Frank Murnau wants a new life, and he wants it quickly. Part of this new life are great women, a lot of money and a few tough opponents. He can have it all. To get the dough – the basis of existence for every jetsetter –, he sells industrial secrets, for which the old man in Acapulco seems to offer far more than the old man at Schliersee. The women are already in his life, because Frank is real eye candy, simply gorgeous. Ultimately, not even the opponents, who have glamorously cinematic names such as Cameron or Grunder, are far off. In the end: a classical zero-sum game.
Klaus Lemke used to say that for him and his cronies, American films were documentaries about the way life is supposed to be. Following this idea, he made his first feature film: As a sort of reenactment of this kind of cinema, tailor-made to fit the conditions of the Federal Republic of Germany (FRG): FRG nonchalance, FRG beauty, FRG melancholy, worldly and cosmopolitan like few films that would come before or after. A film about how to sit down, listen to music (for example to an instrumental cover of Summer in the City) and how to shape the passing of time with each sip of water or whisky. A film about everything.
