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Der Kommissar - Ein rätselhafter Mord
episode 42
West Germany 1971
produced by Helmut Ringelmann for Neue Münchner Fernsehproduktion/ZDF
directed by Wolfgang Staudte
starring Erik Ode, Günther Schramm, Fritz Wepper, Helma Seitz, Maria Wimmer, Manfred Seipold, Eva Ingeborg Scholz, Hansi Jochmann, Donata Höffer, Thomas Astan, Dieter Borsche, Walter Feuchtenberg, Johannes Buzalski, Jane Tilden, Herbert Fleischmann, Günther Kaufmann, Franz Seidenschwan, Heidi Stroh, Willy Schäfer
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 man has just said good-bye to his girlfriend Rotraut (Donata
Höffer), then he's shot dead by a person unknown in the open street. It's
soon determined the killer had shot him from an apartment building from
across the street, so inspector Keller (Erik Ode) and
his team (Günther Schramm, Fritz Wepper, Helma Seitz) question all the
tenants, and soon zero in on three households: There's Mrs. Schöne (Eva
Ingeborg Scholz) and her daughter (Hansi Jochmann), complicated
relationship with one another, and who seem to know more than they let on,
there's Kaiser (Herbert Fleischmann), who secretly rents out a room in his
flat to migrant workers from Turkey, and then there's Mrs. Bassmann (Maria
Wimmer), who for some reason finances her lodger Heymann's (Manfred
Seipold) economy studies, but sees to his progress as if she was a
slavedriver. And when Keller finds out Heymann can look right into
Rotraut's apartment from his room window, he knows he has the murderer, as
apparently (?) Heymann has been jealous of the deceased's easy life that
he just had to have revenge - and as for the murder weapon, he has found
the gun in the trash, something that's explained in a round-about way ... Oh
boy! Now it's not as if the murder cases in Der Kommissar
are usually known for their believability, for their solid psychological
underpinnings, for their infallible logic, or for whatever makes an
excellent crime show, but in terms of silliness this one surely takes the
cake. Basically all the supporting characters act as unnatural as can be
(according to the script, not according to the actors' performances),
repeatedly lose themselves in stilted dialogue, and the psychology behind
the culprit's motive is simply laughable. This of course makes this one a
hilarious watch - just not good crime TV.
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review © by Mike Haberfelner
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Robots and rats,
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