Das 13. Revier

Am Ende wurde ich mir bewusst, dass ich diesen Krimi schon irgendwann in der Vergangenheit einmal gesehen hatte. Doch ich musste erst dank der abschließenden Auflösung drauf kommen. Zu Jaroslav Marvan passte die Rolle von Inspektor Čadek sehr gut, nur kommt es mir so vor, dass sich der Streifen in der zweiten Hälfte möglicherweise unbewusst an der Grenze zu einer verrückten Sitcom bewegt, wo man zu klären versucht, wer denn da eigentlich in diesem verflixten Zinksarg liegt. (26.08.2013)

Ein solider Film noir – besonders in der zweiten Hälfte kommt eine Überraschung nach der anderen (ich mag diese Art von Geschichten, in denen es so aussieht, dass alles schon geklärt ist, was aber bei weitem nicht stimmt). Dank überwiegend glaubhafter Schauspielleistungen und der geschickten Regie von Frič werden Sie sich von Das 13. Revier einiges merken. Eine ausgezeichnete Arbeit hat hier Julius Kalaš geleistet, weil die Musik echt klasse ist. (16.04.2017)

A slightly above average whodunit that badly wants to be psychologically sophisticated, but in the end, with all its drastic twists and turns, is as unbelievable as an angry Andrew Garfield. The actors are very good and convincing, the pace is pleasant, and the twists and turns themselves are surprising, but delivered rather poorly and blandly, which is mainly related to the emotional detachment of Marvans inspector Čadek, who serves as an informational intermediary between the fable and the storyline. The potential was certainly higher. (14.06.2017)

An attempt to build on the American school of classic detective stories in the noir style. It has a very good cast with the central duo of Dana Medřická and Jaroslav Marvan, as well as a decent script, but it is somewhat outdated and the actors in the supporting roles are not as good. Overall impression: 60%. (15.05.2009)

This Czech crime film based on the book by a local author has proved to be the ideal material for bridging the old and the new at a crucial time. The story of the attempted conversion of a girl from the periphery against the background of an investigation provided several interesting opportunities for Marvan in the lead role, to Nedbal as a caricature of his superior, which he later perfected in an excellent way in Kidnapped, to the classical playwright Ella Nollová, and to the budding Medřická. Unfortunately, in 1946 it was already necessary to replace supporting roles to a large extent with discoveries, often ones lacking brilliance (Marcela Sedláčková, even though she had a famous mother). Or by utterly hopeless episodic actors (Anna Garbielová). Regarding Medřická, I can understand the opportunity Frič gave her after her successful debut in Brom’s Sturdy as a Rock. Her casting in Guard 13 can be seen primarily as a replacement for the lost remake of Suzanne Marwille's famous silent film. (04.03.2009)