Updated on December 26th, 2021, 4:14 pm
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Commissioner Charlotte Lindholm travels to Hamburg on a blind date. But their internet affair is dead in bed. That’s why she meets Udo Lindenberg. And is suspected of murder. Director Detlev Buck was allowed to let off steam with his first “Tatort”. The result is a surreal red light fairy tale.
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Commissioner Charlotte Lindholm is in the mood for love. Lust for lust. The ambitious alpha woman, who prefers to work alone, knows everything better and conducts her investigations stubbornly and head-heavy, has made a date with a stranger in a chic Hamburg hotel, whom she only knows from an online chat.
Maria Furtwängler for the first time as a co-producer in “Tatort”
Let go once completely! Total surrender! Handcuffs! Slippery text messages that are otherwise only known from sex scandals! And not from the phone of the elegant inspector, who is now allowed to watch or hear how a malicious colleague lets the entire investigation team participate in the intimate chat. While Lindholm has to stand by in a bloody silk dress. Because her date is stabbed to death in the hotel bed, and the commissioner is the main suspect.
This is how it starts, the new “Tatort” from Hanover, with which Maria Furtwängler made a Christmas present: In “Alles geht zurück” she also appears as a co-producer for the first time. Which means that their work started before shooting started and continued after shooting started. The audience doesn’t have to care about that, of course, but it does mean that they could put a clearer personal stamp on the film than usual if she is “only” the leading actress. In a way, she is the main suspect.
It is not without pride that Maria Furtwängler indicates in the press releases that the Christmas “crime scene” owes its initiative to both its guest star Udo Lindenberg and star director Detlev Buck. The idea of fabricating a “bizarre” Hamburg “Tatort” with a “bizarre” Hamburg team, however, does not work.
Udo Lindenberg duet as an ashamed moment
The story (by Uli Brée, author of several Viennese “Tatorte”), of all things, turns into a disheveled local color, which the city of Reeperbahn tourists and Udo fans from southern Germany was supposed to play to Reeperbahn tourists and Udo fans from southern Germany, under Buck’s direction and with Udo Lindenberg’s guest appearances Atlantic – known to be Lindenberg’s place of residence – and the red light district, which is presented in a red light with surprising ideas such as a karaoke bar full of Asian tourists. In addition, where Kida Ramadan as bar visitor Jimmy insists on a Udo Lindenberg duet with the inspector, which makes for a particularly cramped, uncomfortable moment.
The core of the story about Charlotte Lindholm is really good: The commissioner, who is so bad at teamwork, learns what it means when you don’t want to investigate alone, but have to. Because nobody is there, nobody believes you, and to make matters worse, you are only in a mess because you were careless once, once you wanted to get out of yourself.
And then Lindholm not only has to fight against evidence that all speak against her, but also against a Hamburg commissioner who is deliberately sabotaging the case. She is played by Anne Ratte-Polle as a red-haired fire devil: Jana Zimmermann is even more energetic, more ambitious than Lindholm, and even less interested in rules and teamwork. She is as unsympathetic as only high-handed bumboys are – in several ways a highlight of this “crime scene”. A man was actually intended for the role, but with this casting idea, Detlev Buck had a really ingenious directorial idea.
Jens Harzer in the role of Zimmermann’s colleague and antipole Ruben Delfgau also protects the “crime scene” from collapsing. He is the thoughtful listener and observer to whom Lindholm turns – first out of an investigative instinct for self-preservation, then completely privately. A brittle relationship that forms a delightful contrast to the overstretched rest.
More psychological thrillers than crime novels
Because in “Everything comes back” not only Charlotte Lindholm’s past returns after the suspicion that she was lured into a trap because someone wants to take revenge on the inspector has been confirmed. The “Tatort” is the wild hodgepodge of a film fan who was allowed to let off steam as a guest star director. The crime thriller as a hotel film is spiced up with a pinch of horror (plaited twins in empty corridors) and psychological thrillers (sinister characters in dark hoodies) and, with a good portion of surrealism, turns the absurd. But not in the artistically valuable version of absurdity.
The problem is not the individual parts – on the contrary: the highlights of the film include the scenes in the house of a pimp who can tell Commissioner Lindholm more about her hotel corpse. There it looks like on the set of a soft porn variant of “Alice in Wonderland”, with the landlord played by Detlev Buck himself as a mix of car dealership showmaster and puff mother. The problem is the lack of a staid “Tatort” bureaucrat who holds the iridescent threads together in his stern hand and braids them into a tight braid. Instead, “And everything comes back” turns into the drunken Christmas party of exuberant guest stars. And Udo? Udo is the good hotel spirit, who scurries and mumbles through history a few times and shows the inspector the way with a song from his last album: “Compass”.
In a seldom quiet scene, however, he sits at the piano and comforts Charlotte Lindholm with the touching ballad “Just like that”, which deals with the futility of regret and regret. “Everything comes back” is then a really nice Christmas “crime scene”.
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The “Tatort” is one of the most successful formats in Germany and has delighted viewers every Sunday for over 50 years. Several stars have already been in front of the camera for the ARD classic – including Nina Kunzendorf, who will celebrate her 50th birthday on November 10th. These actors were already “crime scene” investigators.
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