"Mutter auf Streife" is a German television film from 2015, so this one is alreaydc over five years old and probably much older if you show up here and read this review of mine in a few years because I am sure this film will still be on national television here in Germany for years to come. Which is absolutely not a good thing at all. Like most other ARD television films, this one runs for minimally under 1.5 hours. The director is Jan Ruzicka and he was in his mid50s when he made this film. Pretty prolifi filmmaker since 1990 already, so he had his 25th career anniversary when this came out, but while you will find really a lot of quantity in his body of work, the one thing you will not find is quality. Saw some other stuff from him like "Die Fischerin", which is admittedly not as poor as this one here, but still weak, and I cannot say his body of work is even remotely inspired. The opposite is the case. The writer here is Norbert Eberlein, who was slightly older even than the director when this got made, but he started his career even later, namely around his 40th birthday, if the numbers and inclusions here on imdb are correct. Not a lot of quality to his body of work either. Mostly series, but also some films. The lead actress here is Mira Bartuschek and I think she is so-so at best. Don't really remember here from anything else, even if I certainly have seen some of her projects. I guess she just isn't memorable and this film here also makes me question if she is lead actress material, but then again the writing is so low at times that probably not even the most talented actresses could have made this work. In any case, Bartuschek plays the title character here and is the one and only lead in this film.
As for the supporting cast, some familiar faces there too. Max von Thun and Martin Feifel are really prolific and experienced actors, also the former despite being a little younger and not even 40 when this got made. Eleonore Weisgerber, who plays von Thun's character's mother started acting in the late 1960s. Enough said. Golo Euler, even if his role is minimal, I also remember from other projects. His name is probably easier to remember than his face with the unusual first name and the owl reference in the last name. Alexandra von Giese is a stunner, but does not have a lot of material either here. Unfortunately, there is not one of them that I can say something positive about when it comes to this film. von Thun plays the husband. The dentist to a woman who is known to everybody as "the dentist's wife" because she did not really show the ambition or talent to create something on her own. This was a recurring idea, but it already felt for the sake of it the first time. And really all about von Thun's character does as well. Like the idea how he does not support his wife and her goal to become a police officer one bit. I mean it is alright they included him like that, but the writing there was so stereotypical and uninspired that it was almost impossible to watch. Cringe is real. As for his mother (Wesigerber), she was maybe the worst. The scenes in which Pink Floyd music was running and she was totally stoned or in which she sang Nancy Sinatra's "Bang Bang" were so poor that I just wanted to turn it off. And this was supposed to be funny? And we are supposed to believe she was an aspiring singer once? Oh please. Really progressive also to smoke weed with your granddaughter, isn't it and she just gets away with it. Unreal.
As for Feifel's character, he had his weak moments too. I did not buy the entire story honestly about him being the ex-cop with his inner demons. But it's also the small moments where his character's story is simply horrible. Take the test where he wants the protagonist to get angry at him because he is constantly on his phone instead of helping her although she paid him. This was supposed to be some lesson she should learn to allow her aggressions when she is treated with disrespect. In general, a good idea. But the exact execution of this lesson was simply horrible. Or take the man's tear-filled eyes when his new student tells him that she will return to being a housewife after her daughter got caught by the police when spray-painting a wall and afterwards she was lmost hit by a train when running away. Yeah, right. people almost get hit by something here many times. Just take the protagonist's friend who is almost hit by the car on one occasion. And how this friend hit on Feifel's character was also pretty embarrassing to watch. Not because they succeeded in depicting her as needy, lonely and shallow there, but because they tried so hard to depict her like that, but it all felt fake. So yeah, with Feifel's character, this tear-filled scene was almost unwatchable. It came out of nowhere. They wnated us to think the two had such a strong connection already that it broke his heart to see her go back to her former self. Which would have made sense. The only problem was that there was not the slightest bit of connection created between these two by the because the talent, especially from those behind the camera, was simply not there. Emotions for the sake of it. The desire is there, the depth is not one bit. And by the way, the exact exercises for Bartuschek, the ones we see, are ridiculous. This is what she needs a coach for? Are they for real?
