“STAR TREK VOYAGER”: “The Curious Affair of B’Elanna Torres’ Age”

 

“STAR TREK VOYAGER”:  “The Curious Age of B’Elanna Torres’ Age”

Over the years there have been many complaints about the inconsistency regarding characters and stories in TREK series, ”Star Trek: Voyager” (1995-2001). I will not deny that the series has been guilty of the occasional inconsistency. To be frank, all of the five TREK series and many of its movies are guilty of the same. However, I was shocked and surprised to learn that some of the websites that provide information on the entire franchise turned out to be just as inconsistent.

While perusing the http://www.wikipedia.com website, I was surprised to discover a major discrepancy featuring one of the major characters on ”Voyager”, namely that of the Chief Engineer, B’Elanna Torres. According to this site, B’Elanna was born in 2349, the same year as Operations Chief, Harry Kim. It also included that B’Elanna had joined Starfleet Academy in 2366, right after her last meeting with her mother, Miral Torres. Two years later in 2368, B’Elanna allegedly resigned from Starfleet Academy and not long afterwards, joined Chakotay’s cell in the Maquis. There is another source that confirms this – namely Jeri Taylor’s Voyager novel, ”Pathways”. Personally, I had major problems with this summation.

One, I find it hard to believe that B’Elanna had joined the Maquis sometime between 2368 (the year that Chakotay had resigned from Starfleet and joined the Maquis) and 2369. If this is true, then she would have first met Tom Paris, in the Maquis. But the television series had never hinted that B’Elanna and Tom knew each other before Voyager was hurled into the Delta Quadrant in early 2371. The early Season 2 episode, ”Non-Sequitur” made it clear that Tom had served his full sentence in a Federation prison – eighteen months in an alternate timeline that Harry Kim found himself in. According to the episode and the stardate, Tom had been released from prison in September 2371. Which means that Tom had been captured and imprisoned by the Federation in March 2370. And the Season 2 episode, Dreadnought”, made it clear that Voyager’s encounter with Cardassian missile occurred nearly on the second anniversary of B’Elanna’s first encounter with the missile – not long after she had joined Chakotay’s cell. According to the stardate, ”Dreadnought” occurred in the summer of 2372, which means that B’Elanna had joined Chakotay’s cell sometime during the late spring of 2370.

Also, it is not possible that B’Elanna had joined Starfleet Academy in 2366, after seeing her mother for the last time. According to the late Season 5 episode, ”The Equinox”, B’Elanna had not seen her old Academy boyfriend, Maxwell Burke, in ten years. ”The Equinox” was probably set in late 2375, which means that she and Burke had last seen each other in 2365. This also leads me to believe that B’Elanna had already been in Starfleet Academy by 2366. I am also convinced that it is possible that B’Elanna had last met with her mother after resigning from Starfleet Academy and not before joining it. Although there is no episode that claimed that B’Elanna had last spoken to her mother after leaving Starfleet, the Season 6 episode, ”Barge of the Dead” certainly did not make it clear that she had joined Starfleet Academy after her last meeting with Miral – despite what Wikipedia and Jeri Taylor have claimed.

There is one last reason why I find it difficult to accept that B’Elanna was born in 2349. It happens to be the same birth year as her close friend, Harry Kim. If the two friends had been born in the same year, this meant that both had entered Starfleet around the same time. And both would have immediately been placed on the Engineering track. Their chances of meeting for the first time at the Academy would have been pretty good. Yet, the premiere episode, ”Caretaker” makes it pretty clear that B’Elanna and Harry met for the first time, while in the Ocampan settlement.

It is the series itself that makes it easy for me to refute the claim that B’Elanna Torres had joined the Maquis in 2368 or that she had been born in 2349. In regard to the first claim, the stardates provided in episodes like ”Non-Sequitur” and ”Dreadnought” seemed to contradict Wikipedia or Jeri Taylor that B’Elanna had joined the Maquis in 2368. And episodes like ”Caretaker”, ”The Equinox” and ”Barge of the Dead” gives enough evidence to refute the claim that B’Elanna had been born in 2349.

About an hour ago, I had examined the Wikipedia. Changes had been made. It no longer claimed that B’Elanna had been born in 2349. Instead, it claimed that she had been born in 2346. I do not know if this is true, but it seems a lot more plausible than its earlier claim. But I would not be surprised if these changes were removed by the site’s webmaster. No matter. I know what I believe.

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“ATONEMENT” (2007) Review

 

“ATONEMENT” (2007) Review

Based upon Ian McEwan’s 2001 novel, ”ATONEMENT” told the story about how the lies and misunderstandings of 13-year-old girl from a nouveau-riche English family affected the romance between her older sister and the son of the family’s housekeeper. The movie starred James McAvoy, Keira Knightely and Academy Award nominee Saoirse Ronan.

Comprised in four parts (like the novel), ”ATONEMENT” began with the 13 year-old Briony Tallis (Saoirse Ronan), an aspiring novelist with a crush on Robbie Turner (James McAvoy), the son of the family’s housekeeper. Robbie, along with Briony’s older sister Cecilia (Keira Knightley) have both returned for the summer in 1935, following their education at Cambridge. Although both Robbie and Cecilia have been aware of each other at Cambridge, neither have not bothered to acknowledged their romantic interest in each other until recently. Also at the Tallis home for the weekend are Briony and Cecilia’s cousins – the 15 year-old Lola Quincey (Juno Temple) and her younger twin brothers – and their older brother Leon’s friend, the owner of a chocolate factory named Paul Marshall (Benedict Cumberbatch).

