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| Kirk suspects an actor (Arnold Moss) of being a war criminal! |
THE PLOT
Dr. Thomas Leighton, an old friend of Kirk's, calls him to the planet where he's stationed to observe a Shakespearian actor, one Anton Karidian (Arnold Moss). Leighton is convinced that Karidian is actually the infamous war criminal, Kodos the Executioner, who was responsible for the deaths of half the population of a colony long ago. Since Kirk is one of a handful of surviving witnesses who actually saw Kodos, Leighton hopes Kirk can confirm the man's identity. But Kirk is not only uncertain, he's almost dismissive of the accusation. That is, until Leighton winds up dead.
Kirk invites Karidian and his players aboard the Enterprise, ostensibly to get the actors to their next destination while providing entertainment for his crew. In reality, Kirk hopes to find evidence that Karidian either is or is not Kodos. He feels increasingly certain of the man's identity, particularly after Riley (Bruce Hyde), a crew member whose family was murdered by Kodos, is nearly killed. But Kirk does not act, insisting on proof... even as he becomes the next target!
CHARACTERS
Capt. Kirk: After a lapse in the previous episode, Shatner is back on top form. He's particularly thoughtful in this episode. His gut tells him that Leighton is right, that Karidian is Kodos, and he is also driven by guilt at having initially dismissed his friend's claim. He remains mindful of both justice and duty, however, refusing to act without evidence.
Dr. McCoy: Shows a clear disapproval of what he sees as Kirk's desire for vengeance. He urges restraint, pointing out that taking revenge and carrying Kodos's "head through the corridors in triumph... won't bring back the dead." After Riley's near-fatal "accident," he and Spock realize that it now appears likely that Kirk is right - and that Kirk is therefore almost certainly the next target.
Hot Space Babe of the Week: Barbara Anderson is Lenore, Karidian's beautiful daughter and co-star. Lenore seems simple and naive, totally devoted to her father. She is initially drawn to Kirk - at least, until the captain all but accuses her father of being Kodos. Anderson does well with an above-average female guest role for this period, and she's quite good in the final scenes.
Villain of the Week: Actor Arnold Moss played Shakespeare on stage early in his career, and the glimpses shown of Karidian's performances make him convincing as an actor. Moss plays the role with dignity and a certain world-weariness that helps to keep open the question of his guilt. He has two standout scenes: his confrontation with Kirk near the middle of the episode, and his monologue at the episode's climax.
THOUGHTS
This is Star Trek's "Nazi war crimes" episode, made at a time when most viewers would either have first-hand recollections of the war crimes trials or would at least have parents who would remember.
To the episode's credit, Kodos's story works within this universe even without the allegory. He's not a 1:1 parallel with any Nazi. As laid out in the episode, he was stuck in a terrible situation. With insufficient food and no prospect of rescue, his cold calculations would likely have been the salvation of half the planet's population... except that rescue did come, which made his "remedy" into a monstrous act.
Had rescue not arrived in time, his actions might have been seen as a tragic necessity... if only he had made his fatal selections by chance. Instead, he used eugenics theories to select the "more valued half" of the population. By making himself the arbiter of who most "deserved" to live, he made himself into even more of a monster.
The Shakespearian ties strengthen the episode. The plot clearly parallels Hamlet, the play which is performed at the episode's climax. Kirk is caught in the same dilemma as the Danish prince. A trusted figure from his past has levied an accusation that demands action, but he must be certain before he acts. Like Hamlet, he waits, plots in order to gather evidence, and in his hesitation nearly waits too long. There is even a fragile daughter, with Lenore basically acting as Ophelia to Karidian's Claudius and Kirk's Hamlet.
OVERALL:
I suspect The Conscience of the King held the attention of parents more than children, who would likely have become restless with the deliberate pace and with the lengthy scenes of characters talking, thinking, and waiting. From my own perspective, the episode is all the richer for these qualities, but I could see it being "too slow" for some.
I doubt this is many people's favorite. It's a bit static, with subject matter that's far from "fun" (and, mercifully, it does not end with a cheesy comedy tag). But I find that it lingers in the mind. Definitely a job well done, by all concerned.
Rating: 9/10.
Previous Episode: Miri
Next Episode: The Galileo Seven
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