Television Review: Foe (Person of Interest, S1X08, 2011)
Foe (S1x08)
Airdate: 17 November 2011
Written by: Sean Hennen
Directed by: Milan Cheylov
Running Time: 44 minutes
The eighth episode of Person of Interest, titled "Foe", shows the series' ability to transcend its procedural format and explore deeper, more complex narrative territory. Far from being a standard instalment in its genre, this episode serves as another example of the show attempting, and this time succeeding, to transcend its narrative limitations by using the procedural format to explore the past – both of the present world and one of its two protagonists, showing that in such a world the line between heroes and villains is deliberately blurred. By rooting its mystery in the Cold War, the episode moves beyond simple action set-pieces to examine the lingering shadows of history and the moral compromises required to survive in the shadows.
The narrative hook provided by The Machine is intriguing: it churns out the name "Walter Negel," a former German national living in New York City. However, Finch’s investigation reveals a significant anomaly – there are no records of Walter Negel since the late 1980s. The solution to this mystery is that "Walter Negel" is actually an alias, a cover identity for Ulrich Kohl (Alan Dale). Kohl is revealed to be a former agent of the Stasi, the East German secret service. This cover was developed during the Cold War when Kohl was part of an elite team of assassins tasked with eliminating defectors in Western countries. The reveal establishes a high-stakes atmosphere immediately, suggesting that the person of interest is not merely a criminal, but a professional of the highest order from a bygone era.
As the investigation progresses, it becomes apparent that Kohl’s reappearance in New York is deeply personal. He is locating and eliminating his former teammates, who have adopted new identities and attempted to live ordinary lives in the West following the fall of the Berlin Wall. Finch and Reese’s investigation uncovers Kohl’s motive: his former colleagues defected and betrayed him, apparently killing his beloved wife Anja in the process. Kohl, having spent decades in prison without trial, has finally escaped and is using his old, deadly skills to settle scores. As Reese tries to stop Kohl’s murderous campaign, he notices that he is not only a worthy opponent but also in many ways resembling him, doing exactly the same morally questionable things he had done as a CIA covert operative. This mirroring creates a fascinating dynamic, where the hunter and the hunted become doubles of one another.
The script by Sean Hennen attempts to exploit the Cold War setting, but it does so in a sophisticated manner. Rather than using the era merely as an exotic background that would explain some characters’ near-superhuman skills, the script presents it as a morally blurred John Le Carré-esque world where both sides did questionable things under the guise of patriotism. The writing is very clever in the ways it draws parallels between Kohl and Reese, framing their conflict as a battle between two damaged men driven by a need for justice and vengeance. What is even more interesting is that, at least temporarily, Kohl manages to best Reese. This undermines the show's tendency to make its protagonist omnipotent and adds a layer of genuine tension to the confrontation.
Despite this strong character work, this dark but realistic portrayal of the Cold War and its ripple effects on today’s world is slightly compromised with a melodramatic twist that is supposed to give viewers some kind of neat and "correct" happy end. The episode leans into a narrative device that feels designed to satisfy audience expectations for redemption rather than adhering strictly to the gritty realism established in the first half. This is even more pronounced by a twist that is borrowed from the classic gangster film Le Samouraï. This specific homage—reminiscent of the film's final act—that actually redeems Reese’s adversary, somewhat softening the impact of his villainy and providing a closure that feels a little too pat for the gritty world the episode has built.
Despite that, it remains a good episode that benefits a lot from excellent casting. The role of Ulrich Kohl is complex and multi-dimensional, requiring an actor who can convey deep-seated trauma, cold calculation, and a desperate humanity. Alan Dale, New Zealand actor best known for playing Charles Widmore on Lost, shines in the role of the antagonist. He imbues Kohl with a weariness that makes his actions understandable, even if they are horrific. Notable character actor Austin Pendleton also gives a good impression in the role of the dealer of rare coins who helps Reese track down Kohl. Annie Parisse is also good in the role of Kara Stanton, a recurring character of CIA agent and Reese’s mentor who appears in a 2006 flashback scene, grounding the episode's present-day action in Reese's broader history. Overall, Foe is a compelling chapter that uses its historical setting to deepen the show's exploration of morality.
RATING: 6/10 (++)
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