Updated April 6, 2020, 8:05 a.m.
Waving pistols and carefully looking around corners: An interrogation turns into a hostage drama in a children’s home, and the police are almost as amateurish as the young parents.
A criticism
from Iris Alanyali
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More “crime scene” news can be found here
The first thought: The walls of the prison cell are painted in one of these colors, for which designers come up with names like “Midnight by the Sea”. The second: Apparently the inmate was inspired by the prison when painting his private apartment.
The third thought: The kitchen of this Dresden children’s home could also be shown in the Ikea catalog. Including country bread on a rustic wooden board with a knife.
“Tatort Dresden”: Bonnie-und-Clyde against the rest of the world
Only that the knife in Ikea kitchens rarely has such fatal consequences as in this “crime scene” in Dresden, where everything fits together so well and therefore does not really fit. It starts with the main characters, a Bonnie and Clyde couple called “Bürger”. Mr. and Mrs. Bürger against the rest of the world? It is clear that this cannot work.
Louis (Max Riemelt) and Anna Bürger (Katia Fellin) are a young couple that has had wild times. Louis has a criminal record, and twelve-year-old son Tim (Claude Heinrich) has been living in the children’s home since he got an overdose of ecstasy at home. Now everything should be different.
Anna has gotten used to a boring job in the supermarket and is trying to live a regulated life, in Louis, on the other hand, too much energy seems to be bubbling up for the tranquil mother-father-child game.
Pre-trial detention despite innocence?
When a neighbor, of all things a police officer, lies dead in front of the apartment building where the citizens live, the police have to suspect Louis. He panics. But you don’t prove your innocence by trying to escape over the balcony, and so he is put in custody for the time being.
Whatever his first prison stay with Louis is, we never find out – but let’s see what he leads to now: Louis persuades Anna to release him from prison, then they want to get Tim out of the home and flee to Croatia. “To the sea, to open a surf school or something,” are Louis’s mature plans. Of course, everything goes wrong and the flight becomes a hostage drama.
That’s where the real story of this “crime scene“(Screenplay: Stefanie Weith and Michael Comtesse). A hot summer day in Dresden. A beautiful villa as a children’s home. Inside: A nervous hostage-taker, his nervous wife, the scared son, the director and the seventeen-year-old Nico (Emil Belton).
Outside: Commissioners Karin Gorniak (Karin Hanczewski) and Leonie Winkler (Cornelia Gröschel) with Commissioner Schnabel (Martin Brambach) and the Special Operations Command.
Police don’t come to Potte
Of course, Louis went completely nuts. Tim complains how children in crime novels always have to do this to get on their nerves and trigger bad things. And then the super-cool Nico also wants to play hobby hero (and Emil Belton plays it great, by the way).
Schnabel is quite overwhelmed by the situation, and his commissioners are now busy playing through everything that you see in hostage-taking thrillers: peering through windows, making contact, trying to build trust, making determined decisions, sneaking into the house bravely and look carefully around corners.
And all of that slowly – if Louis and Anna weren’t such lay hijackers themselves, they could have actually celebrated their first company anniversary with their surf school before the police came to Potte.
Every drop of sweat that begins to trickle down to everyone involved mocks its wearer, instead of symbolizing the pent-up tension and impending escalation as is intended.
Fatal amateurishness and agile despair
Because with the fact that so many computers are set up and cameras are installed and cool equipment is worn, this task force is amazingly unaware. Just during the time spent here opening and closing doors in the old villa, the home manager could easily have found foster parents for all of her protégés.
Instead, she has to sit hostage on the kitchen floor, more surprised than scared. We spectators on our sofas feel with her. She is probably used to worse from her pubescent house residents than this half-strong waving gun.
But maybe there is method behind the nonsense. Perhaps this is supposed to be a “crime scene” about the consequences of fatal amateurism and agile despair. Because whoever perseveres and stays with it, because everything is at least nice to look at (director: Stephan Lacant), or because you want to know whether you are right with the perpetrator, whom you already guessed after half an hour, will be a gripping one End rewarded.
There you can finally feel the intensity that is claimed all the time. A commissioner can finally shine. And then cardboard figures finally turn into tragic people who would be given a life on the beach in Croatia with all their hearts.
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