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 the real Kodos, Leighton believes 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. When Riley (Bruce Hyde), a member of the ship's crew whose family was murdered by Kodos, is nearly killed, Kirk is more certain than ever that Karidian is Kodos. But still he does not act, insisting on proof... even as Kirk himself becomes the next likely target!
CHARACTERS
Capt. Kirk: After a lapse in the previous episode, Shatner is back on top form. We see a very thoughtful Kirk in this episode. His gut tells him that Leighton is right, that Karidian is Kodos. But he is very mindful of both justice and duty, and will not act without evidence.
Dr. McCoy: Shows a clear disapproval of what he sees as Kirk's desire for vengeance. Urges restraint, pointing out that taking revenge and carrying Kodos' "head through the corridors in triumph... won't bring back the dead." After Riley's near-fatal "accident," he and Spock act as a team again, realizing that it now appears quite 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 very 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.
Villain of the Week: Arnold Moss is Karidian, the distinguished Shakespearian actor whom Kirk becomes almost certain is actually a mass murderer. Moss plays the role with great dignity and a certain world-weariness which fits very well with the role. He gets two standout scenes: his confrontation with Kirk near the middle of the episode, and his monologue at the episode's climax. Yet another of TOS' many memorable guest turns.
THOUGHTS
The "Nazi war crimes" episode, made at a time when most viewers would either have first-hand recollections of the Nazi war crimes trials or have parents who would directly recollect them. To its credit, Kodos is not quite a 1:1 parallel with the vicious war criminals of Nazi Germany. As laid out in the episode, Kodos was stuck with a very bad situation. With insufficient food and no prospect of rescue, Kodos' cold calculations would likely have been the salvation of half the planet's population... but when rescue did arrive early, his "remedy" was nothing but a pure horror. Perhaps his choice might have been more understandable if he had selected which half would die by chance. But by using eugenics theories to select the "more valued half" of the population, he made himself into even more of a monster than the act itself (which, in other circumstances, may have been accepted as a cold necessity) made him.
The Shakespearian ties greatly 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. 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.
It's a strong, thoughtful episode, carefully crafted. By its very nature, it does unfold perhaps a bit slowly for younger viewers. I see this as an episode that probably would have held the attention of parents more than of their children, who would likely have become restless with the lengthy dialogue scenes and passages of characters thinking and waiting, rather than acting. From my own perspective, however, these very things make the episode a strong one. I doubt it's very many people's favorite episode. 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 it's one that lingers in the mind. Definitely a job well done, by all concerned.
Rating: 9/10.
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Next Episode: The Galileo Seven
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