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Edward Kaminsky, an aging ad man, wants a golden parachute from his agency; he must first land the Opel auto contract. Rosa, a youth with wealthy parents, wants to establish herself as an artist. The clumsy and enthusiastic Viktor, not quite honest, wants work. When he wanders into Kaminsky's meeting with Opel and says something about irony, the Opel director wants him in on the campaign. Then he steals an idea from Rosa that the Opel director loves. Before Rosa discovers he's expropriated her idea, Rosa and Viktor become lovers. Father-son feelings materialize between Kaminsky and Viktor. Can the impulsive Viktor hold it together before Rosa learns the truth and flies away?Written by
One of the sentences you learn going to a filmschool is: "A comedy is only a comedy if someone is laughing. If nobody is laughing, then it is not a comedy. It is something else."
I think this is what best fits for this film. It is a story about a young guy (Viktor Vogel, whyever this comic-name) seeking a job in a big commercial company. He finally gets there, but only because the company needs him to make a deal with Opel. After the deal has gone, he is kind of thrown out.
That's the story. I don't think it's funny. Let alone all those little things like the (german) synchronization, of the mumbling voice of Götz George, of all the stereotyped characters without any depth nor wound. The film was okay if it would have been broadcast on the television. But it simply doesn't fit into a cinema room. For this it is too "small".
I'd recommend this film only for: how not to make a funny film.
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