“INTER ARMA ENIM SILENT LEGES”
Forget all that Latin, we all know this should be called “THE BASHIR ULTIMATUM”...
Or maybe “THE SLOAN IDENTITY”?
It took a full year for the writers to follow up the events of “Inquisition”, but, I have to say, the results are impressive. In many ways, “Inquisition” was the prelude to this, the payoff—an engaging and well-plotted political thriller which dares to tackle some weighty and controversial themes. This is the kind of material I wish we’d gotten more of in the past half season instead of so much tepid Ezri filler.
If “Inter Arma...” has a flaw it’s simply a tendency to be overly convoluted. But I love the fact it assumes a certain intelligence on the part of the audience, including a knowledge of the show’s continuity and an ability to keep up with the numerous reversals in the final couple of acts. Truly, there are plots within plots here, and a number of staggering twists that reward careful viewing. Yet it does fall into the trap of telling rather than showing, and the climax relies upon talk, talk, and more talk. That’s not necessarily a problem, however, with a script this well written. It also benefits from having the ever reliable David Livingston at the helm, and his directing is characteristically masterful. The reuse of the VOYAGER sets is also highly effective and certainly beats yet
another reuse of the Defiant sets.
Along with some superb writing and directing, the performances are uniformly strong. Alexander Siddig is excellent throughout (and looks fantastic in the INSURRECTION-style dress uniform!), and William Sadler is simply a delight as the duplicitous and enigmatic Sloan. Their interplay has genuine spark, and leads to some fascinating philosophical and moral discourse between not only Bashir and Sloan but Bashir and Admiral Ross, who most decidedly gets his hands dirty here. Barry Jenner isn’t the strongest actor to have ever graced the series, but he does a decent job here, as does Adrienne Barbeau as the recast Senator Cretak. Barbeau’s Cretak is far more nuanced and sympathetic than Megan Cole’s unapologetic and smug portrayal, which makes her ultimate fate far more affecting—although the two portrayals are such light years apart it’s hard to reconcile them as the same character. Ditto Praetor Neral, whose recasting again makes him seem like a completely different character.
Of course, we also have frequent Trek guest star John Fleck who absolutely aces it as the rather loathsome Koval. Fleck also played a Romulan back in TNG’s “The Mind’s Eye” and I initially thought they were maybe the same character because they frankly seem identical, but Koval is indeed a different character. I must say I did feel sorry for the guy when he was having to stand still and act rigid as a supposed hologram of Koval—he was, understandably, unable to keep from blinking and looked extremely uncomfortable as he tried to stand deathly still.
As already noted, this is an episode with labyrinthian twists and turns. It’s easy to relate to Bashir’s plight as he realises he doesn’t know who to trust, and the revelation that Admiral Ross has been compromised by Section 31 is genuinely surprising given what an unusually trustworthy Admiral he seemed to be! The climatic scene in the Romulan Senate, which seals poor Cretak’s fate and suggests that Section 31 isn’t even real but a fabrication of a disturbed man’s mind is riveting, if convoluted. I actually genuinely wondered if Koval’s revelations were true, but, of course, it transpires that Section 31 was very much real (and something that would be readily exploited, for better or worse, by the writers of ENTERPRISE, INTO DARKNESS and DISCOVERY). It does stretch credulity that Sloan is such an almost omnipotent-like mastermind that he’s able to accurate predict every aspect of the unfolding drama with unwavering precision. He and Section 31 almost seem magical in their power, knowledge and expertise and are always several steps ahead of everyone else. That actually makes them a little less interesting in my view; I’d love to have got some sense of weakness or oversight about them.
Of course, everything culminates in a nicely staged showdown between Ross and Bashir, the latter of whom is aggrieved that he’s been the victim of a very elaborate chain of deception. The very theme of the episode—that, in war-time the “law falls silent”—is fascinating and provocative. Provocative in that is continues to dismantle Gene Roddenberry’s utopian view of Starfleet and the humanity of the future. How this sits with you will very much depend on your take on “Gene’s vision”.
While I can understand how some view DS9 as cynical, if not out and out sacrilege, its viewpoint is certainly more realistic and true to life. As I grew up and studied sociology and politics I came to realise that even what we consider good, such as the relative prosperity and peace we enjoy in the West, is very often the result of Western countries manipulating, exploiting and even actively harming other countries and economies. It’s sad that the world in which we live is very definitely one of infinite shades of grey, and you can bet your bottom dollar that even the most “righteous” of leaders have undertaken action many would consider morally reprehensible just to further their own country’s interests.
This episode’s message is depressing and controversial, as it flies in the face of decades of Star Trek idealism, but it’s sadly all too realistic. Bashir’s fiercely moralistic take on the Federation’s values reflects the classic Trekkian perspective but is revealed to be rather naive in this episode. It may well be that part of the reason you and I can go to bed and sleep without fearing for our lives is because certain people are often willing to do very ugly and repugnant things in order to keep us safe. I’m not entirely sure I want to see this in Star Trek’s aspirational vision of the future, but, let’s face it, it’s honest, which I think all drama should be.
Overall, this is a winner: an engrossing political thriller, well-plotted and ably brought to life by great performances and taut directing. The message is sobering and it’s maybe just a little convoluted for its own good, so I don’t know if it quite warrants top marks, but it’s nevertheless a stunning episode and one of the strongest of the season.
Rating: 9
