Television Review: Kriger (Povratak otpisanih, S1X13, 1978)

Kriger (S01E13)

Airdate: 26 March 1978

Written by: Dragan Marković
Directed by: Aleksandar Đorđević

Running Time: 60 minutes

Povratak otpisanih (The Return of the Written-Off) is arguably the most popular and legendary series in the history of Yugoslav television. Its finale, the thirteenth episode titled Kriger, does not disappoint, providing a conclusion that many other series would be envious of, masterfully blending the show’s trademark combination of high-octane action, nail-biting suspense, genuine humour, and a satisfying dose of fan service. Aired on 26 March 1978, this episode not only brings the narrative arc of the Belgrade resistance to a close but also delivers a compelling standalone thriller centred on the ultimate confrontation with the series’ most persistent antagonist. The episode is widely regarded as a high point, cementing the show's legacy.

The title “Kriger” refers directly to the series’ main antagonist, Gestapo Major Krieger. The plot is set on 20 October 1944, the day of Belgrade’s liberation by Partisan and Red Army forces. For three and a half years, Krieger had dedicated himself to suppressing the resistance movement, hunting its members with ruthless efficiency. Now, the tables have turned spectacularly. In a display of fanatical Nazi devotion, Krieger refuses to follow the example of his Serbian collaborators or even his superior, Colonel Müller, and evacuate before the Partisans arrive. Instead, he chooses to remain in the city, adopting a new identity to gather intelligence and conduct subversive activities behind enemy lines. This premise immediately sets Kriger apart, transforming the hunter into a desperate, cornered prey who is nonetheless extremely dangerous.

The episode opens amidst the chaotic aftermath of liberation, with Partisan and Red Army soldiers still engaged in major and spectacular firefights against German stragglers on the city streets. Unfazed by the battle outside, Krieger is shown meticulously applying makeup, glasses, and a fake moustache, donning civilian clothes to complete his transformation. His cold, calculated nature is immediately established when a Partisan strike on a German Kübelwagen reveals one of its passengers to be König (Cane Firaunović), a former fellow Gestapo officer. König desperately seeks shelter in Krieger’s building, only to be coldly refused and then betrayed to a passing Partisan patrol. König is killed in the ensuing firefight, and Krieger smugly believes his ruse has succeeded. This scene brilliantly establishes character through action, showcasing Krieger’s utter ruthlessness and his belief in his own superior cunning.

However, Krieger’s plan begins to unravel thanks to his neighbour, the elderly Russian lady Mrs. Salnikova (Tatjana Lukjanova), who witnesses the exchange. She attempts to alert the Partisan patrol, but they are too preoccupied with the fighting. Undeterred, she goes directly to Partisan headquarters and reports Krieger to Major Milan. Consequently, Prle and Tihi – now proudly wearing Partisan uniforms – along with Miki and Aca, are dispatched to investigate Krieger’s apartment. They find his discarded Gestapo uniform but the man himself is gone. They leave Aca to guard the apartment, a decision that will have tragic consequences. Upon returning, Mrs. Salnikova is killed by Krieger, who had managed to sneak back in. He then dispatches Aca with a silenced pistol. The real reason for his return is revealed: to retrieve a suitcase containing a radio transmitter. He sends a final message to his superiors before embarking on a futile attempt to seek aid from his former collaborators. This sequence is taut and suspenseful, effectively raising the stakes and demonstrating that Krieger remains a formidable operational threat even in isolation.

What follows is a brilliant piece of ironic social commentary. Krieger’s visits to his former associates – those who profited from collaboration with the Nazis – reveal their swift and opportunistic adaptation to the new order. All of them suddenly pretend they never knew him. Velja Ristić (Miloš Kandić) even attempts to alert the Partisans and is summarily executed by Krieger’s silencer. A visit to the opera singer Petronijević (Ksenija Jovanović) reveals she has already found a new admirer in Soviet Colonel Belogonov (Stevan Minja). These scenes underscore the ephemeral nature of loyalty in a time of regime change and add a layer of cynical humour to the narrative. Having been rejected at every turn, Krieger is forced to improvise a final, desperate gambit. He sneaks into the apartment of Marija (Zlata Petković), the resistance’s double agent within the German administration. When she returns, he reveals that he has finally uncovered her betrayal. In a twisted act of what he perceives as mercy, he decides to spare her life, intending instead to use her as a ticket across the river to German lines, having arranged his own evacuation via radio.

