Series »Plattfuß« – flat foot without beating excesses

The present is in constant change. Somehow she seemed more predictable. Around 50 years ago, for example: Germany was still divided and Europe had been united, on Thursdays a rubled quiz master hopped in the air if he found something great. The next day, the “foreign journal” reported the rest of the world at the best time of broadcast. Weekends moderated Blacky Fuchsberger in a nightgown. And in front of the “crime scene” Bud Spencer drove us away from the television afternoon with repetitions of powerful comedies, whose conflict resolution strategies climbed away from child -friendly educational concepts.

When the former Olympic swimmer Carlo Pedersoli beat his opponents with pits like whip strokes through the furniture from Balsaholz, they could be unsuspecting from inflation, unemployment and SS20 in front of the living room window. In an era, the conflict resolution strategies of which are currently reminiscent of those of the Cold War, it almost refreshes that Buddy is now hitting Lukas again. More precisely: a film figure with which Spencer filled the box office four times even without Terence Hill.

Unlike Bud Spencers Plattfuss, Salvatore Espositos gets a life away from powerful action.

It is called the “flat foot”, stretches down an opponent with a head nut at the beginning of the series of the same name and not only bears the pseudonym of his (literally) great role model. The corpulent full beard carrier Vincenzo Palmieri also looks confusingly similar to his role model and mentor Manuele Rizzo. However, this remains so much in advance, almost the only analogy of “Piedone Lo Sbirro”, as the first of four parts in the Italian original was called, to “Plattfuß – a cop in Naples” (so the German title of this contemporary sequel).

Peppe Fiere scripts and its predecessors send the title hero on the trail of unscrupulous drug dealers in the southern Italian Camorra stronghold. This is why his deppered sparring partners no longer run upside down through dirty harbor spells, as soon as flat foot grows because it has changed with the times as a step. And that may also be due to his actor. Finally, Salvatore Esposito became famous for the same scene by the Mafia epic “Gomhorra”.

From 2014, the Neapolitan embodied almost 60 episodes of the young spade Genny Savastano – sometimes melancholy, mostly ruthless main figure of a hyperrealistic series, which, like their scene, has little to do with Commissario Rizzo’s comedies. Director Alessio Maria Federici treats the feature film lengths of the lightness that are aesthetically reminiscent of Guy Ritchie and, in the form of the clumsy inspector Noviello (Fabio Balsamo), offer a sidekick Klamaukig school.

But here, too, someone is shot behind when the flat foot returns in Stuttgart after eight years of abroad. Not the only change. In order to find the murderer, he has to submit to the young commissioner Sonia Ascarelli (Silvia d’Amico), which is even more difficult for the gentle macho than to follow the rules. If one murder per episode fits to the puzzle, it is not nearly as funny as with Rizzo, which occasionally appears in flashbacks.

This is also due to the opioid crisis, which Europe now has under control that his successor in the third part together with Ascarelli makes a detour to the Hamburg drug hub-the “German Naples”, as a Hanseatic colleague calls the city in the shadow of the Elbphilharmonie. Unlike Bud Spencers Plattfuß, Salvatore Espositos also gets a life away from powerful action. If he touches the bullet holes in the roller gate of a locked business, a youth strikes are hinted at, which looks anything but protected even in flashbacks.

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“The anger is still there,” he says to his head of operations, who likes to fight her loneliness with fast food and anonymous one-night stands after work, “sometimes I can hardly reduce it.” In contrast to the predecessor, Plattfuß 2025 does quite effective impulse control. It takes two hours until the first tavern fight. And then it stays the last one.

With his in -house production, Sky apparently focuses on the sound of the Oliver Onions sound than the popular beating excesses of the 70s. A milieus study of the migrant Naples, for example, where poor and rich, above and below coexist, legally and illegally side by side and yet light years. This is particularly entertaining in the original with subtitles.

Available on Sky.