The new Wiesbadener Crime scene: Murot and the elephant in the room (HR editor: Jörg Himstedt) had already made headlines before filming began. The musicianauthor and Theater maker
Christiane Rösinger canceled her role when it was clear that too Christian “Flake” Lorenz would play along, the keyboard player Band Rammstein. Rösinger explained in Mirror“that I do not want to be associated with the Rammstein system in any way. That would contradict everything that I have wanted to convey with my music and my lyrics over the past decades.”
Crime sceneMulti-talented Dietrich Brüggemann (music, script, direction) apparently didn’t have this problem. There are of course many reasons for the appearance of a well-known but non-acting person (insider gag, service of friendship, pride in acquaintance, good time), but this time there are significantly fewer of such appearances than in This is our house from Stuttgart 2021, just two.
So whatever may have led to the casting of the Rammstein keyboardist (Casting: Nathalie Mischel) – it couldn’t have been acting skills, his doctor’s sentences are rather sterile (“You’re right, that’s an interesting coincidence”). Which also has to do with the overall situation being less than lively. Unlike the three Crime scene-Episodes from Brüggemann before – This is our house, traffic jam (2017) and Murot and the marmot (2019), to which the end of this film wearily alludes – is coming Murot and the elephant in the room never quite moving.
This may be because the sole purpose is to find a child. Eva Hütter (Nadine Dubois) kidnaps her son Benjamin (Lio Vonnemann) from the custody hearing to a remote cabin. But because she doesn’t have her beloved cereal with her, she drives to the supermarket and on the way back has a car accident that sends her unconscious to the hospital. The little rascal is left alone in the forest.
A not unoriginal idea that could be at the beginning of a horror film or a comedy, but is unadorned in this ARD Sunday evening crime thriller. Even the kidnapping looks silly. Hütter rams a pencil into the apple lying in front of her with a seemingly clever explanation (“It’s pretty sharp”), which is supposed to be a threat to use the pencil as a weapon if necessary. To do this, she would actually have to hold it to the child’s neck when she goes out with her back against the wall, which would be a crass picture. That’s probably why the film avoids it, which in turn makes it look like an underfunded theater performance that makes the viewer imagine everything there was no money for.
In the hut, Dubois, as the mother, plays past the child so politely, as if she wanted to demonstrate love and kindness to the assembled courtroom to make amends. This inappropriate form of representation connects her with Joseph Konrad Bundschuh, the mime of the child’s father, who lives separately from Hütter, who appears understandably annoyed, if not totally aggro. In a cafeteria conversation with a guard (Barbara Philipp), he suddenly, for the record, expresses his generous understanding for his not easy ex-girlfriend – a male fantasy that sounds appropriately lifeless.
The way Murot tries to find the abandoned child is original. He connects to Eva Hütter’s psyche using a special machine from his therapist (Robert Gwisdek). Unfortunately, that’s the whole joke; carrying it out in several attempts turns out to be lengthy and boring. While the not dissimilar structure of Murot and the marmot
Although there was a simple, clever and exciting requirement (you only escape the time loop if no one dies), the rules here are unclear. Murot half investigates something in the world of thoughts, half he himself gets lost in the diffuse talk of self-discovery sensitivity (“finding his inner child”), which has little appeal because one doesn’t even know the inspector’s psychological baggage. For Ulrich Tukurwho as an actor values virtuosity, perfect form and physical tension, which he can still demonstrate while chatting on his cell phone in the bar, the long, happy finale is quite a challenge; He doesn’t like smiling happily.
Keyword humor. The few gags lack timing, unless they are so dutifully made as jokes that even the retelling still causes a lack of understanding. A place in the film is called Usingen, which forces Murot to remark, when listening to a song on the car radio in which women sing “You”, that they would do that – sing U.
The Crime scene also teaches that not every attempt to ape political rhetoric automatically results in a successful satire, which is what screenwriter Brüggemann is the creative mind behind the failed corona policy satire #allesdichtmachen (which Murot actor Ulrich Tukur was part of). And reveals a specific interest of this film.
That’s how he does it Crime scene-Cosmos episode titles already assigned makes more sense, if at all, if you read it as a dog whistle to the army of so-called critics of the measures. They are outraged several times Murot and the elephant in the room deeply offended people (child’s father, therapist) because they have the feeling that they are being treated badly by the state.
Strangely enough, the addressee of this anger is not the most prominent public servant in the group, Commissioner Murot. The poor co-investigator, Wachter, gets the most of it, which is at least consistent since the film is dominated by men. In the end,watcher has to utter the redeeming words in Murot’s place: “We’re sorry, we’ve learned our lesson.” Inshallah.
Seen from a distance, he tells the story Crime scene However, another story – resentment doesn’t make good films.
