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Tim Frazer (Adrian Hoven) arrives at Antwerp with his girlfriend Janine (Corny Collins) to investigate a dockside killing spree, and he and local inspector Stoffels (Paul Löwinger) soon come to the conclusion this is not the work of a madman but has to do with ships coming in from Anatolia, and thus has to be a side effect of the drug trade. They also come to the conclusion that their tailor-made suspect, van Druten (Sieghardt Rupp), whose finger print has been found on one of the murder weapons, can't be the killer since the spree continues with him in prison - but his "involvement" leads them to two dockside pubs, one run by Rosalie (Mady Rahl) and Jeroom (Hector Camerlynck), the other by Farida (Ellen Schwiers). So Frazer, Stoffels and Lode (Ady Berber), brother of one of the murder victims, keep them under observation, but Janine thinks she might as well help her boyfriend, so without his consent she gets a job at Rosalie and Jeroom's bar, finds incriminating evidence almost immediately - and is caught red-handed, tied up and tortured to give up the evidence, which she has wisely handed over to Lode though, who's presently pursuing Jeroom, who he figured to be the killer, and during the chase, Jeroom eventually falls off a draw bridge to his death. Later, Frazer and Stoffels find Rosalie murdered and chase a man fleeing from the scene, who Frazer eventually shoots in pursuit, and he is revealed to be Farida in disguise ...

Now Case 33: Antwerp is no masterpiece by any definition of the word, and of course it has been made to cash in on the success Francis Durbridge adaptations had on German television at the time (in fact the character Tim Frazer himself had been subject of two TV miniseries in 1963 and 1964), but that doesn't mean this is a bad movie by any means: Sure, the plot's far-fetched and at times suspends disbelief beyond breaking point, but it's briskly paced, excitingly shot and features some nicely eccentric characters to see to it that one don't get bored. It's probably best comparable to an American B picture of the crime/action variety from one of the bigger studios from the 1940s, a film that doesn't stretch for greatness, but offers solid entertainment at least.

review © by Mike Haberfelner

 

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