Robert Comsol wrote:
Already the narration at the beginning of "Forbidden Planet" is clear evidence, that Roddenberry borrowed from it, IMHO. But I can't find fault with that.
...or how the exterior bridge design is a direct swipe from the ship in Universal's sci-fi mini-classic This Island Earth
So, it is not a stretch to conclude Roddenberry and his associates borrowed from well-known or visually striking sci-fi movies from the previous decade, much in the way endless late 70s/80s films took their design cues / feel from the first Star Wars
film (1977) whether ILM worked on them or not.
In the early 1970's, the production design in films like "Silent Running" or "Dark Star" were apparently trying to claim "we are the same league as 2001" (or making fun of it), so I'd say that Roddenberry also wanted to claim or suggest that Star Trek is the same league as "Forbidden Planet".
Not a stretch at all.
The only thing I still don't like, is that both pilots ("The Cage" and "Where No Man Has Gone Before") were just too derivative regarding the plot.
Then we have "Where No Man Has Gone Before" where we have a human being whose only difference to Dr. Mobius in "Forbidden Planet" is that he is consciously aware of his god-like powers (Yawn again).
The significant differerence is that Mitchell did not isolate himself on some remote world, reject the attention of others, or find himself consumed by his own inner demons/alien technology. Almost from the start, Mitchell realized his potential and wanted to extend his reach beyond his former life on the Enterprise
. As a character, the audience was made to feel for the hybrid hero/villain--one could not sympathize with Morbius. Morbius would be imitated---only by producers such as Irwin Allen, who milked the "remote / sneaky scientist" plot too much on his 4 sci-fi TV series of the 60s.
The 2nd pilot had its own force & voice, and it has much to do why it sold TOS, instead of being rejected as some clone of "that movie from a few years ago."