"Down a Long and Lonely River" is another strong entry in the KOJAK canon and one that is especially fun (and of historic importance to TV buffs) because its supporting cast boasts three 1970's cop show icons on the cusp of landing their defining roles.
Paul Michael Glaser appears just over a year before his tackling the role of David Starsky on STARSKY & HUTCH. Glaser plays Lou Giordino, a freshly sprung ex-con whose desire to save someone he loved led to his being deceived and ultimately sent to prison. Upon his release, he doesn't want revenge so much as an explanation and closure. Glaser fans will find Lou Giordino strikingly similar to the character of Jason Kampacalas that Glaser played in the "Bitter Wine" episode of THE STREETS OF SAN FRANCISCO in 1972. Glaser plays vulnerable tough guys so well he was perfectly cast here, as he was earlier on STREETS and later on STARSKY & HUTCH, where he was able to develop those character traits.
Adding to this episode's enjoyment is seeing Ed Bernard and Charles Dierkop a mere SIX DAYS before they appeared in "The Gamble," the POLICE STORY pilot episode for POLICE WOMAN in which they played the roles of Joe Styles and Pete Royster (roles they'd go on to play in 91 episodes of the 1974-78 series). Bernard and Dierkop disappointingly did not share a scene together, but independently each made his character memorable and added zing to their too few scenes (two for Bernard, one for Charlie). Bernard plays Cleveland Watson, Lou's parole officer and a man resistant to but not invulnerable against Kojak's charm and friendly persuasion. His willingness to wait 24 hours before issuing a warrant for Lou's arrest earns him the coveted "Who loves ya, baby?" for this episode. Dierkop is Billy DeLuca, an informant on the feds' payroll. He was the one who squealed on Lou and Kojak wants to know from whom Billy got his hot tip on Lou's truck heist. Kojak lets Crocker play the bad cop while he sits aloof off to the side until coming in for the kill. Dierkop's calm composure begins to crack under Kojak's threats to blow Billy's cover. Dierkop is a master of changing facial expressions and voice inflections. That he can do so much while simply sitting in a chair is a testimony to a fine actor.
Sian Barbara Allen plays with aplomb the young and naive prison sociologist who only a year before was lurking about Kojak's office taking notes for her master's thesis. Since then Lindsey has worked at the prison in Elmira, NY and fell in love with Lou, her "favorite case study." Her idealism is tested when she catches Lou brandishing a pistol--a violation of his parole, not to mention a portent of doom. Lindsey seeks the help of Kojak, who agrees to do all he can, even over Captain McNeil's objections.
The resourceful Lindsey does her own detective work and actually tracks down Lou's ex-wife before the cops. The contrast between the photographs of the glamorous Elena and the strung-out junkie Lindsey finds warbling in a seedy nightclub is striking, as is that between the innocent Lindsey and the hardened Elena. Elena's end is the one cornball moment in the episode: just as she's about to reveal vital information to Lou, her dressing room door inches open and a gun peeks through and shoots her. I guess the scene served its purpose--to cast suspicion on Lou and lend urgency and desperation to his efforts, as well as making it a police matter once Lou's branded a fugitive "armed and dangerous." The denouement is typical of 1970's cop shows, which endings are always welcome to this unrepentant fan of the genre. In addition to those actors already mentioned, the underrated Kenneth O'Brien turns in a good performance as Lou's old friend and former business partner Alan Ankrum, a decent albeit weak-willed milquetoast being pushed around by dapper mobster Albert Dancik. And the once-ubiquitous Joseph V. Perry makes the most of his small scene as a retired cop dishing on Lou to Kojak as they stroll inside a building under construction (which setting is not only interesting but provides a good sight gag).
Kojak is always worth watching, but what bumps this one up is the fine featured performance by Paul Michael Glaser, aided and abetted by Ed Bernard and Charles Dierkop. Kojak alongside Starsky, Styles and Royster? Now, that's entertainment!
Paul Michael Glaser appears just over a year before his tackling the role of David Starsky on STARSKY & HUTCH. Glaser plays Lou Giordino, a freshly sprung ex-con whose desire to save someone he loved led to his being deceived and ultimately sent to prison. Upon his release, he doesn't want revenge so much as an explanation and closure. Glaser fans will find Lou Giordino strikingly similar to the character of Jason Kampacalas that Glaser played in the "Bitter Wine" episode of THE STREETS OF SAN FRANCISCO in 1972. Glaser plays vulnerable tough guys so well he was perfectly cast here, as he was earlier on STREETS and later on STARSKY & HUTCH, where he was able to develop those character traits.
Adding to this episode's enjoyment is seeing Ed Bernard and Charles Dierkop a mere SIX DAYS before they appeared in "The Gamble," the POLICE STORY pilot episode for POLICE WOMAN in which they played the roles of Joe Styles and Pete Royster (roles they'd go on to play in 91 episodes of the 1974-78 series). Bernard and Dierkop disappointingly did not share a scene together, but independently each made his character memorable and added zing to their too few scenes (two for Bernard, one for Charlie). Bernard plays Cleveland Watson, Lou's parole officer and a man resistant to but not invulnerable against Kojak's charm and friendly persuasion. His willingness to wait 24 hours before issuing a warrant for Lou's arrest earns him the coveted "Who loves ya, baby?" for this episode. Dierkop is Billy DeLuca, an informant on the feds' payroll. He was the one who squealed on Lou and Kojak wants to know from whom Billy got his hot tip on Lou's truck heist. Kojak lets Crocker play the bad cop while he sits aloof off to the side until coming in for the kill. Dierkop's calm composure begins to crack under Kojak's threats to blow Billy's cover. Dierkop is a master of changing facial expressions and voice inflections. That he can do so much while simply sitting in a chair is a testimony to a fine actor.
Sian Barbara Allen plays with aplomb the young and naive prison sociologist who only a year before was lurking about Kojak's office taking notes for her master's thesis. Since then Lindsey has worked at the prison in Elmira, NY and fell in love with Lou, her "favorite case study." Her idealism is tested when she catches Lou brandishing a pistol--a violation of his parole, not to mention a portent of doom. Lindsey seeks the help of Kojak, who agrees to do all he can, even over Captain McNeil's objections.
The resourceful Lindsey does her own detective work and actually tracks down Lou's ex-wife before the cops. The contrast between the photographs of the glamorous Elena and the strung-out junkie Lindsey finds warbling in a seedy nightclub is striking, as is that between the innocent Lindsey and the hardened Elena. Elena's end is the one cornball moment in the episode: just as she's about to reveal vital information to Lou, her dressing room door inches open and a gun peeks through and shoots her. I guess the scene served its purpose--to cast suspicion on Lou and lend urgency and desperation to his efforts, as well as making it a police matter once Lou's branded a fugitive "armed and dangerous." The denouement is typical of 1970's cop shows, which endings are always welcome to this unrepentant fan of the genre. In addition to those actors already mentioned, the underrated Kenneth O'Brien turns in a good performance as Lou's old friend and former business partner Alan Ankrum, a decent albeit weak-willed milquetoast being pushed around by dapper mobster Albert Dancik. And the once-ubiquitous Joseph V. Perry makes the most of his small scene as a retired cop dishing on Lou to Kojak as they stroll inside a building under construction (which setting is not only interesting but provides a good sight gag).
Kojak is always worth watching, but what bumps this one up is the fine featured performance by Paul Michael Glaser, aided and abetted by Ed Bernard and Charles Dierkop. Kojak alongside Starsky, Styles and Royster? Now, that's entertainment!