I already made a slight reference to the ending because we have the protagonist go back to her daily life after her daughter causes this mess, but this is not it of course. In the highly expected turn of events, she changes her mind once again and goes back to preparing for the police exam. Of course she does. The only thing missing to a 100% happy ending here is that we find otu she succeeded. It's an open ending. But it just did not feel realistic at all. This already starts with her not only randomly finding out about the burglary that takes place, but knocking out one of the intruders even. Really ridiculous and another failed attempt by the writer and director here at showing us what the woman is capable of if she has the chance. It just did not feel authentic. Especially with the police officer (Euler) saying she reacted really nicely by calling and being in control of the situation. The fact that she knocked the fella out was not crucial for his recommendation that she could start trying to become a police officer. By the way, with that one it also felt a bit strange. Like do they make these recommendations to everybody who acts accurately in such a situation? Or how is he exactly the one that also deals with the protagonist's daughter when she is caught in the scenario I mentioned earlier. Of course, the daughter was also not the initiator, so she is let go right away. They always keep it harmless in films like this.
Okay, that is pretty much all there is to day about the outcome here. Not a good film. So many question marks in the negative sense. i feel pretty sorry for people who actually (think they) see a strong female character and performance in here. This film is actually pretty despicable for playing with female audience members' own potential feeling of unfulfilled lives. If it gets any of them to step up and do something and follow their dreams, then it's a good thing, but honestly the last thing i would call this film is inspired or inspiring. For those who may see it this way are actually also those where I am sure they forget about the film really quickly, but still think it is deep and meaningful. And funny. Which is really the last thing this is. Every single shot at comedy (and there were some, not too many) felt try-hard to me. Nothing effortless in here. By the way, the translation of the title would be "Mother on duty" in the sense of police duty, so yeah, it is not a good title at all and at least the German version feels and sounds exactly the way you'd expect from an ARD Degeto movie. These udner 90 minutes suck from almost every perspective. This includes the key plot and the small moments. It's almost impossible for me to say something positive about the outcome here. I mentioned von Giese's looks already. I guess von Koch's are also not too shabby.
Oh yeah, I almost forgot: This film also once again gets in some anti-male references, most of all with how the husband is described and how he acts towards his wife. And, even more specifically, on one occasion when the friend says something really disrespectful about men when they are talking on the fence. Annd this friend is one we are supposed to like. You can also take the argument between the protagonist and her best friend after the latter is hitting on Feifel's character and this argument could have turned into a lengthy dispute, but instead it is fixed right away and the two drive off as friend instantly again. Why? Because nobody other than von Thun's character must be seen as the obstacle here. I honestly feel really sorry for men whose partners maybe watched this movie and projected von Thun's character on their own partners and husbands. With which I don't mean that men should not encourage their wives. On the contrary. But it works both directions. Pretty shameful from von Thun too to play such a character. No sympathy for him. He agreed to be part of this project although it was doomed from the start if take a look st the script. So yeah, massive thumbs-down obviously for the outcome here. Highly not recommended, oh and I remember another positive thing: They never made a sequel in terms of a movie or series, which really could have happened given the ending and story in general. Let's hope it stays that way. Six years are a long time, but not necessarily long enough to rule out a sequel 100%. Okay, that's it. Stay away from this film.
As for the supporting cast, some familiar faces there too. Max von Thun and Martin Feifel are really prolific and experienced actors, also the former despite being a little younger and not even 40 when this got made. Eleonore Weisgerber, who plays von Thun's character's mother started acting in the late 1960s. Enough said. Golo Euler, even if his role is minimal, I also remember from other projects. His name is probably easier to remember than his face with the unusual first name and the owl reference in the last name. Alexandra von Giese is a stunner, but does not have a lot of material either here. Unfortunately, there is not one of them that I can say something positive about when it comes to this film. von Thun plays the husband. The dentist to a woman who is known to everybody as "the dentist's wife" because she did not really show the ambition or talent to create something on her own. This was a recurring idea, but it already felt for the sake of it the first time. And really all about von Thun's character does as well. Like the idea how he does not support his wife and her goal to become a police officer one bit. I mean it is alright they included him like that, but the writing there was so stereotypical and uninspired that it was almost impossible to watch. Cringe is real. As for his mother (Wesigerber), she was maybe the worst. The scenes in which Pink Floyd music was running and she was totally stoned or in which she sang Nancy Sinatra's "Bang Bang" were so poor that I just wanted to turn it off. And this was supposed to be funny? And we are supposed to believe she was an aspiring singer once? Oh please. Really progressive also to smoke weed with your granddaughter, isn't it and she just gets away with it. Unreal.
