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Der Kommissar - Ein Mädchen nachts auf der Strasse
episode 64
West Germany 1973
produced by Helmut Ringelmann for Neue Münchner Fernsehproduktion/ZDF
directed by Theodor Grädler
starring Erik Ode, Reinhard Glemnitz, Günther Schramm, Fritz Wepper, Helma Seitz, Curd Jürgens, Inge Birkmann, Eva Berthold, Amadeus August, Uschi Glas, Hans Elwenspoek, Dieter Eppler, Erni Singerl, Bert Fortell, Susanne Schönwiese, Monika Goll
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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A young student, Inge (Uschi Glas), is found dead in her apartment, and
when inspector Keller (Erik Ode) and his men
(Reinhard Glemnitz, Günther Schramm, Fritz Wepper) and his team
investigate, they soon find out she was pretty much financed by rich
businessman Bergmann (Curd Jürgens), who freely admits to it, but claims
this was no love affair and he has only had sex with her but once, but he
was rather "fascinated" by the girl, ever since he first picked
her up in his car after she has had a bicycle accident. But of course, due
to their relationship, Bergmann remains in the main focus of Keller and
company, and they soon also get to meet his family, his wife Elvira (Inge
Birkmann) and children Hannelore (Eva Berthold) and Rolf (Amadeus August),
and eventually Keller finds out that Rolf has only recently fallen in love
with Inge and vice versa, and he has only recently mustered up enough
courage to tell his father. Ultimately though, Keller fingers the mother
as the murderer and has her confess when he lures her into Inge's
apartment, and she loses her cool when she notices the rooms have been
swapped ... First things first, Curd Jürgens is pretty
magnificent in his role, giving his character just the right kind of
gravitas and grief to come across as wholly believable, despite the
unnatural dialogue somehow getting in his way. Storywise, this episode
pretty much just warms up what has been a basic premise of many earlier
episodes of the series, as in the older businessman falling for a pretty
young girl without means, including the "fascination" angle, it
has pretty much become one of writer Herbert Reinecker's staples over the
years. And of course, this episode is once again full of Reinecker's
trademark stilted dialogue, but to his credit, he does feature some
unexpectedly poignant exchanges in this one as well. So given the series
as a whole, this is probably among the best episodes, and for all the
right reasons, too.
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