Too many healers are the “crime scene” death
Looking for the inner center: Commissioner Faber (Jörg Hartmann) investigates
Source: WDR / unafilm GmbH / Elliott Kreyenb
Money can not buy happiness. A lot of money makes you very unhappy. An investment genius dies in Dortmund’s new “Tatort”, taking away the fear of a crash from poor rich people. You don’t get really happy. One scene, however, tears everything out.
JNow let’s calm down first. The days were messed up. Put your hand on our meditation stone. This is kind of a family user. Looks like an egg. Rest in yourself. So that we can rest in ourselves. The story is messed up.
Had she been less confused she could have turned out great. If there had been a meditation stone in Martin Eigner’s and Sönke Lars Neuwöhner’s writers’ room, who knows what would have happened in Dortmund’s new “Tatort”. But enough of the subjunctive now.
So there is this inspector sitting in the bank manager’s office in “greed and fear”. The commissioner looks very olive. He always does. His name is Faber. The bank manager’s office looks like a capitalist zen temple with Buddha and Meditationsstein. In this case, the bank manager supplied himself with strength by the laying on of hands by the laying on of hands and shallow breathing.
A man is dead. Lag shot dead in the Dortmund harbor. It must have been an investment magician, a genius. A healer, a shepherd of the rich. Says the banker who was once his boss.
The commissioner, who – possibly as a burned child of Catholicism – thinks nothing of healers and nothing of shepherds, looks like the incarnate, capitalism-skeptical smugness. A healer, a shepherd, says the banker, was the dead because there can be no greed without fear.
Emotionally blackmailed: Inspector Pawlak (Rick Okon) with his wife Ella (Anke Retzlaff)
Source: WDR / unafilm GmbH / Elliott Kreyenb
Who, says the banker, looks for happiness in money, is living wrongly, living in fear that someone will take away the nice money again. The banker says that greed is followed by panic, as it were natural law. They have so much to lose, the poor rich. Because that’s the system. Because – I don’t say that, that’s what the banker says in “Tatort” – nobody gets richer without someone else getting poorer.
And because none of the poor rich wants to be a loser, it took the dead healer and shepherd to take away the fear of the rich.
You could actually have made something out of that. From the inspector’s eyes. From the meditation stone. From the bank manager’s seedy demeanor. From the blurred relationship between a bank and an investment company. A post-capitalist healer-and-shepherd story, for example. A corrosive chamber play. About greed and fear. the Dortmund “crime scene” but is just called that.
A tied story
Unfortunately, panic must have broken out in the Writers Rooms at some point. The fear that this healer-shepherd story might only be enough for an early evening crime case. And because there were so beautiful old narrative threads lying around in the Dortmund police station, the owners and newcomers have just recorded the and tied the sad, rainy shepherd-healer story with its continued spinning until it could actually no longer move.
Then the drug-ill mother of Inspector Pawlak’s child reappears. Which brings Pawlak, who, as a more or less self-declared shepherd and healer to his wife, can of course be blackmailed into extremely strange and strangely flimsy entanglements.
And then the sick relationship between Faber’s colleague Boehnisch and the assaulting local pathologist explodes. Boehnisch is of course more of a colleague for Faber. We have known that for years.
Now Faber rides as a white knight in his silver Manta GSL, who is finally back from the workshop, as the healer and shepherd of the inspector at his side through “greed and fear”.
Somehow this Dortmund case looks pretty good again. Somehow, of course, everything is related to everything. The deliberately created mess of the stories is sorted out even without the additional use of the meditation stone.
In the end, however, there are actually exactly two and a half arguments for this “crime scene”. The scene with the Zen banker. The Opel with its smooth 115 hp. And the little moment when the hands of Boehnisch and Faber know more and want more than the two inspectors. That’s really nice on the whole. But not enough. Give us our mediation stone.
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