithful to the original s Fred Phillips and Charlie Schram design of the character.

Mills consulted photos from the original television series as reference, and created five ear sculptings before Nimoy was satisfied.

The result was tall ears with the tips pointing forward—considerably different from Richard Snell's swept-back look for The Voyage Home.

The character of Valeris was designed to be more ivory-hued than Spock's yellow tone, with sleeker eyebrows and a severe haircut favored by Meyer.

Principal photography took place between April 16 and September 27, , [27] using a mix of fixed sets and on-location footage.

The production suffered from a lack of available set space because of shortages; the Starfleet Headquarters set was actually built a few blocks away from Paramount Pictures at the Hollywood Presbyterian Church.

Because of budget cuts, plans for filming were constantly revised and reduced, but sometimes this proved to be an asset rather than a hindrance.

Meyer would often say that "art thrives on restrictions", and Zimmerman agreed, saying that the design and filming created a rich environment that supported and enhanced the action.

The dinner scene was shot in a revamped version of the Enterprise -D's observation lounge. Along the wall are portraits of historical figures including Abraham Lincoln, Spock's father Sarek Mark Lenard , and an unnamed Andorian ambassador.

None of the actors wanted to eat the unappetizing dishes especially after they grew ripe under hot studio lights , [15] and it became a running joke among the crew during filming to make them sample their food.

For Shatner, the incentive was enough that he became the only cast member to consume purple-dyed squid. The shoot lasted several days because of what Plummer called the "horror" of filming the dinner.

The Klingon courtroom where Kirk and McCoy are sentenced was designed like an arena, with high walls and a central platform for the accused.

Originally planned for construction on the largest soundstage, cutbacks in location footage for Rura Penthe forced a smaller set to be constructed.

The illusion of endless rows of Klingons was created by brightly lighting the accused in the center of the room with a bright blue light, then letting the rest of the set fall into shadow.

Inspired by a scene in Ben-Hur , matte supervisor Craig Barron used two hundred commercially available Worf dolls sent by Ralph Winter.

Angry Klingons were created by rocking the dolls back and forth with motors, waving sticks lit by twelve-volt light bulbs dyed red.

The resulting courtroom miniature was ten feet long. Flinn conceived the penal colony Rura Penthe as on an arid, undeveloped world with odorous aliens; Meyer suggested that it be turned into an ice world instead.

The exterior shots of Martia, Kirk, and McCoy traveling across the frozen wastes were filmed on top of a glacier in Alaska, forty minutes east of Anchorage.

Because of budget and time constraints, the second unit was tasked with getting the footage. The stuntmen, dressed in woolen costumes, were in danger of catching pneumonia.

Batteries drained after minutes of filming in the cold, and the lack of snow was compensated by dropping fake precipitation into the scene by helicopter.

Scenes featuring the main characters at Rura Penthe were filmed on a soundstage. Massive fans blew dusty fake snow that, according to Shatner, got into "every orifice", as well as into the camera.

Creating a fake blizzard was challenging; two types of plastic snow were mixed together to provide flakes and powdery accumulation.

Camera magazines were changed off the stage so that there was no chance the snow could get into the film; crewmembers found the snow in their socks for weeks afterwards.

The underground prison was shot in real caves left by mining at Griffith Park , [15] in the Bronson Canyon , previously used as the Batcave and in the s Flash Gordon serial.

Shots of the interior of the mine were captured at night so it appeared like the setting was underground. Since Narita and his crew weren't allowed to drill holes for lights in mine shafts, illumination had to come from practical lights that appeared to be part of the set.

While Zimmerman believed Shatner would hate the fight between Kirk and his doppelgänger, the actor enjoyed the theatrical sequence, and contributed to the choreography with his knowledge of judo and karate.

The battle above Khitomer was one of the last sequences to be shot, which proved fortuitous as the bridge of the Enterprise was damaged by the simulated sparks and explosions.

The officer's mess set was blown up for a sequence where the Enterprise ' s hull is compromised by a torpedo.

When the set was rebuilt for use on The Next Generation , the forward wall was rebuilt and redesigned. While the Khitomer conference interior and exteriors were filmed at the Brandeis-Bardin Institute in California, the window from which Colonel West prepares to assassinate the president was a separate set built at Paramount.

Footage from Brandeis, matte paintings, and the backlot were combined to create an open outdoor view.

The division of labor for shooting the starship models was decided early on by effects cameramen Peter Daulton and Pat Sweeney. There was an equal amount of work if one crew did all the Enterprise shots and another did the Bird of Prey, Klingon cruiser and Excelsior shots, so the cameramen flipped to decide who worked on which models.

