What a sweet little tale. It never ceases to amaze me how much good work dedicated fans can do.
Star Trek: Chance Encounter
- Thread starter Philip Guyott
- Start date
I had not seen this before. The actress playing Rose was truly good, better than the other actors I would say. The look was quite good and the location was really gorgeous and filmed well. I did see the plot coming a mile away, but I also know and enjoy the film Somewhere in Time and this is a similar story.
I also like that the film didn't rely on pew-pew or even too much on verisimilitude. Her makeup and costume were of course very modern, as were the elder Marc's. Their scene could have played out in any time period from maybe 1980 onward, and in a lot of different franchises including wholly original. The space bits were minor and took a back seat to the main plot, and that's a good thing.
The music felt rather standard, e. g. it's a love story, so here come the violins. But I also understand budgets and time constraints and that's a nitpick. I didn't expect thrash metal.
Her dilemma was okay. She had a lot of reasons to love Marc and a lot of reasons to say yes, but no reasons to say no beyond a vague desire to not be tied down. And when people in real life put together a list of pros and cons about staying in a relationship, they usually have some cons. Some of that has to do with time constraints, and introducing any believable and important negatives would have thrown a time-consuming monkey wrench into things. She could have at least said he snores.
Without even a minor negative like that, younger Marc feels Gary Stu-ish. He's ideal; Rose shouldn't have any objections whatsoever. And the elder Marc should have been able to trust in that without interfering.
This is a beautiful and well-done effort. I would love to see the actress again, in particular, and the scene as well. Kudos!
I also like that the film didn't rely on pew-pew or even too much on verisimilitude. Her makeup and costume were of course very modern, as were the elder Marc's. Their scene could have played out in any time period from maybe 1980 onward, and in a lot of different franchises including wholly original. The space bits were minor and took a back seat to the main plot, and that's a good thing.
The music felt rather standard, e. g. it's a love story, so here come the violins. But I also understand budgets and time constraints and that's a nitpick. I didn't expect thrash metal.
Her dilemma was okay. She had a lot of reasons to love Marc and a lot of reasons to say yes, but no reasons to say no beyond a vague desire to not be tied down. And when people in real life put together a list of pros and cons about staying in a relationship, they usually have some cons. Some of that has to do with time constraints, and introducing any believable and important negatives would have thrown a time-consuming monkey wrench into things. She could have at least said he snores.
Without even a minor negative like that, younger Marc feels Gary Stu-ish. He's ideal; Rose shouldn't have any objections whatsoever. And the elder Marc should have been able to trust in that without interfering.This is a beautiful and well-done effort. I would love to see the actress again, in particular, and the scene as well. Kudos!
I just rewatched it. And first I have to say I always appreciate someone making the effort to put a film together and for not slavishly doing the typical thing. Kudos for that. Yeah, there are some technical quibbles, but at least there's some sense of directional continuity and framing that a lot of fanfilms just don't have clue one about.
That being said, I'm not super fond of the story and I'll try to articulate why.
I found the pace laggy. I especially found my attention wandering when she goes on about how wonderful he is.
I also found the shipboard and shuttlecraft scenes largely filler. His stealing a shuttle adds nothing to the story except an excuse to have scenes with other characters talking about how clever he is. Which raises...
The whole film is about how wonderful he is. He's so smart, clever, and then when Rose goes on and on about his good points... ugh. Gary Stu is right.
Rose's decision. My problem with this film has always centered around its slotting itself into a tired stereotype about a woman having to choose between love and career, something almost no one ever does with a male character. And how come younger him gets to be in uniform and she has to be "elegant"? It's also uncomfortable that he goes back to talk his future wife into being with him instead of, oh, I dunno, going back to share some special moment with her, or be there for her at a time he should have been but wasn't. She did marry him ultimately, so he chose this moment to step back in time so he could hear her sing his praises?
That the subplot features yet another female character rejecting love for career reinforces my issues with the main story, and the implication that she's a walking icebox/Vulcan for her attitude, is ew.
...
Now, I'm not suggesting that the following is the way to do it, just how I'd have done it had someone had given me this script. I'd have stood it on its head... had him feel that he'd held her back, and he went back to this crucial moment to give her every chance to make a different decision, then be surprised when she articulates why she chooses him despite and because of all his faults.
Then again, I'd have cut the all the "universe puts people together" stuff because I chafe at the idea of destiny.
That being said, I'm not super fond of the story and I'll try to articulate why.
I found the pace laggy. I especially found my attention wandering when she goes on about how wonderful he is.
I also found the shipboard and shuttlecraft scenes largely filler. His stealing a shuttle adds nothing to the story except an excuse to have scenes with other characters talking about how clever he is. Which raises...
The whole film is about how wonderful he is. He's so smart, clever, and then when Rose goes on and on about his good points... ugh. Gary Stu is right.
Rose's decision. My problem with this film has always centered around its slotting itself into a tired stereotype about a woman having to choose between love and career, something almost no one ever does with a male character. And how come younger him gets to be in uniform and she has to be "elegant"? It's also uncomfortable that he goes back to talk his future wife into being with him instead of, oh, I dunno, going back to share some special moment with her, or be there for her at a time he should have been but wasn't. She did marry him ultimately, so he chose this moment to step back in time so he could hear her sing his praises?
That the subplot features yet another female character rejecting love for career reinforces my issues with the main story, and the implication that she's a walking icebox/Vulcan for her attitude, is ew.
...
Now, I'm not suggesting that the following is the way to do it, just how I'd have done it had someone had given me this script. I'd have stood it on its head... had him feel that he'd held her back, and he went back to this crucial moment to give her every chance to make a different decision, then be surprised when she articulates why she chooses him despite and because of all his faults.
Then again, I'd have cut the all the "universe puts people together" stuff because I chafe at the idea of destiny.
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I had a conversation with the writer on Reddit about the same issues of love and career. It doesn't help that the counter point to Rose, the career woman first office, has almost no humanity or sympathy. It's like "aren't women who love their work awful?" I never thought Mark did anything at all that was unselfish or self sacrificing. He makes all these grand gestures and it really feels like Rose loves him out of obligation, not out of real attraction. Old Mark really comes off as a self serving creep.
My take was that he should have had Mark realize he'd screwed Rose's career up she'd always sort of been miserable their whole lives. So old him goes back in time to convince her *not* to marry him. Sort of a "follow your dreams" speech to warn her off. You don't know who he is until he opens the locket at the end and you realize he sacrificed his happiness for hers.
Given all that, I respect that the film is very well acted and tried to do something that doesn't rely on a lot of pyrotechnics, which, due to their affordability, often can take over these productions.
My take was that he should have had Mark realize he'd screwed Rose's career up she'd always sort of been miserable their whole lives. So old him goes back in time to convince her *not* to marry him. Sort of a "follow your dreams" speech to warn her off. You don't know who he is until he opens the locket at the end and you realize he sacrificed his happiness for hers.
Given all that, I respect that the film is very well acted and tried to do something that doesn't rely on a lot of pyrotechnics, which, due to their affordability, often can take over these productions.
Jinx!
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