The film title refers to a catchphrase commonly spoken by Star Trek fans. A popular science fiction story that has launched television serials, books and movies since 1966, there is no doubt that Star Trek has become an integral part of the American cultural tapestry. Now there’s Beam Me Up, Sulu, a documentary that explores the makings of an unfinished student film that occurred in 1985, amid the Californian forest. George Takei of Star Trek II: The Wrath of Khan (Nicholas Meyer, 1982) fame collaborated with the novice filmmakers, a troupe who remember the veteran actor with great fondness. Takei famously played Hikaru Sulu, a key member of the USS Enterprise.
“He had his sense of humour,” one of the participants recalls; “his laugh.” Clearly, these young people were in awe of Takei, and archive footage shows a jolly set in the sunshine. The movie jumps between the contemporary and the past, utilising usable footage that survived from the 1980s. No one was fooled by the ambitions, with members of the production laughing at the rudimentary dollies and sound equipment they used. Rather than act like a diva, Takei was reportedly very sporting about the whole endeavour. The elderly actor of Japanese heritage saw fun in the camera people, and harbours no regrets or pride in his work with the crew. Ultimately, the work never saw the light of day, until it was padded to this work.
Which is not to say Beam Me Up, Sulu shies away from serious themes, and some of the anecdotes about the treatment towards Japanese American citizens feels spiky and emotive. “My father’s car had three letters on his car,” a talking head explains; “J.A.P.” Ordinary citizens were forced to recall the appalling actions of their country men: an army of kamikaze bombers and POW guards. Takei’s emergence as an actor of Oriental ancestry showcased average white film and television viewers of the importance of diversity.
“Historically, Asian men were portrayed as meek”, the viewers are informed, praising Takei’s heroic turn as Sulu. Indeed, he was something of a role model for young actors. “This guy’s doing something, and he looks like me,” one excited interview subject reflects. Occasionally the compliments are a little histrionic – James Saburo Shigeta is described as a “pioneer”, even though his legacy mostly lies as a cameo performance in Die Hard (John McTiernan, 1988) – but make the point as to how difficult it once was for Asiatic artists to get screentime.
There are tasteful animated sequences that fill in some of the blanks. The interviewees recall their childhood, which is depicted in stylised cartoon segments. It brings a visceral element to the work that a collage of photographs showing past events would lack. Mercifully, these Star Trek fans are willing to poke fun at their devotion to the franchise, a modesty that makes this fandom feel more genuine. There are no long-winded, lugubrious sounding speakers who try to intellectualise the brand; what is presented in this feature is relatably human.
More interestingly, there are stills and clips of the amateur crew working behind the scenes, learning how to mix, overdub and put a work together in post production. The footage for the proposed film was placed in a bag, which was lost. Tellingly, those who worked on the piece were “emotionally devastated”. The movie didn’t see the light of day as “life got in the way” for the student directors, but it was uncovered years later and preserved for this movie. In some ways, the story of incompletion is even more intriguing than a memento based on triumph. It shows the labour that enters into a feature, but instills the mantra that art must be done for the love of the creators above all else.
The world premiere of Beam Me Up, Sulu takes place during the 33rd edition of Raindance (happening from June 18th to the 27th).