Old and new techniques were applied to shooting the models. To make sure the vessels were seamlessly inserted into star fields in post-production, the crew filmed second passes in overexposed yellow light, which reduced light spillage onto the bluescreen backdrop.

The yellow overcast was removed by filtration in the optical process, with the result being a clean edge around the ships.

Using a technique pioneered on Back to the Future Part II , another shot with a different lighting scheme was filmed.

By combining separate key light and fill light passes, optical effects could generate any amount of contrast they wanted without causing spillage.

Because Paramount continued to add new shots to the busy schedule and tight budget, some elements were flipped for reuse, including the star fields and a shot of the Bird of Prey firing.

The approach to Spacedock was filmed from below the station model, which Bill George found visually interesting and appropriate. He felt that the tracking of a shuttle from the planet evoked A Space Odyssey.

The shuttle used in the scene was the only new model created for the film. It measured twelve inches and was fabricated in less than a week.

The shot of the Enterprise leaving Spacedock was difficult to produce because the interior dock miniature had disappeared.

Stock footage from The Voyage Home was used for one shot to compensate. Since the only other shot needed was the Enterprise ' s point of view leaving Spacedock through the doors, it was the only section recreated for the film.

The last scene in the film was arranged for the last day of filming. Initially, the language was supposed to be more somber and classical, but Meyer made some last minute changes.

Flinn said that Meyer "was in an optimistic mood", and the director suggested that Kirk quote Peter Pan for the last lines: [62] "Second star to the right, and straight on till morning.

We raised a glass of champagne, but everybody was actually a little antsy. These discussions began before the film was greenlit.

ILM's initial cost estimates were over Paramount's budget, so to save money the filmmakers redesigned some shots and outsourced some to other companies.

Despite the overall count of effects shots being dropped from over to 51, the project was still large, and required virtually the entire ILM staff to complete.

Cheap animatics provided Meyer with placeholders to cut into the film and avoid costly surprises. ILM's computer graphics division was responsible for creating three sequences, including the explosion of Praxis.

Farrar settled on the preliminary look of the wave, and graphics supervisor Jay Riddle used Adobe Photoshop on a Macintosh to establish the final color scheme.

Initially the team thought they would be able to use the same methods to create the wave that hits the Excelsior , but found that it did not convey the scale of the wave—in Riddle's words, "this thing had to look really enormous.

Textures that changed every frame were added to the main wave body and over the top of it to give the impression of great speed.

Meyer came upon the idea of having assassins in special boots kill a weightless Gorkon after searching for a novel way to "blow away" the character in space that had not been seen before.

Responsibility for shooting the live action footage fell to the second unit under Jaffe's direction. While the sequence read well on paper, there was not enough time or money to do the effects "the right way"—for example, shooting the actors on a bluescreen and then inserting them into the Klingon corridors.

Jaffe noted that the low-tech method of suspending actors by wires helped the final effect, because as photographed by John Fante, few wires had to be removed digitally in post-production; [46] sets were constructed so that the harsh lighting obscured wires, and entire sets were constructed on their sides so that by pulling actors up and down on the rotated sets, the characters appeared to float sideways.

These sets were on gimbals so that the movement of the actors and sets created a floating effect. The shot of two Klingons killed and thrown back down a corridor by phaser blasts was simulated by positioning the camera at the bottom of a corridor set.

The set was placed on its end in the tallest soundstage at Paramount, so that the camera looked up towards the ceiling. In this position, the wires were hidden by the actors as they ascended the corridor.

The blood that spurts out of the Klingon's wounds was created using computer generated imagery; the animators had to make sure that the blood floated in a convincing manner while still looking interesting and not too gory.

Initially, the blood was to be colored green, but the filmmakers realized that McCoy had referred to Spock as green-blooded.

The final color was violet, a color Meyer disliked but had to go ahead with, because his first choice—red—would almost certainly earn the film an R rating from the MPAA.

Most of the blood droplets were "blobbies", groups of spheres smoothed together by computer, creating a continuous shape.

The further apart the spheres, the more the shape could stretch and even break apart. The phasers used in the scene and throughout the film were redesigned versions of earlier models and were first used in The Final Frontier.

The props featured blue lights that turned on when the trigger was pressed, so effects artists knew when to add the phaser beam effects.

For the zero gravity sequences, the ILM team matched Visual Concepts Engineering's phaser blasts by hand-painting the effect in Photoshop.

Rura Penthe was created with a mixture of on-set and location shots, along with an establishing sequence created by Matte World.

The characters were shot on a San Francisco beach, with a white plastic underfoot. Sun elements were layered onto the shot along with a double-exposed snow effect.

Additional passes were made on fiberfill clouds with lights behind them to create a lightning storm underway in the background.

