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Der Kommissar - Warum es ein Fehler war, Beckmann zu erschießen
episode 85
West Germany 1975
produced by Helmut Ringelmann for Neue Münchner Fernsehproduktion/ZDF
directed by Michael Braun
starring Erik Ode, Reinhard Glemnitz, Elmar Wepper, Helma Seitz, Will Quadflieg, Alwy Becker, Gerd Böckmann, Hans Brenner, Friedrich Karl Grund, Jörg Pleva, Dirk Dautzenberg, Reinhard Kolldehoff, Rosemarie Kirstein, Barbara Gallauner, Ulli Kinalzik, Gernot Möhner, Veronika Faber, Dieter Barell
written by Herbert Reinecker, series created by Helmut Ringelmann, Herbert Reinecker, title theme by Herbert Jarczyk
TV-series Der Kommissar
review by Mike Haberfelner
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A money transport is robbed and the driver's (Dirk Dautzenbeck) shot
dead. When inspector Keller
(Erik Ode) and his team (Reinhard Glemnitz, Elmar
Wepper) start to investigate they soon learn from the deceased's son
(Jörg Pleva) that the man was well aware of the robbery beforehands, was
actually to play a role in it. Only the son has quite obviously no idea
who else might be involved. Thing is, the owner of the bank that has been
robbed, Höringer (Will Quadflieg), behaves mighty suspicious, so much so
that he refuses to help with investigations. Keller turns on Höringer's
son Erhard (Gerd Böckmann), who eventually admits to having been in
league with the robbery's mastermind Koch (Hans Brenner), with whom he has
been cellmate in prison for a while, when the two of them cooked up the
plan for the robbery, too. Thing is, the whole thing went haywire when the
driver got shot, and while Erhard wanted to immediately give himself up to
the police, Höringer tried to butter things over with Koch - and
ultimately our inspector catches Höringer with Koch, and Koch confesses
to the robbery, not to the murder though, as it was committed by one of
his men without his consent. Frankly, one of these episodes one
can either love or hate Der Kommissar for: Its story is
far-fetched and feels completely unreal every step along the way, the
characters for the most part act unnaturally, only augmented by Herbert
Reinecker's trademark stilted dialogues, and the resolution of the case
seems just random and not really worked towards - so in a word, definitely
not good crime TV ... but a nostalgic laugh all the same. On a
side note, this episode makes repeated use of the Carl Douglas song Kung
Fu Fighting, a rather weird choice given the song's martial arts topic
that has absolutely nothing to do with the story at hand.
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review © by Mike Haberfelner
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