"Kojak" One for the Morgue (TV Episode 1973) Poster

(TV Series)

(1973)

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8/10
Wrapped way too neat
bkoganbing24 April 2013
Telly Savalas has the entire Manhattan South Squad at an Italian festival run by mobster Art Metrano because he's got good information that a hit is to be made on him. Sure enough the police are decoyed away and two shots hit Metrano who thought that day to wear a bullet proof vest. A little old lady bystander wasn't as fortunate.

The two shooters were black and the natural conclusion is that they were from a Harlem mob that Metrano was vying for turf with. Some really good tips follow and the Harlem mob is on the run. But Theo Kojak doesn't like things too neat. When two witnesses drop out of the sky and positively identify two black hit men in almost the same precise language, that starts too smell for him. Poor Dan Frazer, he's just glad to get the case wrapped.

This episode marked the first appearance of Roger Robinson as Gil Weaver who occasionally shows up in the Manhattan South Squad room. He's undercover with the Harlem crew and gives a lot of information that is invaluable to Kojak.

In the end the real hit-man is set up quite beautifully. Good episode from Season one showing Kojak's unerring instincts for ferreting out the truth.
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7/10
Great Metrano week: day one
Chip_douglas22 September 2014
Warning: Spoilers
To celebrate the birthday of Art Metrano this reviewer is kicking off a week long look at 7 guest starring roles from the 70's & 80's by the man also known as The Great Metrano. So lets get started with day one: Kojak season one: One for the Morgue.

The episode starts off with a bang as our guest star of the week appears in the opening shot, dancing in the street as Michael X. Tomasso, Founder and President of the Lower Manhattan Protective Association. The occasion is a celebration in honor of Tomasso himself. His followers are out to cheer him on (and dance with him) and the police (including homicide detective Kojak) are there to protect him. But still two colored thugs manage to slip through the cracks and take a few shots at Michael X. Tomasso survives thanks to a Kevlar vest but an innocent old lady isn't so lucky. She becomes the titular 'one for the morgue', as uttered by the title character himself.

After that the Great Metrano disappears for most of the episode, which is unfortunate for this review. But at least his role was more substantial than in the Partridge Family season one episode "A Partridge by Any Other Name", in which our man only appears in one shot and has about three lines.

So let's take a moment to talk about Theo Kojak. Keep in mind that this is only the third regular episode so not all of his catchphrases and trademarks are in place yet (most noticeably the lollipops are missing). I recently found this interesting comparison written by Columbo creators Richard Levinson and William Link: "If Columbo was a shabby cop in elegant surroundings, Kojak was just the opposite: an elegant cop in shabby surroundings, with macho Greek bravado in place of Columbo's rumpled humanity."

Indeed, Telly Savalas plays Kojak with so much self confidence and so little respect for any of the other characters that he kind off forces the audience to love him (or else). Kojak treats both friend and foe as little children that he's teaching a lesson. Even his superior at the precinct, Captain McNeil (Dan Frazer), seems to accept being waltzed over by Lt. Kojak all the time.

And although Telly doesn't have the lollipop to fiddle around with yet, not a single prop on set is safe from his hands. Every time he's exits McNeil's office he turns around a little framed trophy just for fun, leaving McNeil to shake his head and chuckle weakly. In another scene he's carrying two bags with enormous fishes sticking out of them while discussing the case with undercover cop Gil. Before leaving, Theo hands Gil one of the fish and tells him "for your mother". Again, Gil accepts this with only a slight raise of the eyebrows. I guess all the guys at the precinct must have seen Savalas' performance in The Dirty Dozen and after-wards accepted that no one is tougher than Telly.

The following paragraph will be especially spoilerific because this review is still meant to focus on guest star Metrano, so be warned.

Tomasso finally reappears around the 30 minute mark as Kojak begins to figure out that Tomasso ordered the hit on his life himself. Which means M.X. is responsible for the poor little old lady's death. And that's something Kojak just can't let slip (also the fact that Tomasso tried to pull a fast one on the entire police department). The Lieutenant sets a trap using young Mitch DuBois, the thug who actually shot the old lady (he is easily recognizable from the earlier scene because of his giant afro and matching sideburns).

Tomasso figures out that Mitch has squealed and tries to shoot the young punk as soon as he's released, clumsily firing a shotgun from a moving vehicle. But Kojak and co are already right behind him and Tomasso's driver ducks into an empty bar, car and all. The Great M. makes a run for it, but he's limping so he doesn't have a chance against Kojak, who shoots him down, but not fatally. When Tomasso is on the ground clutching his leg it's a bit unclear if this is because he was already limping or Kojak just shot him in the leg, or possibly both.

Good episode, albeit rather Metrano lite but Kojak's bravado makes up for it.

7 out of 10. Happy birthday, Art!

The Great Metrano week will continue tomorrow with Starsky and Hutch: Nightlight
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7/10
"One for the hospital....and one for the morgue".
planktonrules4 August 2018
Overall, "One for the Morgue" is a good episode of "Kojak" but with one exception...I figured out what was happening long, long before Lt. Kojak. Still, it is interesting and worth seeing.

When the story begins, some dirtbag mobster/politician is holding a rally. Suddenly, two black gunmen arrive and shoot at him. He is hit and mildly wounded...an old lady who was at the rally wasn't so lucky! What follows is a strange situation where anonymous tipsters keep giving the NYPD information that hurts the black mob up in Harlem. In fact, it's all TOO perfect...as if the case was being presented to the police on a platter! What's really going on here?!

The fact that they'd talk about the black mob isn't surprising. After all, this show came out at the same time the blacksploitation craze was in full swing. But fortunately, the show doesn't go overboard with the usual stereotypes of the day....pimps, broad brimmed hats, etc. and is instead a bit restrained (thank goodness). Overall, very good....except for the motivation...I KNEW what really happened five minutes into the show...why did it take Kojak so long to realize it?!
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