Martia was not the first shapeshifter on Star Trek , but the character was the first to be created using computer-generated digital morphing technology.

Animator John Berton attempted new, more complicated morfs, including moving the camera and morphing two characters talking; special care had to be taken to line up the characters properly in plate photography.

Martia becomes Kirk while talking, requiring similar line deliveries from Iman and Shatner; Farrar supervised the set photography for the morfs and had the actors speak their lines in sync via a loudspeaker.

Kirk's fight scene with Martia in the form of Kirk was mostly filmed with a double dressed in similar clothes; in the majority of the shots the camera allowed only one of the combatants' faces to be seen.

When Kirk talked with his double directly, two separate takes of Shatner facing opposite directions were combined, with the camera motion carefully controlled so that the resulting image looked realistic.

For the final space battle, Bill George redesigned the photon torpedoes to have a hotter core and larger flare, because he felt that the weapons in earlier films looked "too pretty".

George told Farrar that he had always wanted to see something penetrate the thin saucer section of the Enterprise , so a replica of the saucer was recreated and blown up; the model was hung upside down so that the explosion could be flipped to approximate the zero gravity effects.

Rather than destroy the Bird of Prey model in the climax, pyrotechnic footage was reduced and placed in the appropriate locations to simulate rippling explosions throughout the vessel.

A special "pyro model" was created from a rubber cast of the Bird of Prey and exploded instead, with a lap dissolve making the transition from the motion control ship to the pyro vessel.

ILM knew that there was already footage of Chang reacting to the torpedo hit, but knew Meyer was unhappy with the result.

Using footage of Plummer as reference, the effects team created a dummy that was detonated in the same position. Steve Jaffe said, "[Editor] Ron Roose and I pored through the footage to find what amounted to three usable frames that we could use to tell the audience 'we got him!

Meyer's original plan for the score was to adapt Gustav Holst 's orchestral suite The Planets.

In einem Video-Clip von Dr. McCoy Hmm, link von einer leichten Arthritis, ausgesprochen gut. Valeris Eine Lüge? Derzeit tritt ein Https://ekarnasgolfmotell.se/serien-stream-online/revolverheld-ulm.php beim Filtern der Rezensionen auf. The action,the story and kingsman besetzung acting is all brilliant! The Undiscovered Country is a very good final film featuring all of the principal cast estelle parsons the orginal television series. star trek 6

Star Trek 6 - Filme wie Star Trek VI - Das unentdeckte Land

Seiner Meinung nach könne man die Klingonen ruhig sterben lassen. Love it. Extra's in the box set including interviews with the cast and production team when the film was made in the early 90's. Dort versucht McCoy vergeblich, Gorkons Leben zu retten. William Shatner : Captain James T.

And will there ever be peace with the Klingons? In the theatre years ago when I saw this film I thought gosh this is really different for a Star Trek film.

It had so much suspense and conspiracy, and so much mystery that this was one of the best films in the collection. The acting is great, the action and the effect are superb, and the music is very good!

I recommend this to all Star Trek and sci-fi film fans! Sign In. Keep track of everything you watch; tell your friends.

Full Cast and Crew. Release Dates. Official Sites. Company Credits. Technical Specs. Plot Summary.

Plot Keywords. Parents Guide. External Sites. User Reviews. User Ratings. External Reviews. Metacritic Reviews.

Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. The Enterprise crew must help them escape to thwart a conspiracy aimed at sabotaging the last best hope for peace.

Director: Nicholas Meyer. Watch on Prime Video included with Prime. Added to Watchlist. From metacritic. What's New on Prime Video in June.

Deep Science Fiction. Use the HTML below. You must be a registered user to use the IMDb rating plugin. Nominated for 2 Oscars.

Edit Cast Cast overview, first billed only: William Shatner Kirk Leonard Nimoy Spock DeForest Kelley McCoy James Doohan Scotty Walter Koenig Chekov Nichelle Nichols Uhura George Takei Sulu Kim Cattrall Valeris Mark Lenard Sarek Grace Lee Whitney Excelsior Communications Officer Brock Peters Admiral Cartwright Leon Russom Chief in Command Kurtwood Smith Federation President Christopher Plummer Chang Rosanna DeSoto Learn more More Like This.

Adventure Comedy Sci-Fi. Action Adventure Sci-Fi. Action Adventure Fantasy. Star Trek: Generations Action Adventure Mystery. Star Trek: The Motion Picture Adventure Mystery Sci-Fi.

Star Trek: Insurrection Star Trek: First Contact Action Adventure Drama. The character of Valeris was designed to be more ivory-hued than Spock's yellow tone, with sleeker eyebrows and a severe haircut favored by Meyer.

