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One night, after doing her rounds in the neighbourhood, basically doing good to those who need it, nun Sister Ignatia (Maria Becker) witnesses a bunch of teenaged boys making an escape from local millionair Kroschmann's mansion, with the groundskeeper Pepper (Romuald Pekny) coming after them soon enough, screaming about robbery and murder. And it turns out Kroschmann has been knifed to death during the robbery, which brings inspector Keller (Erik Ode) and his team (Günther Schramm, Reinhard Glemnitz, Fritz Wepper) onto the scene. Of course, they question Sister Ignatia about the incident, but she insists she hasn't gotten a good look on any of the intruders, which isn't strictly true, as she has actually recognized one of them, Jürgen (Volker Eckstein), son of terminally ill Mrs Gebrardt (Berta Drews), whom the nun takes care of as both Jürgen and her drunkard husband (Otto Bolesch) prove to be incapable. But knowing Jürgen's arrest would only kill the woman, Sister Ignatia remains mum - something Keller soon grows wise to, so he remains on the nun's trail. His men in the meanwhile question the groundskeeper Pepper and find out he has formerly been a manager at one of Kroschmann's stores, but Kroschmann has "promoted" him to groundskeeper, basically so Pepper and his beautiful wife Ingrid (Ini Assmann) could move in - because Kroschmann has long had designs on Ingrid, and once the Peppers had moved in, he claimed her for himself. Ultimately it turns out that none of the young men have actually killed Kroschmann but it was Pepper all along, who just seized the opportunity of them breaking and entering to let his jealousy play out and kill his unloved boss.

Now this episode of Der Kommissar isn't half as much marred by stilted dialogue as are some of the others, even if there's some here too, but it still doesn't feel real, as despite all attempts at social commentary it never feels quite real, mainly because the characters rarely ever act or react like real people would, and all their conflicts seem a bit too far-fetched to be true. And the way the camera treats the admittedly beautiful Ini Assman, who rarely ever wears more than a bikini, feels almost obscene. And all of this does of course not make great crime TV but an interesting, even for the wrong reasons enjoyable time capsule nevertheless.

review © by Mike Haberfelner

 

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