It just hit me too that ST II has in fact two great death scenes: Spock's and Khan's. One dies selflessly to save his friends, the other dies in selfish revenge, forever spitting hate at his enemy. The tower of rage and resentment that was Khan was a powerful thing to behold, and I think that quality of cinematic anger is one of the things missing from Star Trek right now. Where's the passion--whether in the wrath of Khan or the intensity of Kirk? Correct me if I'm wrong, but currently Star Trek seems too wrapped up in post-Cold War, lovey-dovey, touchy-feely, New Age navel gazing. When the Klingons (who at least understand anger) have become allies, and the biggest enemy is an emotionless cyborg race, what can you do? It might be nice to have Q in a Trek movie as he at least makes things interesting whenever he shows up. (And I think this whole spiel of mine is another way of answering aTOMiC's topic about why the Trek films--or at least the Next Generation ones--have failed to generate much excitement at the box office.)Khan is played as a cauldron of resentment by Ricardo Montalban, and his performance is so strong that he helps illustrate a general principle involving not only Star Trek but Star Wars and all the epic serials, especially the James Bond movies: Each film is only as good as its villain. Since the heroes and the gimmicks tend to repeat from film to film, only a great villain can transform a good try into a triumph. In a curious way, Khan captures our sympathy, even though he is an evil man who introduces loathsome creatures into the ear canals of two Enterprise crew members. Montalban doesn't overact. He plays the character as a man of deeply wounded pride, whose bond of hatred with Admiral Kirk is stronger even than his traditional villain's desire to rule the universe.
Anyway, I'm glad Ebert makes the point that Montalban wasn't overacting. It's a criticism often aimed at his portrayal of Khan, or he is lauded with a backhanded compliment like "deliciously hambone" acting. Montalban's was a great peformance, period. Think Shakespearean tragedy.
That Montalban's peformance never received any recognition from Hollywood--not even a bare Oscar nomination--is telling of the belittling attitude of the film industry towards sci-fi or fantasy. Hollywood (and the filmgoing public-at-large) has a problem accepting sci-fi/ fantasy as serious drama worthy of the highest industry honours, and I think that still holds true today. So it was wonderful to see Peter Jackson's LOTR crash through the barrier and triumph at the Oscars. (But why wasn't Hugh Jackman nominated for his role as Wolverine in X-Men? I suspect the standard reply is along the lines of, "Uh, well, it's just a silly comic book character.")
It took a serious actor like Sir Ian McKellen (and it apparently helps if you have a "Sir" in front of your name) to make the Academy take notice of his performance in LOTR. And while I'm happy for McKellen that he was rewarded for his magnificent turn as Gandalf, I only wish the Academy had similarly rewarded Montalban for his work 2 decades earlier. Of course, we fans know better and will always hold Montalban in high esteem for his mighty contribution to Trek lore.