The Dresden crime scene “Invisible” tries a horror thriller variant, but cannot keep up psychologically at all.
Weren’t we already taught in elementary school not to sit in the car with strangers? After it initially looks as if the Tatort team wanted to face the madness of the world this time with as much common sense as is possible in the stress of everyday life, the events slide in the usual way. The clever policewoman, who apparently was not paying attention in school, lets herself be taken by surprise and is in terrible danger, the hands of someone who has completely lost track of things. Apparently, this person has remarkable talents that make ridiculously complex crimes possible. The motivation for the whole thing, about which unfortunately no word can be said at this point – there would be a lot to say about it – will not go down in the annals of the great crime motivation.
What Michael Comtesse (book) and Sebastian Marka (director) are trying, however, is a great horror thriller. The best phase is when you are totally clueless. A young woman dies of cardiac arrest that did not come out of the blue as much as initially thought. Not only was she stalked and severely threatened, she also had inexplicable pain symptoms, which, absolutely amazingly, also occur with investigator Gorniak.
The way Karin Hanczewski plays it is full of promise: the realization, the amazement at the enigmatic connection, as she also tries, in conjunction with the script, to skip a few classic crime scene entanglements and firstly go to the doctor, secondly Winkler colleague, Cornelia Gröschel, inaugurates and, thirdly, immediately looks for similarities between herself and the dead woman.
Nevertheless, the plot gets out of hand. A refreshment and even a reason to get involved in this humbug is Martin Brambach as the grounded and minimalist excited boss Schnabel. The multi-part battle with the clever coroner, Ron Helbig, who does not even get a role name, is so successful that one would like to see more frequent Dresden crime scenes in each case. But then again not anymore.
Modern yet archaic
Because the path now leads into abysses in which a person feels invisible, as given by the name. While, by the way, it is overly visible. In addition, the path leads to a laboratory in which two actors and an actress delightfully convey clichés about the world of research: the smart, exaggerated boss, the melancholy googly eye, the cool high-flyer, in that order Matthias Lier, Christian Friedel, Anna Maria Mühe . They all wear goggles like hell.
Before you realize what it’s getting at, you’re still packed. It is also not the weapon of the crime that bothers. On the contrary, it cleverly combines a high-tech, which one of us can no longer easily claim not to believe any of it, with archaic Medea methods (this does not mean serving cooked children, but the other). What does not come with “Invisible” is the psychology, which got stuck at Inspector Barnaby level.
In elementary school we learned not to get into the car of strangers – never, under any circumstances – but the “angry dream” was not invented until much later. Here you can cut things short and sweet. Interesting. A beautiful moment, as Gorniak’s terribly pubescent son, Alessandro Schuster, says to his mother: So she was always here when she said she was going to yoga, right? It is presumably the case that the use of an angry dream opens up to one person immediately and on the spot. The others have to think, they are crazy.
“Tatort: Invisible”, ARD, Sun., 8:15 pm.
