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Der Kommissar - Ein Amoklauf
episode 49
West Germany 1972
produced by Helmut Ringelmann for Neue Münchner Fernsehproduktion/ZDF
directed by Theodor Grädler
starring Erik Ode, Reinhard Glemnitz, Günther Schramm, Fritz Wepper, Helma Seitz, Gerd Baltus, Krista Keller, Götz George, Elisabeth Wiedemann, Charles Regnier, Hans Quest, Ingrid Capelle, Lisa Helwig, Hans-Michael Rehberg, Lambert Hamel, Wilhelm Zeno Diemer, Rosl Mayr, Ellen Umlauf
written by Herbert Reinecker, series created by Helmut Ringelmann, Herbert Reinecker, title theme by Herbert Jarczyk
TV-series Der Kommissar, Harry Klein
review by Mike Haberfelner
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Applying one of the oldest tricks in the book, Weissmann (Gerd Baltus)
escapes prison - Weissmann who overcome by jealousy killed his stepfather
and his kids and tried (but failed) to kill his cheating wife (Krista
Keller) and also failed to kill himself. Now of course it can be assumed
that Weissmann will try to get to his wife and kill her, so inspector
Keller (Erik Ode) sends his team (Reinhard Glemnitz,
Günther Schramm, Fritz Wepper) to capture Weissmann and give his wife the
necessary protection - which is a doubly delicate affair as she has since
married the man (Götz George) who she cheated on Weissmann with. Keller
also sends Weissmann's prison psychiatrist (Charles Regnier) along, who
doesn't do anything much but having a beer in the pub next door. Keller's
men however do a poor job, as knowing the neighbourhood like the back of
his hand, he has no problem at all entering his apartment building through
the building next door and capture his wife and her husband, who have
taken to quarrelling ever since the news of Weissmann's escape broke, and
even the detective (Günther Schramm) Keller has sent to protect them
completely unprepared. But fortunately Weissmann has gone through all the
trouble only to kill himself in front of his wife ... Even if
not your typical whodunnit, an episode that shows Herbert Reinecker's
somewhat eccentric writing at its purest: The dialogue is uniformly
stilted to completely unnatural, the characters' actions and reactions
just don't feel real, the psychological underpinnings all feel forced, and
it stands to reason if even inexperienced policemen would have done such a
poor job guarding Weissmann's wife as Keller's men did. This combination
does of course not make Ein Amoklauf good crime cinema or even one
of the better episodes of Der Kommissar - but especially
when seen through the haze of nostalgia, it's still a fun watch for sure.
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review © by Mike Haberfelner
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