Marija’s quick thinking proves crucial. She receives a phone call from Tihi and, ingeniously, delivers a seemingly baffling message that, thanks to the sharp mind of Mrki (Aleksandar Bercek), is decoded as a description of her predicament. Prle, Tihi, and Mrki rush to her apartment, but they are too late; Krieger has already taken her, attempting to use the chaotic street celebrations as cover. He decides to hijack a jeep, which he accomplishes, but Marija manages to escape during the confusion and alerts the pursuing crew to Krieger’s plan. A thrilling chase ensues, culminating in an ambush of German soldiers sent to extract him and a final, protracted gunfight in a ruined building. In a tense exchange, Krieger wounds Mrki before being finally cornered and killed by Prle and Tihi. This climactic confrontation is executed with the series’ characteristic flair for action, providing a cathartic and definitive end to the long-standing conflict between the resistance and its most dogged pursuer.

The episode, and indeed the series, concludes on a more reflective note in the Partisan headquarters. The core group – Prle, Tihi, Marija, the wounded Mrki, and the ever-grumpy Joca (Pavle Vuisic) – are gathered to receive decorations from the General, retroactively identified as the real-life liberator of Belgrade, Peko Dapčević, portrayed by the legendary Serbian actor Ljuba Tadić. He also promises them all thirty days of rest and recuperation as a reward for their services. The celebration is momentarily muted when Major Milan informs them of one final special mission, a nod to the ongoing war, but they are left with enough time to enjoy the celebratory fireworks illuminating the liberated city. This ending provides a perfect blend of closure and forward momentum, acknowledging the characters’ achievements while hinting that their struggle is not entirely over.

Kriger is a particularly strong episode because it successfully compensates for the near-superheroic exploits of Prle and Tihi by positing Krieger as a true supervillain of equal calibre. Stevo Žigon here does not play the arrogant, blustering Nazi officer of earlier episodes but rather an intelligent, capable, and resourceful undercover operative. He clearly relishes the opportunity to give his former targets a taste of their own medicine, operating in the shadows just as they once did. This elevates the conflict from a simple chase to a battle of wits between equally matched adversaries, making the eventual victory feel earned and significant.

The episode also serves up well-executed fan service. The opening street battles, involving tanks and intense firefights, are some of the most spectacular scenes in the entire series. Later, one such scene provides a moment of pure catharsis when Prle and Tihi are called to help eliminate a group of German stragglers. During this action, they also kill Isa, a particularly vile Special Police agent. While all major collaborators had been evacuated in previous episodes, Isa was likely left behind precisely to give the audience the satisfaction of seeing him pay for his brutal killing of a child in the earlier episode Moljac. His dispatch is swift and gratifying, tying up a lingering emotional thread.

A significant subplot involves Prle’s personal life, adding emotional depth. He returns to his mother and discovers his father, Steva (played by the renowned Danilo “Bata” Stojković), who is revealed to have been a Partisan all along, now a warrant officer. He is a good friend of Joca, and the grumpy radio operator has filled his ears with exaggerated stories about Prle’s misbehaviour in the ranks, particularly the womanising that led to his temporary demotion. The resulting confrontation, where an angry Steva wants to physically discipline his son, is played for both humour and heart. The tension is diffused when Prle reveals that his rank of Lieutenant – stripped after the incident referenced in the episode Povratak – has been restored, meaning his father could be tried for assaulting a superior officer. This family vignette ends, like the rest of the episode, on a happy and reconciliatory note, providing a touching moment of personal closure amidst the larger historical narrative.

In conclusion, Kriger is a masterful finale that encapsulates everything that made Povratak otpisanih a cultural phenomenon. It delivers thrilling action, complex character dynamics, sharp social observation, and emotional payoff. By focusing on a villain who is as compelling as the heroes, the episode ensures the series ends not with a whimper, but with a resonant and satisfying bang. It remains a testament to the quality of Yugoslav television drama and a fitting capstone to one of its greatest achievements.

RATING: 8/10 (+++)

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