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Dortmund crime scene “Greed and Fear” in the First: He would have just paid attention!

The Dortmund crime scene “Greed and Fear” sums up the plight of the rich.

A profound nonchalance enlivens the Dortmund crime scene “Greed and Fear” and the now almost perfectly coordinated quartet Faber, Bönisch, Rosa, Jan Pawlak (because first and last names are always used in a very targeted manner). This nonchalance gives even somewhat worn-out processes a freshness with which one can finish the second day of the year satisfied and not too strenuous.

The one hackneyed process, of course, concerns capitalism in a typical form: fraudulent financial conduct. It soon appears, giggling, behind the corpse find, which on a rainy night creates a moody, but somehow inconsequential entrance scene. Because the murdered man seems to be the only one who wasn’t a villain, at least he didn’t want to be anymore.

The fraudulent financial conduct giggles because it has met particularly compliant victims. Director Martin Eigler, who wrote the script together with Sönke Lars Neuwöhner, primarily stages the wonderfully weeping Max von Alfeld (Matthias Bundschuh). It could actually be that the young Herr von Alfeld has completely raised his fortune on the recommendation of his financial advisor (Heiko Pinkowski as the obnoxious innocence of the country). In any case, he lacks an overview. “My God, you want to have a little time for the beautiful things in life,” he sniffs. “I’m not a money man, I’m a cultural man,” he sobs. Yes, the world is really that unfair, and “Greed and Fear” lets the audience notice it for themselves. The police just shake their head gently.

It gets to the point beforehand in a relaxed conversation with André Jung as a calm banker, who nowadays can concentrate on Buddha and a kind of power stone (Faber, Jörg Hartmann, smack it, can’t hurt). “Most people consider us bankers and financial managers to be bandits,” says the calm banker. Greed rules, it is always said. But that is only half true. “Greed is followed by fear.” And the wonderful Rosa, Stefanie Reinsperger, explains why: “You don’t get rich without others getting poorer.”

Sentences for the pin board, put forward with common sense. Details are also explained, but like Herr von Alfeld, the other poor people of culture only understand half of it.

The other hackneyed process, of course, concerns the private life of the police. But it is adequately crocheted together with the crime story. The missing wife of Jan Pawlak (Rick Okon), the mother of Mia, is now the friend of a certain Micki, whom Sascha Gersak plays with verve as a shaggy and, so to speak, Ruhr area-like rag. The scoundrel who really is a bad one, and yet you can’t really blame him. It is also Micki who supplies Ella, Anke Retzlaff, with drugs. Ella and the audience knew long before Jan Pawlak (“We’ll stay one family,” he calls out to her from a parallel universe) that there can be no happy ending for this part of the story. Retzlaff also plays with the residual coolness in this powerful crime scene, the television characters look good even in stress and are cultivated in “greed and fear”.

Bönisch, Anna Schudt, also has difficulties, who can no longer get rid of her forensic technician (Tilman Strauss). The forensic scientist is in love, it’s not Bönisch. That too: at its best, because the transition from her serving mode to his stalking is dazzling. The well-coordinatedness of the team is also shown by the fact that Faber always comes in at the right moment. As a rigorous end to the situation. That the fingers of Faber and Bönisch find each other again, we see it with pleasure and wait for a continuation.

“Tatort: Greed and Fear”, Sunday, January 2nd, 8:15 pm.

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