Principal photography took place between April 16 and September 27, , [27] using a mix of fixed sets and on-location footage. The production suffered from a lack of available set space because of shortages; the Starfleet Headquarters set was actually built a few blocks away from Paramount Pictures at the Hollywood Presbyterian Church.

Because of budget cuts, plans for filming were constantly revised and reduced, but sometimes this proved to be an asset rather than a hindrance.

Meyer would often say that "art thrives on restrictions", and Zimmerman agreed, saying that the design and filming created a rich environment that supported and enhanced the action.

The dinner scene was shot in a revamped version of the Enterprise -D's observation lounge. Along the wall are portraits of historical figures including Abraham Lincoln, Spock's father Sarek Mark Lenard , and an unnamed Andorian ambassador.

None of the actors wanted to eat the unappetizing dishes especially after they grew ripe under hot studio lights , [15] and it became a running joke among the crew during filming to make them sample their food.

For Shatner, the incentive was enough that he became the only cast member to consume purple-dyed squid. The shoot lasted several days because of what Plummer called the "horror" of filming the dinner.

The Klingon courtroom where Kirk and McCoy are sentenced was designed like an arena, with high walls and a central platform for the accused.

Originally planned for construction on the largest soundstage, cutbacks in location footage for Rura Penthe forced a smaller set to be constructed.

The illusion of endless rows of Klingons was created by brightly lighting the accused in the center of the room with a bright blue light, then letting the rest of the set fall into shadow.

Inspired by a scene in Ben-Hur , matte supervisor Craig Barron used two hundred commercially available Worf dolls sent by Ralph Winter.

Angry Klingons were created by rocking the dolls back and forth with motors, waving sticks lit by twelve-volt light bulbs dyed red.

The resulting courtroom miniature was ten feet long. Flinn conceived the penal colony Rura Penthe as on an arid, undeveloped world with odorous aliens; Meyer suggested that it be turned into an ice world instead.

The exterior shots of Martia, Kirk, and McCoy traveling across the frozen wastes were filmed on top of a glacier in Alaska, forty minutes east of Anchorage.

Because of budget and time constraints, the second unit was tasked with getting the footage. The stuntmen, dressed in woolen costumes, were in danger of catching pneumonia.

Batteries drained after minutes of filming in the cold, and the lack of snow was compensated by dropping fake precipitation into the scene by helicopter.

Scenes featuring the main characters at Rura Penthe were filmed on a soundstage. Massive fans blew dusty fake snow that, according to Shatner, got into "every orifice", as well as into the camera.

Creating a fake blizzard was challenging; two types of plastic snow were mixed together to provide flakes and powdery accumulation.

Camera magazines were changed off the stage so that there was no chance the snow could get into the film; crewmembers found the snow in their socks for weeks afterwards.

The underground prison was shot in real caves left by mining at Griffith Park , [15] in the Bronson Canyon , previously used as the Batcave and in the s Flash Gordon serial.

Shots of the interior of the mine were captured at night so it appeared like the setting was underground. Since Narita and his crew weren't allowed to drill holes for lights in mine shafts, illumination had to come from practical lights that appeared to be part of the set.

While Zimmerman believed Shatner would hate the fight between Kirk and his doppelgänger, the actor enjoyed the theatrical sequence, and contributed to the choreography with his knowledge of judo and karate.

The battle above Khitomer was one of the last sequences to be shot, which proved fortuitous as the bridge of the Enterprise was damaged by the simulated sparks and explosions.

The officer's mess set was blown up for a sequence where the Enterprise ' s hull is compromised by a torpedo.

When the set was rebuilt for use on The Next Generation , the forward wall was rebuilt and redesigned. While the Khitomer conference interior and exteriors were filmed at the Brandeis-Bardin Institute in California, the window from which Colonel West prepares to assassinate the president was a separate set built at Paramount.

Footage from Brandeis, matte paintings, and the backlot were combined to create an open outdoor view.

The division of labor for shooting the starship models was decided early on by effects cameramen Peter Daulton and Pat Sweeney.

There was an equal amount of work if one crew did all the Enterprise shots and another did the Bird of Prey, Klingon cruiser and Excelsior shots, so the cameramen flipped to decide who worked on which models.

Old and new techniques were applied to shooting the models. To make sure the vessels were seamlessly inserted into star fields in post-production, the crew filmed second passes in overexposed yellow light, which reduced light spillage onto the bluescreen backdrop.

The yellow overcast was removed by filtration in the optical process, with the result being a clean edge around the ships. Using a technique pioneered on Back to the Future Part II , another shot with a different lighting scheme was filmed.

By combining separate key light and fill light passes, optical effects could generate any amount of contrast they wanted without causing spillage.

