A Game of Strategy, but No One Wins

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MOVIE REVIEW
The Cat (Die Katze)
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Genre: Crime, Thriller
Year Released: 1988, Radiance Films Blu-ray 2025
Runtime: 1h 58m
Director(s): Dominik Graf
Writer(s): Uwe Erichsen, Christoph Fromm
Cast: Götz George, Gudrun Landgrebe, Heinz Hoenig, Ralf Richter, Sabine Kaack, Joachim Kemmer, Ulrich Gebauer, Iris Disse, Erich Will, Heinrich Schafmeister, Uli Krohm
Where To Watch: available February 25, 2025; pre-order your copy here: www.radiancefilms.co.uk, www.mvdshop.com, or www.amazon.com

RAVING REVIEW: The gold standard of a crime thriller can balance precision and unpredictability as effectively. The film builds its tension not on over-the-top spectacle but on meticulous, slow-burning suspense, where every move feels carefully orchestrated. Yet, the cracks in control start to show as emotions creep in. Rooted in the stylistic shift of 1980s German cinema, this thriller isn’t just about the mechanics of a heist—it’s about the people behind it, their shifting loyalties, and the inevitable unraveling of even the best-laid plans.

At the center of it all is Probek, a criminal strategist who prefers to operate from a safe distance. He doesn’t storm into the bank with a gun; instead, he watches from above, orchestrating every step of the heist from his hotel room across the street. His men, Junghein and Britz, are the boots on the ground, handling the robbery itself while he feeds them instructions. But the film isn’t just about the mechanics of a heist—it’s about control, or more specifically, the illusion of it. Probek’s carefully crafted operation is meant to be airtight, but he fails to calculate the human factor, particularly when it comes to Jutta Ehser.

Jutta, the wife of the bank’s manager, appears to be just another piece in Probek’s plan, but her role proves to be far more significant. She’s not merely a pawn in the game; she’s playing her own game. What starts as a traditional crime narrative gradually shifts as she emerges as a key player, challenging the genre's expectations of power and agency. While Probek believes himself to be in full control, the film slowly reveals that he may be manipulated, making Jutta’s character one of the most intriguing aspects of the story. She disrupts the standard dynamic of a crime thriller, making the power shifts within the narrative even more compelling.

The sleek, reflective surfaces of the Hotel Nikko and the rigid structures of the German-Japanese Center contrast with the tension bubbling underneath the story. These cold, modern buildings feel sterile and detached, mirroring Probek’s calculated approach. Meanwhile, the interiors—especially the dimly lit, earth-toned spaces of the hotel—create a sense of confinement and pressure, reinforcing the idea that no one is as in control as they think.

Rather than relying on flashy action sequences, the film builds suspense through dialogue, surveillance, and observation. Probek's tools—listening devices, walkie-talkies, and cameras—give him the sense that he’s omnipotent but also expose his limitations. No amount of technology can account for unpredictability, and as the situation inside the bank spirals, his hold over the operation weakens. The film explores how surveillance creates a false sense of control, a theme that adds depth beyond the typical crime-thriller formula.

The performances are crucial in elevating the film beyond standard genre fare. Götz George brings a quiet intensity to Probek, making him commanding and vulnerable as the cracks in his control begin to show. Gudrun Landgrebe gives Jutta an air of mystery and quiet calculation, making it clear that she’s not just reacting to events—she’s shaping them. Heinz Hoenig and Ralf Richter add raw, unpredictable energy as the two criminals on the ground, effectively contrasting Probek’s distant, methodical approach. Their dynamic—one of controlled chaos—helps maintain tension, particularly as things unravel.

One of the film’s standout qualities is its ability to keep the audience engaged without laying out every detail upfront. Instead of spoon-feeding information, it allows viewers to piece things together, shifting perspectives between Probek’s surveillance, the increasingly chaotic robbery, and the police watching from the outside. This adds layers to the tension, making it feel like a constantly shifting puzzle where no one has all the pieces.

Some plan elements seem overly reliant on circumstances aligning just right, and there are moments when certain character decisions don’t hold up under scrutiny. This film stands out because it balances genre conventions with deeper psychological complexity. It’s not just about the heist itself but the shifting power dynamics between its players, their motivations, and how desperation can push people into unexpected roles.

This is an engaging watch for those who enjoy crime thrillers focusing more on tension and character than on explosive set pieces. It thrives on the psychological interplay between its characters, the carefully constructed suspense, and the idea that no matter how well someone plans, the human element can always introduce chaos. This story reminds us that in the world of crime, the most dangerous game isn’t always the heist itself—it’s the battle of who’s really in charge.

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[photo courtesy of RADIANCE FILMS, MVD ENTERTAINMENT]

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