After Briony had witnessed several disturbing scenes – at least in her eyes – between Robbie and Cecilia, she comes to the conclusion that Robbie might be a sexual threat to Cecilia. Matters worsened when Briony joined the rest of the household in the search for Lola’s twin brothers, who had ran off in protest against their parents’ upcoming divorce. During the search for the twins, Briony witnessed the rape of her cousin Lola on the family estate by a man in a dinner suit. In the end, Briony claimed that the man she saw raping Lola was Robbie. Aside from Cecilia, the rest of the family believed Briony and Robbie ends up being sent to prison. At the outset of World War II, the British government released Robbie from prison on condition that he enlist as a private in the British Expeditionary Force. The rest of the movie, set during the early years of World War II, featured Robbie’s brief reunion with Cecilia – who had become a nurse – before his journey to France and the now 18 year-old Briony’s (Romola Garai) experiences as a wartime nurse.

”ATONEMENT” turned out to be a first-rate film about the destructive consequences of lies and illusions. Both director Joe Wright and screenwriter Christopher Hampton structured the movie in an unusual way in which not only did they allow moviegoers different conflicting perspective on certain incidents in the story – a prime example would be both Briony and Robbie’s different points-of-view on an incident regarding Cecilia’s retrieval of a broken vase from the estate fountain, but also quite cleverly hinted that certain aspects of story – especially the World War II segments – may have been colored by Briony’s own emotions and imagination. Also, Wright, along with art directors Ian Bailie, Nick Gottschalk and Niall Moroney; and production designer Sarah Greenwood did an excellent job in re-creating the rich atmosphere of Britain in the mid-1930s and 1940 and especially the Dunkirk expedition. I also have to commend Paul Tothill for the film’s superb editing. Tothill managed to give ”ATONEMENT” a rhythmic style that matched the sound of a typewriter that added an illusionary sense to the unfolding story. In other words, by editing the story in a way that allowed certain scenes to be told from different points of view and added a sense of illusion, Tothill’s work gave the audience a false sense of illusion – at least for those who have never read McEwan’s novel.

I do have one quibble about the movie’s production . . . and I have to place the blame on Wright’s direction. I am referring the sequence that featured Robbie’s arrival at the beach at Dunkirk. At first glance, I was struck by the spectacle of Wright’s direction and Seamus McGarvey’s photography of the entire montage. Like I said . . . at first. Unfortunately, the montage ended up lasting several minutes too long. Not much time had passed when I found myself longing for it to end. I realized that Wright wanted to reveal the horror and chaos of war in all of its glory. But in the end, he simply went too far.

I must admit that I was not as impressed by most of the cast of ”ATONEMENT” as most critics and moviegoers. There was nothing earth-shattering about most of the performances . . . just good, solid work. Many moviegoers and critics had been surprised when both James McAvoy and Keira Knightley failed to earn Academy Award nominations. After watching the movie, I am not really surprised. Mind you, both gave very competent performances as the two lovers – Robbie and Cecilia But I had two problems with McAvoy and Knightley. One, their screen chemistry was not that explosive, considering the heated romance of their characters. It took a love scene inside the Tallis library to truly generate any heat between them. And two, I think their performances were hampered by Wright’s decision to allow the characters to speak in a staccato style that was prevalent in the movies of the 1930s and 40s in both Hollywood and Britain. I hate to say this, but McAvoy and Knightley never really managed to utilize this speech pattern with any effectiveness. There were times when their attempts to use it threatened to make their performances seem stiff and rushed. Perhaps they were simply too young and inexperienced.

On the other hand, I was very impressed by the three actresses who portrayed Briony Tallis at different stages in her life. Legendary actress Vanessa Redgrave portrayed a 70-80 year-old Briony, who had not only wrote a novel based upon the events surrounding Robbie’s arrest, but also confessed to the mistake she had committed decades earlier. And Romola Garai portrayed the character as an 18 year-old wartime nurse. Both actresses did an excellent job of portraying these older versions of Briony. But it was the young actress Saoirse Ronan who stole the movie as the 13 year-old Briony, whose naivety, jealousy toward Cecilia and Robbie’s budding romance and penchant for illusions led to devastating consequences for the romantic pair. Unlike McAvoy and Knighteley, Ronan gave a superb and natural performance as the confused and emotional Briony. It is not surprising that her work eventually earned BAFTA, Golden Globe and Academy Award nominations for Best Supporting Actress.

Before I end this review, I have to point out something that trouble me about ”ATONEMENT”. I might as well admit that I have never read McEwan’s novel . . . which is why the following storyline left me feeling confused. From what I have read about the film and the novel, Briony’s cousin, Lola Quincey, had been raped by the Tallis’ guest, Paul Marshall. And yet . . . she married the man, five years later. Why? Was it because she never knew that Marshall had been the one who had raped her? But judging from the hostile look she had given Briony at her wedding, Lola seemed well aware of that fact. Did Marshall actually raped her? Or had he seduced her that night the twins disappeared and Robbie was arrested? Perhaps the novel made the details of Lola’s storyline clearer. The movie left it murky. At least for me.

In the end, I must admit that ”ATONEMENT” proved to be one of the best movies released in 2007. Was it the best movie of that year? I have no idea. I have not seen ”NO COUNTRY FOR OLD MEN”. At least not yet. But despite some of the movie’s flaws, director Joe Wright managed to lift the usual Merchant Ivory façade of Britain’s past and create an emotionally dark film from Ian McEwan’s novel.