D.he truth about this “crime scene” is spoken by Jens Harzer as his colleague Ruben Delfgau, who was enlightened by knockout drops, at the bar of the traditional Hamburg hotel Atlantic with slow-motion language in front of blurred whiskey bottles: “I just don’t know. . . why does everything always happen? “
Then, full of promise, he sags into the arms of Maria Furtwängler, who, as Charlotte Lindholm, yells for the ambulance in a way, as if she thought she was in a western and actually wanted to scream “Indians!”. The film, in which both Maria Furtwängler and Detlev “Buckman” Buck got lost – the latter acts in addition to directing in a funny supporting role as a long-lasting gag supplement – is not a western, but the dreaded “Christmas crime scene”, lush garnished with Udo Lindenberg. Like the raspberry spirit of the past Christmas, it flickers through the scenes in a variety of ways to keep figures on course and to sing about his current album. If you tip an eggnog for every hint of Udo in the picture, you can look forward to a senseless end of Christmas.
So there is a lot going on in Hamburg. It starts with Charlotte Lindholm (you should always write this name down completely so as not to take away any of his gravitas), who arrives from her exile in a blue silk dress in order to treat herself to an anonymous shepherd’s hour after all the troubling cases “Finally turn off your head for once, give up control for once, just be unreasonable, just let yourself go and trust”. That would have been wished for the actress, too, who in this “crime scene” meets all the absurdities presented with a kind of overwhelmed routine – almost as if it was a matter of snapping tickets on a train that is just taking off.
The romantic parsley is finally hailed
The overstrain is understandable, at least from the point of view of the role: A blind date is dead. In the room lies a man who has been stabbed to death, handcuffed in bed. Colleagues Delfgau and Zimmermann (Anne Ratte-Polle) later find the murder weapon in Charlotte Lindholms bag – well, and of course the romantic parsley is finally hailed, but Charlotte Lindholm would not be Charlotte Lindholm if she were to get away from hers through such frills Charlotte Lindholm liability could be dissuaded. A new blue silk top is easy to find, and until then she just investigates in a baggy police training suit, as it might have been worn by strip colleague Dirk Matthies (“Großstadtrevier”). It is also the past that catches up with them here.
Above all, Maria Furtwängler is offered in front of a changing, always elegantly framed backdrop (camera Bella Halben, set designer Ariunsaichan Agi Dawaachu) and a Hamburg between noble harshness and neighborhood cliché, along with random allusions from “Alice in Wonderland” to “The Shining”: Charlotte Lindholm in the hotel room, at the reception, in the lobby, listening in front of the black grand piano when the master grabs the keys, with a Luden named Einstein (Detlev Buck) and in a memorable scene as a drawn “Sleeping Beauty” that only pretends to be ironic . Johannes Kobilke’s music selection reaches into the opera box, exaggerates the finale into a comical way and is one of the better ideas of a “crime scene” in which – this is how it works – everyone does what they want (book Uli Brée). This is very entertaining to a certain point when you agree that each character will perform their very own “crime scene”. And then Udo gets his final music video insert, the egg liqueur is empty, and in the end it is clear: “Someone has to do the job.”
the Crime scene: everything comes back runs on Sunday at 8.15 p.m. in the first.
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