Open up the camera and look through the lens; is there movement when the shutter is released? Is the duration of the shutter speeds plausible? You'll need them to be broadly reliable (to within a stop at least - or even black and white film won't help you). There are some apps to measure the actual speeds with your phone, but I'm not aware of any free ones. Checking shutters and bellows is key - or you'll end up with an unusable camera; replacing bellows is pretty expensive (comparatively speaking - a multiple of the price you'll pay for the camera itself), CLAs vary in price according to complexity and condition.
The worst thing is a completely stuck shutter - you can't even cock it. Usually, if a shutter "hangs", one or more shutter speeds refuse to release or are very slow. You can't work with a "hanging" or stuck shutter, obviously. The Prontor-S/SV/SVS shutters are pretty reliable over long periods of time, but *if* they hang, you need to take them apart and clean and lubricate them. My guess is that the more sophisticated shutter units that offer many shutter speeds (Prontor, Compur) do so by using interlinked components - i.e. complex mechanics. Cheap shutters with few shutter speeds have simple spring arrangements - i.e. a single spring for each shutter speed. The Vario shutter I mentioned works like this: three speeds, so three springs, three hooks, some pins. On the other hand, I know that early Compurs use a massive *extra* spring for their fastest shutter speeds - they're quite hard to to cock. My other, pre-war 515/2 uses such a shutter/lens combo: 105mm f/4.5 Tessar set in a late 1930s Compur.
While the Compur is the top-of-the-line (with the late Synchro-Compurs marking the height of innovation in this field at their time), I usually prefer the simpler, quieter and lighter Prontor shutters; their lighter, cheaper variant, the Pronto, is also nice - but prone to hanging. So, if you're starting out, the Prontors are actually your best guess.
And yes, with most such cameras, you'll need to wind on the film (checking frame position visually!) and cock the shutter separately. Some only allow for cocking the shutter once the film has been wound on, but some don't have any kind of double exposure prevention.
Just a little background information: When I came back to film photography, I did so via medium format film - and it all started with a fascination for old folders. I came across the Zeiss 515/2 I first mentioned (the one with the cheap lens and shutter) and went deep into the rabbit hole from there. That's why I ended up with a small collection and two coveted ones that both mark their respective pinnacle of development:
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On the right, an early Voigtländer Bessa RF 6x9 with its wonderful Heliar 105mm f/3.5 set into a Compur Rapid shutter with a top shutter speed of 1/400s and coupled rangefinder (but no double exposure prevention; winding's done the classic "red window" way); you can also choose between 6x9 and 6x4,5 by inserting a suitable mask; viewfinder and back are prepared for this! On the left a late Zeiss Super-Ikonta 531/16 6x6 (that's what the "16" means) with the most sophisticated set of features: winding with reliable auto-spacing, a frame counter and double exposure prevention, coupled rangefinder and Zeiss Tessar 75mm f/3.5 lens set into a Synchro-Compur with a full set of speeds up to 1/500s. These cameras are fantastic - but they're not cheap, and the Voigtländer is pretty rare anyway. I snapped mine up in Berlin by pure chance.
The camera you've shown is an ideal beginner's tool - if it works, that is. I personally would recommend either 6x6 or 6x4.5 to start out - because 6x9 will make you go through loads of film ... But it is what it is; as I said, I started out with a cheap 6x9 because that's what was available.
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