As for Feifel's character, he had his weak moments too. I did not buy the entire story honestly about him being the ex-cop with his inner demons. But it's also the small moments where his character's story is simply horrible. Take the test where he wants the protagonist to get angry at him because he is constantly on his phone instead of helping her although she paid him. This was supposed to be some lesson she should learn to allow her aggressions when she is treated with disrespect. In general, a good idea. But the exact execution of this lesson was simply horrible. Or take the man's tear-filled eyes when his new student tells him that she will return to being a housewife after her daughter got caught by the police when spray-painting a wall and afterwards she was lmost hit by a train when running away. Yeah, right. people almost get hit by something here many times. Just take the protagonist's friend who is almost hit by the car on one occasion. And how this friend hit on Feifel's character was also pretty embarrassing to watch. Not because they succeeded in depicting her as needy, lonely and shallow there, but because they tried so hard to depict her like that, but it all felt fake. So yeah, with Feifel's character, this tear-filled scene was almost unwatchable. It came out of nowhere. They wnated us to think the two had such a strong connection already that it broke his heart to see her go back to her former self. Which would have made sense. The only problem was that there was not the slightest bit of connection created between these two by the because the talent, especially from those behind the camera, was simply not there. Emotions for the sake of it. The desire is there, the depth is not one bit. And by the way, the exact exercises for Bartuschek, the ones we see, are ridiculous. This is what she needs a coach for? Are they for real?
I already made a slight reference to the ending because we have the protagonist go back to her daily life after her daughter causes this mess, but this is not it of course. In the highly expected turn of events, she changes her mind once again and goes back to preparing for the police exam. Of course she does. The only thing missing to a 100% happy ending here is that we find otu she succeeded. It's an open ending. But it just did not feel realistic at all. This already starts with her not only randomly finding out about the burglary that takes place, but knocking out one of the intruders even. Really ridiculous and another failed attempt by the writer and director here at showing us what the woman is capable of if she has the chance. It just did not feel authentic. Especially with the police officer (Euler) saying she reacted really nicely by calling and being in control of the situation. The fact that she knocked the fella out was not crucial for his recommendation that she could start trying to become a police officer. By the way, with that one it also felt a bit strange. Like do they make these recommendations to everybody who acts accurately in such a situation? Or how is he exactly the one that also deals with the protagonist's daughter when she is caught in the scenario I mentioned earlier. Of course, the daughter was also not the initiator, so she is let go right away. They always keep it harmless in films like this.
Okay, that is pretty much all there is to day about the outcome here. Not a good film. So many question marks in the negative sense. i feel pretty sorry for people who actually (think they) see a strong female character and performance in here. This film is actually pretty despicable for playing with female audience members' own potential feeling of unfulfilled lives. If it gets any of them to step up and do something and follow their dreams, then it's a good thing, but honestly the last thing i would call this film is inspired or inspiring. For those who may see it this way are actually also those where I am sure they forget about the film really quickly, but still think it is deep and meaningful. And funny. Which is really the last thing this is. Every single shot at comedy (and there were some, not too many) felt try-hard to me. Nothing effortless in here. By the way, the translation of the title would be "Mother on duty" in the sense of police duty, so yeah, it is not a good title at all and at least the German version feels and sounds exactly the way you'd expect from an ARD Degeto movie. These udner 90 minutes suck from almost every perspective. This includes the key plot and the small moments. It's almost impossible for me to say something positive about the outcome here. I mentioned von Giese's looks already. I guess von Koch's are also not too shabby.
Oh yeah, I almost forgot: This film also once again gets in some anti-male references, most of all with how the husband is described and how he acts towards his wife. And, even more specifically, on one occasion when the friend says something really disrespectful about men when they are talking on the fence. Annd this friend is one we are supposed to like. You can also take the argument between the protagonist and her best friend after the latter is hitting on Feifel's character and this argument could have turned into a lengthy dispute, but instead it is fixed right away and the two drive off as friend instantly again. Why? Because nobody other than von Thun's character must be seen as the obstacle here. I honestly feel really sorry for men whose partners maybe watched this movie and projected von Thun's character on their own partners and husbands. With which I don't mean that men should not encourage their wives. On the contrary. But it works both directions. Pretty shameful from von Thun too to play such a character. No sympathy for him. He agreed to be part of this project although it was doomed from the start if take a look st the script. So yeah, massive thumbs-down obviously for the outcome here. Highly not recommended, oh and I remember another positive thing: They never made a sequel in terms of a movie or series, which really could have happened given the ending and story in general. Let's hope it stays that way. Six years are a long time, but not necessarily long enough to rule out a sequel 100%. Okay, that's it. Stay away from this film.