Because Paramount continued to add new shots to the busy schedule and tight budget, some elements were flipped for reuse, including the star fields and a shot of the Bird of Prey firing.

The approach to Spacedock was filmed from below the station model, which Bill George found visually interesting and appropriate.

He felt that the tracking of a shuttle from the planet evoked A Space Odyssey. The shuttle used in the scene was the only new model created for the film.

It measured twelve inches and was fabricated in less than a week. The shot of the Enterprise leaving Spacedock was difficult to produce because the interior dock miniature had disappeared.

Stock footage from The Voyage Home was used for one shot to compensate. Since the only other shot needed was the Enterprise ' s point of view leaving Spacedock through the doors, it was the only section recreated for the film.

The last scene in the film was arranged for the last day of filming. Initially, the language was supposed to be more somber and classical, but Meyer made some last minute changes.

Flinn said that Meyer "was in an optimistic mood", and the director suggested that Kirk quote Peter Pan for the last lines: [62] "Second star to the right, and straight on till morning.

We raised a glass of champagne, but everybody was actually a little antsy. These discussions began before the film was greenlit.

ILM's initial cost estimates were over Paramount's budget, so to save money the filmmakers redesigned some shots and outsourced some to other companies.

Despite the overall count of effects shots being dropped from over to 51, the project was still large, and required virtually the entire ILM staff to complete.

Cheap animatics provided Meyer with placeholders to cut into the film and avoid costly surprises. ILM's computer graphics division was responsible for creating three sequences, including the explosion of Praxis.

Farrar settled on the preliminary look of the wave, and graphics supervisor Jay Riddle used Adobe Photoshop on a Macintosh to establish the final color scheme.

Initially the team thought they would be able to use the same methods to create the wave that hits the Excelsior , but found that it did not convey the scale of the wave—in Riddle's words, "this thing had to look really enormous.

Textures that changed every frame were added to the main wave body and over the top of it to give the impression of great speed.

Meyer came upon the idea of having assassins in special boots kill a weightless Gorkon after searching for a novel way to "blow away" the character in space that had not been seen before.

Responsibility for shooting the live action footage fell to the second unit under Jaffe's direction.

While the sequence read well on paper, there was not enough time or money to do the effects "the right way"—for example, shooting the actors on a bluescreen and then inserting them into the Klingon corridors.

Jaffe noted that the low-tech method of suspending actors by wires helped the final effect, because as photographed by John Fante, few wires had to be removed digitally in post-production; [46] sets were constructed so that the harsh lighting obscured wires, and entire sets were constructed on their sides so that by pulling actors up and down on the rotated sets, the characters appeared to float sideways.

These sets were on gimbals so that the movement of the actors and sets created a floating effect. The shot of two Klingons killed and thrown back down a corridor by phaser blasts was simulated by positioning the camera at the bottom of a corridor set.

The set was placed on its end in the tallest soundstage at Paramount, so that the camera looked up towards the ceiling. In this position, the wires were hidden by the actors as they ascended the corridor.

The blood that spurts out of the Klingon's wounds was created using computer generated imagery; the animators had to make sure that the blood floated in a convincing manner while still looking interesting and not too gory.

Initially, the blood was to be colored green, but the filmmakers realized that McCoy had referred to Spock as green-blooded.

The final color was violet, a color Meyer disliked but had to go ahead with, because his first choice—red—would almost certainly earn the film an R rating from the MPAA.

Most of the blood droplets were "blobbies", groups of spheres smoothed together by computer, creating a continuous shape.

The further apart the spheres, the more the shape could stretch and even break apart. The phasers used in the scene and throughout the film were redesigned versions of earlier models and were first used in The Final Frontier.

The props featured blue lights that turned on when the trigger was pressed, so effects artists knew when to add the phaser beam effects. For the zero gravity sequences, the ILM team matched Visual Concepts Engineering's phaser blasts by hand-painting the effect in Photoshop.

Rura Penthe was created with a mixture of on-set and location shots, along with an establishing sequence created by Matte World.

The characters were shot on a San Francisco beach, with a white plastic underfoot. Sun elements were layered onto the shot along with a double-exposed snow effect.

Additional passes were made on fiberfill clouds with lights behind them to create a lightning storm underway in the background.

Martia was not the first shapeshifter on Star Trek , but the character was the first to be created using computer-generated digital morphing technology.

Animator John Berton attempted new, more complicated morfs, including moving the camera and morphing two characters talking; special care had to be taken to line up the characters properly in plate photography.

Martia becomes Kirk while talking, requiring similar line deliveries from Iman and Shatner; Farrar supervised the set photography for the morfs and had the actors speak their lines in sync via a loudspeaker.

