Lightning gets ready | TIME ONLINE

adminDecember 30, 2018

It's in the ARD Sunday night, no more exciting thriller. it the scene in Frankfurt is still looking for convincing performances of the Dellwo singer and Conny-Mey-Fränkie-Steier-Hochs with Brix and Janneke his form, which on the second Christmas holiday was only to be visited again. Meanwhile, the long-smiled Switzerland presents itself Eat or die (SRF editor: Lilian Räber) once again as an aspirant for the international competition.

Since 2010, Matthias Dell writes weekly about "Tatort" and "Polizeiruf 110". At ZEIT ONLINE since 2016 in the column "The obduction report".
© Daniel Seiffert

The story of the new Lucerne series (book: Jan Cronauer based on an idea of ​​the end of 2016 Matthias Tuchmann and Cronauer himself) is over a long stretch a stimulating game with the sets of genre films. In the respectful house of the rich leader Anton Seematter (Roland Koch), the thread of the action, which is initially unclear, is soon converged into a comic chamber game.

On the one hand, Mike Liebknecht (Mišel Matičević), employed by a Bremerhaven company, fears leave due to Seematter's latest agreement with Chinese suppliers. Liebknecht wants to be paid as a manager with his own expected loss of salary and takes to Seematter's spouse Sofia (Katharina von Bock) and daughter Leonie (Cecilia Steiner) who hostage, before the landlord and the account holder arrive. The negotiations on the privately owned departure payment are then disturbed by Flücki Flückiger (Stefan Gubser) and Liz Ritschard (Delia Mayer), who call on the doorbell because the Seematter car has settled on the murder of a university teacher.

This part is undoubtedly the most exciting of the film, because director Andreas Senn plays through the book's experimental event with joke and rhythm feeling. Seematter-Anton is unable to get rid of the police (also because the fancy car is suspicious of accident tracks), but for Flücki and Liz Ritschard, the passage enters the house in the death of its own ability to act. Liebknecht now has two hostages.

The carnival scene (police being arrested instead of arresting) comes through Danny Boy calm down in the version of Johnny Cash. Which shows nicely how many opportunities the kinematic narrative gives: The question of how it can happen that the police in an unknown role arises, is answered by a song of goodbye (by police authority). It is not without humor that Liebknecht continues to question Seematter through Liz Ritschard's notebook, which Liebknecht will not speak to find out what the two policemen are looking for in their own financial interests.

This is followed by an interesting movement of the Seematter spouse, which offers the hostage-roaming material to extort the spouse – but then pushes a self-contained game from the vault into his hand to make him temporarily disabled. This leads to a beautiful choreography of self-release trials, where joyfully slipped on the floor of the house Seematter.

It is a bit like "Journey to Jerusalem", when Liebknecht is back on the records – will be redistributed. Seematters wife is k.o. Gone, Liz Ritschard has done it outside, Flücki and Leonie Seematter are locked in the house Panic Room, only Anton means for the following chapter danger, because it has made it their fast firearm.

The fact that the equally action-amusing manipulation between the two men in the party cellar ends in friendship, can come as a very friendly variation of Stockholm's syndrome – but at least explains the next step of the wife, who has come to Liebknecht, her husband presumably in the presumption that he had something to do with unidozentin) and Liebknecht to play the pending cavalry in front of the door theater.

Source link