The impact rate is high, wonderfully high. Only the first eight minutes from “dog days” in the gripping directed by Stephan Wagner (“Murder in Eberswalde”) are all encompassing: Since we have a tragedy evoked retrospect – a police squadron is looking for a missing child in the forest. The tone is a scene with Commissioner Martina Bönisch (Anna Schudt), the midsummer temperatures mourns her broken family fortune in a cafe (where the scene was seen upside down on a well-known Cologne Südstadt place; yes, the damned finances of the WDR: Land For cost reasons, yes also Thiel and Boerne in truth in Cologne Siebengebirgsallee). An entrepreneur takes a dramatic look at the “Dortmunder U” and makes a decision. Psycho-Maestro Peter Faber (Jörg Hartmann) itself provides a nervous duel with his assigned therapist (the Cholerikus has a disciplinary complaint to the chopping). Faber, the time is particularly broken even for him, collapses. From the off we hear again the voice of his dead daughter: “Dad, why are you a policeman” a aggressionsumlenkenden macho appearance, there are also (“Sachma, are you doing the shit because sometimes confusion?”), Against an unsuspecting dog owners, the good returned: “Who are you? ? From the dog shit police or what “the dock follows an action-packed rescue mission in which our bully bull – so later suggests a witness – perhaps the perpetrator has been caught, while the wounded victims (the contractor) is drowned. And as no less than eleven times “shit” in eight minutes, having already Schimanski format.
After five strong first episodes written by Jürgen Werner, which catapulted the Dortmunder investigators at the top of the “Tatort” team, most recently a little out the air. Two also written by Werner episodes playful some of the momentum of the initial period, the Internal Strife of all suicidal acts commissioners moved too much to the fore, lost the balance. Especially the addition investigators Nora Dalay (Aylin Tezel) and Daniel Kossik (Stefan Konarske) was expected to much. They could barely fill their police role, while not credible in that the inside found at life and love despairing. You can make it short: The author move to Christian Jeltsch has been good. Dortmunder “Tatort” is back in its former strength without the horizontal narration, what was going to break. Is suffered also this time, all the characters suffer almost like dogs. Everyone wrestles with his demons, guilt high as coal mountains. But because the directed inward, must be less roared. But plenty of alcohol flowing, most authentically beer from cans
The tensions within the Commissariat – there they are quite – so do not overlap time the detective story that comes along pleasantly unspectacular, yet dramatic. A woman believes her prior fourteen having years rediscovered missing child; Shortly afterwards, the husband of this woman’s dead. It’s amazing how many turns can be quite manageable abgewinnen this plot. In addition, we are largely unaffected by the always easy silly empathy number Faber. One could call a formal distancing it even that Kossik and Dalay may mimic this scene funny evil. Has at the end even – as much pun allowed to be overlooking the title -. Commissioner cold muzzle its use, so a four-legged, as one might have to say in this team
The rapid pace of scene and Setting change is maintained. The reminiscences might have may be a little more restrained. At Ulrich Seidl abysmal “Dog Day Afternoon” movie remember not only the lust-raids on Faber (the wards of course), but basically all the characters in their eccentricities. Brecht’s “The Caucasian Chalk Circle” with the Childbirth contending mothers (Maren Eggert and Anne Ratte-Polle) recreate every detail in turn acts on ambitious, especially since it is identifying tactically useless. But that really does not fall into the weight, if one may see such convincing actors like Anna Schudt and Jörg Hartmann. Mag Faber recently have played more offensively with the idea of being anywhere else might be better, he finally gets the time curve. He finds, after he was at the bottom, an inner strength – and with him the Dortmunder “Tatort”, which is perhaps a little more relaxed, but certainly no worse in the future
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