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Der Kommissar - Mykonos
episode 53
West Germany 1972
produced by Helmut Ringelmann for Neue Münchner Fernsehproduktion/ZDF
directed by Jürgen Goslar
starring Erik Ode, Reinhard Glemnitz, Günther Schramm, Fritz Wepper, Helma Seitz, Maresa Hörbiger, Bernd Herzsprung, Ullrich Haupt, Fred Haltiner, Karl John, Irmgard Först, Ruth Hausmeister, Otto Stern, Laurence Bien, Ilona Schütze, Robert Owens, Dieter Prochnow, Isabel Goslar, Michael Martin
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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Returning from Mykonos, Greece, hippies Benny (Maresa Hörbiger) and
Robert (Bernd Herzsprung) are to do a drug drop-off at a chapel near
Munich for enough money to get them through the summer. But at the chapel,
Robert is shot dead, urging Benny to call the police. Inspector Keller (Erik Ode) and his
team (Reinhard
Glemnitz, Günther Schramm, Fritz Wepper) soon start investigations, but
while after initial hesitation Benny's more than willing to help, the
information she has is sketchy at best, but it leads Keller and company to
a bar that's also a drug hub, and from there to Manni Geckow (Ullrich
Haupt), drug kingpin or the city. Geckow is so self-confident that he
welcomes the police with open arms and even invites them to a party the
next day, but that said, he seems to not be directly involved in the
murder himself - but one of his men, Heymann (Fred Haltiner), is, and
Heymann, pretending to be a friend of Robert, gets the whereabouts of
Benny out of Robert's parents (Karl John, Irmgard Först), a fact that
makes its way to Keller, so he has one of his men, Heines (Glemnitz),
guard Benny while he and the rest make it to Geckow's party. At the party
of course things come to a head when a 13 year old addict (Isabel Goslar)
shows up at Geckow's doorstep begging for money, and then Heymann turns up
as well, with Heines in hot pursuit, which ties everything together quite
neatly. A rather fun episode that portrays the drug scene as
gleaned from badly researched newspaper articles (including calling the
drug hub Nirwana of all things), that makes heavy use of Pink Floyd's Meddle
album for atmosphere, and that has unrealistic characters sputtering
stilted dialogue courtesy of screenwriter Herbert Reinecker. Also the
episode's reveal is a bit silly, but actually works on a visual level. So
in all, not great crime TV by any stretch of imagination, but entertaining
nostalgia at least.
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review © by Mike Haberfelner
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