Max Müller (Christian Schmidt) is a private detective, usually only barely skating by and always on the lookout for money. His best friend and partner Larry (Andreas Vitásek) works with him, and they are supported by Miss Schickel (Sue Tauber) a pretty, but not all that smart secretary. One day, a gorgeous woman finds her way into Müller’s office, introducing herself as Bettina Kant (Barbara Rudnik) and hiring Max to find her missing boyfriend. As Max starts to dig into the case, he soon realizes that nothing is as it seems.
I swear it was coincidence that I saw two idiosyncratic musicals in as many days, but Müllers Büro definitely falls into that category (as did Romance & Cigarettes). In any case, it might just be the finest Austrian musical parody of noir crime stories. I enjoyed it for the most part, although it is unbelievably sexist (again, like Romance & Cigarettes).
Simon Brenner (Josef Hader) used to be a police man, but after a, let’s call it a disagreement with his boss, he lost his job and now works as an ambulance driver together with Berti (Simon Schwarz). Brenner is not a very ambitious person and has settled in that life. But when a nurse and a doctor are murdered, and shortly afterwards one of his colleagues and another colleague is accused of the crime, his routine gets shaken up and Brenner finds himself investigating, rather in spite of himself.
Komm, süßer Tod has an excellent sense of humor and an interesting crime story, so it’s not surprising that it was the start to probably Austria’s most successful cinema series, even though from a film-making perspective it’s actually quite abysmal.