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Derrick - Schrei in der Nacht
episode 177
West Germany 1989
produced by Helmut Ringelmann, Claus Legal, Gustl Gotzler (executive) for Telenova/ZDF
directed by Günter Gräwert
starring Horst Tappert, Fritz Wepper, Willy Schäfer, Christine Buchegger, Horst Günter Marx, Svenja Pages, Udo Vioff, Klaus Herm, Reinhard Glemnitz, Jürgen Schmidt, Roswitha Schreiner, Roswitha Dierck, Bernd Eckhardt, Niels Ostermann, Franz Rampelmann, Lutz Bittrich
written by Herbert Reinecker, music by Dieter Bohlen, title theme by Les Humphries
TV-series Derrick, Harry Klein
review by Mike Haberfelner
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A dead prostitute (Roswitha Dierck) is found in a park, and the only
clue found at the scene of the crime is a hat that might have belonged to
the killer. A police dog picks up the scent of the hat and leads the
police to an apartment building, and soon enough Derrick (Horst Tappert)
and his assistant Harry (Fritz Wepper) start questioning the occupants,
the usual eclectic array of suspects, one more suspicious than the next,
from the porn-obsessed caretaker (Udo Vioff) to the elitist student (Horst
Günter Marx) to the woman-hating divorcee (Udo Vioff) to the drunk poet
(Jürgen Schmidt) - but somehow, with none of them the shoe ... erm, hat
fits. So Derrick has policewoman Sylvia (Svenja Pages) take a room at
widower Dr. Kolbe's (Christine Buchegger) apartment undercover - not that
she finds out much. And in the end, it's revealed that Dr. Kolbe herself
has killed the prostitute, making her responsible for her husband's death
from aids. And Derrick and company can only just prevent that she kills
yet another prostitute (Roswitha Schreiner) ... Now in its 15th
year (with 9 more to come), this series has definitely grown stale - I
mean how many times can you look for a prostitute killer in an apartment
building with a diverse cast of suspects. And the addition of the aids
angle sounds more sensationalist than real. What's interesting about this
episode though is two things, one, Reinhard Glemnitz, regular of the
series Der
Kommissar which Derrick was actually spun off,
playing a grumpy D.A., and two, the musical score of Dieter Bohlen, then a
pop music producer known for his simple, cheesy and rather forgettable
conveyor belt pop tunes, a score that (apart from one rather cheesy song)
is in its minimalism and directness rather reminiscent of Italian horror
and zombie movies of the more trashy variety.
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review © by Mike Haberfelner
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