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Der Kommissar - Der Papierblumenmörder
episode 15
West Germany 1970
produced by Helmut Ringelmann for Neue Münchner Fernsehproduktion/ZDF
directed by Zbynek Brynych
starring Erik Ode, Fritz Wepper, Reinhard Glemnitz, Günther Schramm, Rosemarie Fendel, Helma Seitz, Christiane Schröder, Gisela Fischer, Thomas Fritsch, Hilde Weissner, Herbert Tiede, Kurt Horwitz, Eva Mattes, Christine Kuon, Ursula Wolff, Dagmar Hanauer, Dagmar Claus, Alfred Hallmann, Marion Abel, Otto Friebel
written by Herbert Reinecker, series created by Helmut Ringelmann, Herbert Reinecker, music by Peter Thomas, title theme by Herbert Jarczyk
TV-series Der Kommissar, Harry Klein
review by Mike Haberfelner
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A murdered girl, Billie (Eva Mattes) is found on a scrapyard, and next
to her a paper flower. Trying to find out her reality soon leads inspector
Keller (Erik Ode) and his team (Fritz Wepper, Reinhard Glemnitz, Günther
Schramm) to a nearby juvenile shelter, and to Billie's best friend, brash
Bonny (Christiane Schröder). Bonny is happy to give the police some
information - if she's given a place to stay outside the shelter for a few
nights ... which is agreed upon only if the shelter's psychologist (Gisela
Fischer) and Keller's assistant Harry (Wepper) accompany her at all times.
Bonny soon tells Keller that Billie had a relationship with an old
pervert, Dr. Winkelmann (Herbert Tiede), and when he's questioned, he's
soon caught in lies and contradictions. Thing is, Bonny's too eager to pin
the crime on him for the thing to ring 100% true, and she's also busy
finding a friend, Tea Pot (Thomas Fritsch), a stoned out hippie owing his
name to the fact that he's always carrying a tea pot. So Keller does some
more investigating, and eventually it's found out that the murder wasn't a
murder at all but attempted double suicide of Billie and Tea Pot, but the
gun jammed when it was Tea Pot's turn ... A so-so episode let
down by its rather pedestrian solution, but on the other hand a very
elegant and cinematic direction gives it some appeal. Apart from that,
it's fun to see how scripter Herbert Reinecker's trademark stilted
dialogue undermines all attempts at realism and social commentary, and the
depiction of hippies is almost a bit ridiculous in this one. So it's not
great in any way, but entertaining nevertheless.
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review © by Mike Haberfelner
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