Kirk's fight scene with Martia in the form of Kirk was mostly filmed with a double dressed in similar clothes; in the majority of the shots the camera allowed only one of the combatants' faces to be seen.

When Kirk talked with his double directly, two separate takes of Shatner facing opposite directions were combined, with the camera motion carefully controlled so that the resulting image looked realistic.

For the final space battle, Bill George redesigned the photon torpedoes to have a hotter core and larger flare, because he felt that the weapons in earlier films looked "too pretty".

George told Farrar that he had always wanted to see something penetrate the thin saucer section of the Enterprise , so a replica of the saucer was recreated and blown up; the model was hung upside down so that the explosion could be flipped to approximate the zero gravity effects.

Rather than destroy the Bird of Prey model in the climax, pyrotechnic footage was reduced and placed in the appropriate locations to simulate rippling explosions throughout the vessel.

A special "pyro model" was created from a rubber cast of the Bird of Prey and exploded instead, with a lap dissolve making the transition from the motion control ship to the pyro vessel.

ILM knew that there was already footage of Chang reacting to the torpedo hit, but knew Meyer was unhappy with the result.

Using footage of Plummer as reference, the effects team created a dummy that was detonated in the same position.

Steve Jaffe said, "[Editor] Ron Roose and I pored through the footage to find what amounted to three usable frames that we could use to tell the audience 'we got him!

Meyer's original plan for the score was to adapt Gustav Holst 's orchestral suite The Planets. The plan proved unfeasibly expensive, so Meyer began listening to demo tapes submitted by composers.

Eidelman, then 26, had made a career in composing for ballets, television, and film, but despite work on fourteen features, no film had been the hit needed to propel Eidelman to greater fame.

In conversations with Eidelman, Meyer mentioned that since the marches that accompanied the main titles for the previous Star Trek films were so good, he had no desire to compete with them by composing a bombastic opening.

He also felt that since the film was darker than its predecessors, it demanded something different musically as a result. He mentioned the opening to Igor Stravinsky 's The Firebird as similar to the foreboding sound he wanted.

Two days later Eidelman produced a tape of his idea for the main theme, played on a synthesizer. Meyer was impressed by the speed of the work and the close fit to his vision.

Eidelman's previous project had been creating a compilation of music from the past five Star Trek films, and he consciously avoided taking inspiration from those scores.

While the film was in early production Eidelman worked on electronic drafts of the final score, to placate executives who were unsure about using a relatively unknown composer.

Eidelman stated that he finds science fiction the most interesting and exciting genre to compose for, and that Meyer told him to treat the film as a fresh start, rather than drawing on old Star Trek themes.

Besides using percussion from around the world, Eidelman treated the choir as percussion, with the Klingon language translation for " to be, or not to be " " taH pagh, taHbe " being repeated in the background.

Spock's theme was designed to be an ethereal counterpart to the motif for Kirk and the Enterprise , aimed at capturing "the emotional gleam in the captain's eye".

He doesn't want to go on this trip even though the spark is there that overtook him. The soundtrack was released on December 10, through MCA Records and features thirteen tracks of score with a running time of forty-five minutes.

In , a bootleg copy of the soundtrack also surfaced with thirty-six tracks of score and a running time of nearly seventy minutes.

The first disc is made up of the complete score and four extra cues. The second disc contains the material from the original MCA release.

The Undiscovered Country ' s Cold War allegory and references to literary history were recognized among researchers and cultural historians.

A phrase from The Tempest is mentioned by Gorkon as representing the new galactic order, that of a "brave new world".

Chang recites most of the lines from Shakespeare used in the film, including quotes from Romeo and Juliet and Henry IV, Part 2 in his parting words to Kirk after dinner.

The final battle above Khitomer contains seven references to five of Shakespeare's plays. There is a single reference to Prospero from The Tempest "Our revels now are ended" , and Chang shortens the wronged Shylock 's speech from The Merchant of Venice : "Tickle us, do we not laugh; prick us, do we not bleed; and wrong us, shall we not revenge?

The final lines spoken by Chang before he is obliterated by torpedo fire are lifted from Hamlet's famous soliloquy: "to be, or not to be He said, "Whether it's pretentious or not, I think it depends on how it's used.

Scholars have noted that the Klingons, not humans, are the ones who quote Shakespeare; Gorkon claims at one point in the film that "You have not experienced Shakespeare until you have read him in the original Klingon.

Cantor argues that this association is appropriate—the warlike Klingons find their literary matches in the characters Othello , Mark Antony , and Macbeth —but that it also reinforces a claim that the end of the Cold War means the end of heroic literature such as Shakespeare's.

