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When a souvenir photo goes up in flames towards the end of this episode of “Tatort”, Tessa Ott (Carol Schuler), who has just been promoted to the Zurich Murder Commission as a profiler, sings the song “Zündhölzli” by the Swiss chansonnier Mani Matter. It’s about the big effects of the little sparks: “And the whole city would have burned, it would just have protected it.” That also describes a bit what happened to the cozy alpine Swiss postcard “Tatort”.
For nine years, the Swiss episodes were designed in such a way that he did not lose the plot or miss many words if he fell asleep for an hour. And suddenly, a single episode shows more escapes, shock moments, socio-historical escapades, frantic discussions (“Bullensau!”, “Cynical idiot!”), Wrong leads, and private drama than all the Lucerne episodes combined. In addition, the action moved to elegant Zurich and filled with energetic women: in addition to the inexperienced and self-confident Ott “from a good home”, his ambitious and distant working colleague Isabelle Grandjean (Anna Pieri Zuercher), who is paved the way in the International Criminal Court. Even the wild intro shows where she is: TNT’s driving girl punk (“Züri brännt!”), In which Mozart’s queen of the night pecks at her sinister “my daughter never again”, images of glittering Zurich become Images of the opera riots faded to 1980. A corpse is on fire.
Passionate tempo direction by Viviane Andereggen
The seasoned “Tatort” team, Lorenz Langenegger and Stefan Brunner, wrote this thrilling pilot, in which several established Swiss comrades encountered a crime from their youth, at least partly anarchist. The dialogues seem casual and yet they feel safe. Not only do the tough leads give the series momentum, but they’re psychologically well-balanced as characters, unlike the somewhat one-dimensional prosecutor (Rachel Braunschweig), who is willing to rise at any cost. Viviane Andereggen’s emotionally gripping tempo direction, staying close to the characters but not avoiding conflict, has a particularly invigorating effect. The fact that no one eats evil in the world, but all inner tension is boldly deflected outward, this lighthearted demelancolization of the otherwise often highly elegiac series is as refreshing as the sleek retro elegance of police station (with a slight “Spaceship Enterprise” note) a nice contrast to all the worn office looks this side of the Alps.
In terms of content, the beginning is not as successful as it is stylistically and conceptually, after all, the case is yesterday in both senses of the word. Too often you have seen the settlement of an old debt. Those involved are not very original either: a traumatized relative (Matthias Fankhauser) of a young woman who disappeared in a raid in 1980, a cliched punk mother (Karin Pfammatter), a very old leftist (Peter Jecklin), a former Sponti who went on to become an editor-in-chief (Michael Goldberg) and a friendly police chief (Roland Koch), who despite the exposed skull, disappeared? – He doesn’t want to open old trenches. Unfortunately, the fact that the crime story was dragged along with Investigator Ott’s private life seems like a coincidence.
You can take this as an example elsewhere.
There are some other things that are hard to believe, like a youth room that has not been touched after forty years and in which a decisive imprint can be found with the first touch. Appearances of the deceased in horror visions, the initiation of crime scene work, which is probably only common in movies, or wicked fights between investigators can all be described as a criminal thriller according to a textbook, even if the attribution of mutual rejection to the origin of different media has narrative potential. Of course, the two of them still grow together as a team. After all, Ott is anything but proud of her relationships at “the party”: “My mother is the president of the shitty club.”
All the time rumbles in the lower abdomen of the plot the suspicion that in Switzerland some decisions are made behind even more closed doors than elsewhere, so the entrance to the film with the waving Masonic opera “The Flute magic “may be more subtle than it initially appears. done.
But as little as the mutually exhausting plot motifs, which are directly overloaded in the massive coda, can mark with novelty or total persuasion, the civility, vigor and elegance of this low-key political episode can be seen. How social and moral issues are addressed directly and without preachy, in this case the statute of limitations for murder after thirty years, which is still in force in Switzerland today, but has recently been much debated, that is even welcome in other places. Let Zurich keep burning like this; There have already been weaker initial consequences at the “crime scene.”
Of the Crime scene: Züri is on fire it runs on Sunday at 8.15pm the first.
