Champagner für die Augen, Gift für den Rest. Eine tödliche Blondine im weißen Oldtimer entsorgt ihre verliebten Opfer im Kanal von Venedig. Zuerst einen Schriftsteller, dann einen Schönling. Und sogar einen italienischen Kommissar. Eine "haischwarze Komödie" von Klaus Lemke.
The film is part of Lemkes never-ending Munich series, but this time it leads beyond Schwabing or Maxvorstadt, which makes it more entertaining than its predecessors. After a stop at the Bayrischer Hof, it moves into the Glockenbachviertel, over the Reichenbachbrücke to the Isar, further into the suburbs. These places are not alien to residents of Munich or tourists, but Lemke knows no tour guide romance. He has the usual group of main characters, two or three girls, a young man, and sends them off as if on a great expedition. They bring along the Lemkestyle, which doesn't fit in anywhere, but works like a contrast medium. Their fantasy figures make the reality around them more real.
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