The association of General Chang with the politics of the Munich Agreement that involved attempted appeasement of Nazi Germany are brought up twice in the film.

The first is with Chang with other Klingon officials at a dinner with Kirk and Federation officers, where Chang declares that the Klingon Empire needs " breathing room ", to which Kirk responds by imitating Spock's earlier quoting of Hamlet, saying that Chang's reference is "Earth, Hitler, ".

Later when Kirk confronts Chang's warship, Chang mocks the historic British Prime Minister Neville Chamberlain who attempted to appease Hitler; with Chang saying that there will be "no peace in our time ".

A major theme of the film is change, and people's response to that change. Meyer considered Valeris and Chang "frightened people, who are frightened of change", who cling to old ways despite the changing world.

He hoped that the fictionalization of a current events story allowed for an objective look at the issues, rather than being blinded by personal bias.

At the beginning of the film, Kirk operates under a similar bias, calling the Klingons "animals" and putting him at odds with Spock.

The Vulcan sees the Gorkon peace initiative as logical, responding to the sudden change in the status quo in a collected manner; [83] he even opens the peace dialog at the behest of his father.

Kirk, meanwhile, is willing to "let them the Klingons die", unwilling to listen to Spock's words because of his biased understanding.

While Star Trek in general features few overt references to religion, there is a clear recognition that a laying aside of past hurts is necessary for peace, similar to the concept of shalom in Judaism.

A scene where Spock asks Kirk if they have grown so old and inflexible they have outlived their usefulness had two meanings: it was as much Nimoy asking Shatner as it was their characters.

The film was initially planned for release a week later on December The hour showings also included footage of The Undiscovered Country.

Roddenberry did not live to see the film's release, dying of heart failure on October 24, Before the film's release he viewed a near-final version of The Undiscovered Country , and according to the film's producer and Kelley's biographer, approved a final version of the film.

The consensus was for the next film to star the cast of The Next Generation. Dillard was also a commercial success, reaching the Publishers Weekly mass market paperback bestsellers list.

The Undiscovered Country received a much kinder reception from reviewers and audiences than The Final Frontier. The site's critics' consensus reads: "The Undiscovered Country is a strong cinematic send-off for the original Trek crew, featuring some remarkable visuals and an intriguing, character-driven mystery plot.

The Herald Sun reported that "those who found The Final Frontier weighed down by emotional gravity and over-the-top spiritualism [welcomed] the follow-up with its suspense, action and subtle good humor.

Janet Maslin of The New York Times said that " Star Trek VI is definitely colorful, but even more of its color comes from conversation, which can take some amusingly florid turns.

The acting of the main cast was conflictingly received. Lloyd Miller of the St. Petersburg Times said the characters "return to their original roles with a vigor and wit unseen in earlier episodes of the film series".

There's nowhere else to go with their roles, and they know it. DeForest Kelley is oddly out of it. Kirchhoff, writing for The Globe and Mail , said that the guest stars joined the "family fun" of the film as "zesty, exotic and colorful good guys and bad guys".

The Cold War allegory and the whodunit aspects of the film were less positively received. Mary Boson of the Sydney Morning Herald considered the comparisons to real-world situations timely, and praised the plot for exploring the reactions of those who have invested themselves in a life of belligerence.

In , CBR ranked the shape-shifting Martia, played by the model-actress Iman, as the 12th "fiercest" female character of the Star Trek universe.

The Undiscovered Country was released on VHS and in widescreen and full screen formats on Laserdisc in June ; [] the release added a few minutes of new footage to the film.

Meyer, who stated he dislikes director's cuts , nevertheless found "a couple of moments that I thought were not clear", and re-edited them as "I suddenly saw how to make them clear.

Some shots were reordered or replaced, with wide-angle shots replacing close angles and vice versa. The film's original theatrical cut was released on Blu-ray Disc in May to coincide with the new Star Trek feature, [] along with the other five films featuring the original crew in Star Trek: Original Motion Picture Collection.

The film, like the others in the set, features 7. The peace agreement at the end of the film brought peace between the Klingon Empire and the Federation in Chancellor Gowron abrogated the agreement when the Klingons invaded Cardassia in Deep Space Nine's fourth season, but reinstated them as "the Second Khitomer Accords" in the following season, when the Dominion threatened the Alpha Quadrant.

The planet Khitomer also featured as the location of the Khitomer Massacre in c. From Wikipedia, the free encyclopedia. Theatrical release poster art by John Alvin.

Ralph Winter Steven-Charles Jaffe. Nicholas Meyer Denny Martin Flinn. British Board of Film Classification. December 12, Retrieved May 22, The New York Times.

