Monosyllabic, overambitious, but you will probably get used to each other. The new Bremen Tatort team.
The six-part internet miniseries “How to Tatort”, which prepared the entry for the new Bremen team as a pseudo-documentary about getting to know each other and filming, is so funny that it won’t be easy for the first real episode. All so suddenly serious, the situation so exaggerated, the dialogues so overly clear. The rage to characterize the main characters at the start of the series is combined with North German monosyllabicism. Liv, Mads, Selb.
New and too chic
Liv Moormann is played by (Wiesbaden) Jasna Fritzi Bauer (in the noughties a member of the youth club of the State Theater, later then the Berliner Volksbühne and Burgtheater). Liv Moormann is new here and dressed a little too fancy, as she had a kind of job interview in mind. However, since the crime is not resting just because the police are wearing uncomfortable shoes, they still want to take part in the investigation right away, no matter what the hell out of it. Liv Moormann is focused, pushy, pedantic like a robot. In between, Bauer’s voice reminds me of Ms. Lürsen’s.
Mads Andersen is played by the Dane Dar Salim, a smart guy with a packed suitcase. Today, now it’s back to Copenhagen. However, since the crime is still not resting, he romps around the scene with Liv Moormann instead and misses one train after the other. Missing one train after the other is not very exciting, rather tough and here also portrayed like this: as a lame running gag. But Liv and Mads show flickering two people who show their passions in a very controlled manner and who do not yet know whether they will see each other for the last time anyway. She’s completely over-engaged, but also really good. He’s an ex-military and ex-undercover man, really good too. You are the “freshman and the Viking,” says Selb.
Linda Selb is played by Luise Wolfram, it is not necessary to introduce her. As a crazy BKA expert (ultimately for everything, right?), She mixed up the duo Lürsen / Stedefreund efficiently and in the manner of Benedict Cumberbatch’s Asperger Syndrome-Sherlock in several episodes. Since the crime is still absolutely not resting, she is also there, but nowadays as the first and as the top doe. She hates it when someone talks in, let’s take, for example: Liv Moormann, who has a lot to say despite all the monosyllables.
In between, a joke or two and a glider whistling sound for the airline of the fallen victim. Curiosity, lust and shamelessness are undeniable – “Corpse? Sounds 1A ”- Liv and Selb don’t take much action, and we are not in the empathy center of the Tatort world. The fact that Selb derails briefly afterwards is like proof that it is not an AI. That wouldn’t have happened to Sherlock. But played great: Wolfram not only watches the others, but also himself while he is crying. That today’s commissioner easily passes as a disturbed individualist: Is it progress, is it just a new cliché trap? There is a big eye and sheer lurking. All around a bit of atmospheric diary psychology. And yet: You will get used to each other.
The case itself, written by Christian Jeltsch and staged by Barbara Kulcsar, looks hectically and also in this respect over-ambitious into a sad environment. Here is a young woman (Johanna Polley) who cannot accommodate a baby in her professional life. As an even younger woman who needs a baby to find the gloomy life less gloomy. Her father (André Szymanski), a broken-up ex-footballer (a long time ago) also needs the grandchild, the brother brings a teddy bear. Children not as cement for couples, but rather as a ray of hope for going on without great prospects. Plus the child benefit! The sentence (referring to a dealer and a loving family man): “Should he have worked or what?”
How sad or tragic father’s Werder shirt will actually look on Monday evening is still open.
“Tatort: Newborn”, ARD, Whit Monday, 8:15 pm. Six parts of “How to Tatort” in the ARD media library.
