Many pairs of crooks have already written cinema history. There would be “Bonnie and Clyde” (1967) as an initial spark for the cinema form movement of the New Hollywood or “Thelma & Louise” (1991) as a feminist billing with machismo and patriarchy. The engine of both films is the constant escape from the police – until the bitter end. Of course, the comparison of these two influential US film classics lags with the comedy, which is largely made at locations in the Upper Bavarian district of Ebersberg, “Karli & Marie“Huggy, even if the home-related director Christian Lerch (“ Das Glaszimmer ”) lets some allusions flash through large canvas milestones. In addition to some local color, it is primarily due to the cabaretry and enthusiastic duo from Sigi Zimmerschied (known as a Grantelige head of department Moratscheck from the Eberhofer crime novel, most recently in “Rehragout Rendezvous”) and Luise Kinseher (“Weißbier in the blood”) that staged, largely harmless and more of a solid TV cost Remembering road movie at least has a little verve and charm.
Grow up on her adventurous road trip gradually: crook Karli (Sigi Zimmerschied) and entrepreneur Marie (Luise Kinseher).
When the former Bundeswehr soldier Karli (Sigi Zimmerschied) experienced in explosives just wants to go through his next robbery, Marie Müller (Luise Kinseher) is driven in her old Opel Admiral. To avoid stress with the insurance, she carefully treats the crook at home. The Upper Bavarian entrepreneur hopes for an order from a customer in Innsbruck so that she can still turn away the impending bankruptcy of her concrete work – and spontaneously hires Karli as her accompaniment. After a breakdown and an explosion of the rickety cart, the trip to Austria is without a car and without money more adventurous than expected – and Marie not only increasingly develops sympathy for her quirky companion, but also likes small crooks.
When Karli's wounds were treated, his mission abroad quickly comes up in Afghanistan. There would be late consequences, says Marie, post -traumatic stress? “Coffee helps,” says Karli Laconian, who is carefully assessed. Already here it shows how well the chemistry between the two characters fits. While Luise Kinseher gives the overwhelmed and disappointed philistine who was cheated on by her ex-husband with the secretary, Sigi Zimmerschied gently gives the ascrox and uprooted survival artist, who sometimes stings from an Innsbruck gourmet restaurant and repeatedly tells stories about the military.
Too few gags – many of which do not ignite!
An incredulous policewoman who completely freaked out, and an accidentally incorrectly deposited car bomb, and an accidentally incorrectly deposited car bomb are good for situation comedy. That sounds ample now, but the staging of Christian Lerch (he wrote, among other things, “Whoever dies earlier, is dead”) tends to be more moderate and correspondingly desolate settings, which – as with repeated gags for stage programs – provide a certain fatigue despite the manageable term of 85 minutes. After all, there are always some allusions to cinema classics in “Karli & Marie” for resources, with Lerch in the last few minutes both “Fight Club” (1999) and the final picture of Charlie Chaplin's “Modern Times” (1936) proven to be honored.
In his script, Ulrich Limmer (“A whole life”), who allegedly came up with the story on the beach in Sardinia, does not come out without sometimes very thick and unbelievable constructs, so that the road trip somehow leads back to Upper Bavaria in the second half of the film. Hitchhiker Marie then has to be collected by a rapid intrusive Wattenscheider, which is first laboriously overwhelmed and whose souvenir gift basket on the back seat of the stolen car serves as a vespers in the evening in a remote barn, where the next operational vehicle is of course available with an old tractor. After all, the picturesque mountain and meadow sets and the local color (filmed, among other things, at the train station in Steinhöring-Lerch's home town-the Palace Brewery Ebersberg and in Wasserburg) offer a few pretty postcard views on the low-substance feeling of feeling in Bavarian dialect, which sometimes lacks the drive.
Conclusion: The chemistry between Sigi Zimmerschied and Marie Luise Kinseher as an unequal Upper Bavarian crooks is right, but “Karli & Marie” splashes away a little more frequently despite some nice gags and pretty postcard motifs.