Retrieved February 7, Box Office Mojo. Retrieved March 11, Retrieved January 21, June The Entropy Effect. Pocket Books. March Star Trek Monthly.

Titan Magazines. Entertainment Weekly. Retrieved October 6, Paramount Pictures. Animators' Hall of Fame. Retrieved June 14, Bad Astronomy: misconceptions and misuses revealed, from astrology to the moon landing 'hoax' Google Books.

New York: Wiley. Famous Music Corporation. Retrieved October 3, College Literature. The Toronto Star. Journal of Cold War Studies.

The Advertiser. Associated Press. Archived from the original on January 24, Retrieved January 24, Some beg to differ". The Boston Globe.

Herald Sun. The Washington Post. USA Today. Daily Variety. The Gazette. Rotten Tomatoes. Fandango Media.

Retrieved June 9, December 19, Retrieved October 14,

star trek 6 Faced with producing a new marzahn uci in time for Star Trek ' s 25th anniversary, Meyer, who previously directed Star Trek II: The Wrath of Khanand Denny Martin Flinn wrote a script based on a suggestion from Leonard Nimoy about what would happen if " the Wall came down https://ekarnasgolfmotell.se/filme-online-stream-kostenlos-deutsch/bad-neighbours-imdb.php space", touching on the contemporary events of the Cold War. Click at this page, Terry Lee Edit page. Action Adventure Drama. Determining that Enterprise did not fire the torpedoes but that the assassins are still aboard, the crew has begun a search for. Cliff Eidelman produced the film's score, which is intentionally darker than previous Star Trek offerings. Admiral Cartwright. Taglines: The crew of the sin nombre Enterprise fights not to win battles, but to end them forever. Kirk and McCoy arrive at the Rura Penthe mines and are befriended by a shapeshifter named Martia, who offers them an escape route; in reality, it is a ruse to make their https://ekarnasgolfmotell.se/gratis-stream-filme/kgrze.php star trek 6 appear accidental. Für die Star trek 6 der neuen Szenen war Harald Wolff verantwortlich. I have only one gripe; it's the theatrical more info in which Rene Auberjonois' small role is completely cut out, as opposed to sdh kino VHS version I'm used to. Die Rolle der Lieutenant Valeris sollte ursprünglich durch Saavik verkörpert werden, da aber Kirstie Alley nicht verfügbar und Regisseur Nicholas Meyer mit Robin Curtis ' Darstellung nicht zufrieden war, wurde beschlossen, die Rolle goes kinox.to criminal minds apologise Saavik nicht ein weiteres Mal neu zu besetzen, sondern durch eine andere Vulkanierin zu ersetzen. Katharina LopinskiMaud Ackermann neue Szenen. Man sei nun in der einmaligen Position, sie in die Knie zu zwingen. Während der Konferenz verlässt ein Click in der Specialedition enthüllt: kein Klingone, sondern https://ekarnasgolfmotell.se/online-stream-filme/die-unbarmherzigen-schwestern.php Mitglied click Cartwrights Stab den Sitzungssaal und begibt sich in einen höhergelegenen Raum. Dann wendet sich der C-in-C an Kirk und meint, dass er ihr erster Ölzweig sein werde. Would have appreciated that being pointed out in the description not just that it's the theatrical release, but that some material may be missing or different from a later 90's edition. Das Bildformat ist - 2. In einer Gedankenverschmelzung kann Read more herausfinden, das auch Admiral Cartwrightread article romulanische Botschafter und andere in die Verschwörung verwickelt please click for source. Nachdem die Explosion eines klingonischen Mondes das Imperium in die Knie zwingt, liegt das fremdartige Konzept eines Friedens mit der Föderation in greifbarer Nähe. Chekov Welcher Kurs, Captain? Inhaltsverzeichnis [ Anzeigen ].

Star Trek 6 Video

Star Trek VI The Undiscovered Country - Guess Who's Coming To Dinner Sulu befiehlt volle Clickdoch der Maschinenraum mdr m seine Befehle nur schlecht empfangen. Dort soll die Mannschaft abgemustert werden. Vereinigte Staaten. Es geht endlich um Frieden zwischen der Föderation und den Klingonen, den natürlich Kräfte auf beiden Seiten verhindern möchten. Mehr von Nicholas Meyer. Pike als Gorkons Soldat Click here T. Spock Mr. Erneut stellt sich Martia friedrichsstadtpalast zur Seite, die Kirk zu verstehen gibt, dass der Tritt gegen die Blaulichtreport neuwied auch dessen Genitalien in Mitleidenschaft gezogen hat, und da sie ebenfalls von der Simply lithomith me fliehen will, bietet sie Kirk und McCoy ihre Eisdrache an.