The Charlotte Lindholm crime scene at Christmas takes place in Hamburg and is strange – but with Udo Lindenberg.
The feast day scene “Everything comes back” is criminologically confusing, but the reason for this is not in the sophistication, but in the lack of it. That doesn’t matter much within the film, as sophistication seems to be about the last thing “everything comes back” is aiming at – the very last thing “everything is coming back” is aiming at is then to genuinely astound the audience – But the pampered nonsense in front of the screen naturally wants both: sophistication and anti-refinement, namely sophistication that doesn’t show, it is so refined. If anything, it’s the other way around: Presumably, “Everything Comes Back” wants to be a lot more sophisticated than it is.
Because the impression of overexertion, which not only (with good reason) prevails in the beautiful and tastefully aging face of the chief inspector and which one may roll one’s eyes instead of relaxing and laughing, comes from a conflict of ambitions.
A part of “Everything comes back” wants to be refined like a crazy Murot crime scene, and Maria Furtwängler as Charlotte Lindholm (and in the new role as Tatort co-producer) is also staged accordingly, in a crazy and unreal situation inside and out externally. The screenplay by Uli Brée, who is regularly responsible for the Vienna crime scene, transports Austrian squabbling, demi-world milieu and mistrust of people to the far north, but only makes the joke that Brée always has to offer sparkle. After all, Detlev Buck was hired as a director, hero of the North German anticlimax. Everyone pretends to be under steam, but actually they pass the time for more than an hour and a half.
That is why the completely senseless bar scene with Kida Khodr Ramadan is a real highlight. Another is Charlotte Lindholm’s encounter with the man with the knife, a choreography at the beginning of Beethoven’s Fourth. Another highlight, albeit a little more ostensible, is Charlotte Lindholm’s appearance in a police sports suit (there will be purchase inquiries at the NDR immediately). The elevator wins especially when it is raging around (investigating) the area around the crime scene and the Hamburg colleague, who gently rebukes her, replies to her question whether he would not do the same thing: Yes, but it would make it less conspicuous. Because a consistent high point is the appearance of Jens Harzer as an incredibly cool Hamburg investigator, who you definitely don’t want to see for the last time (if you experience Jens Harzer on stage sometimes as overstretched, you will be even more enthusiastic about the chilled version). Another highlight is Anne Ratte-Polle’s role as an extremely aggressive Harz colleague, nonsense, but played well. It is played well at all, in many delightful, uncomfortable little roles.
How you can tell that “Everything comes back” is not a great thriller, but you don’t want to miss anything in detail. There was not even talk of Udo Lindenberg, the real highlight. And from director Buck in the role of Luden, who is called Einstein because he’s a smart guy. With his wife Uschi, Nadeshda Brennicke, he sits in monster teddy bear armchairs and speaks for himself. Because the North German may be silent, but once he has started talking, he will stay with it for a while.
Udo Lindenberg: “Everything comes back” is set in the Hamburg luxury hotel, where the musician, who of course plays himself – and who was once the drummer when Klaus Doldinger’s Tatort theme song was recorded – also normally lives. For a quarter of a century. Everything in the film is neat, but also eerie. Buck and Brée build in “Shining” atmosphere, nobody knows why, but they look good.
Charlotte Lindholm, it turns out, has gone to the big city to give her life another serious twist. She had a date with an Internet flirt, who is now dead in the hotel bed. This is embarrassing for her, especially since she immediately looks suspicious. But Commissioner Harzer is far too clever not to be the first (even before her!) To understand that something is being foisted on her colleague. “The Holdt case” from 2017 is taken up again with patience, but nevertheless fairly well constructed.
At the same time, a Udo Lindenberg look-alike competition is taking place in the hotel, confusing for the police, and Charlotte Lindholm and the audience also have to be careful when the real Udo Lindenberg comes into the picture. He then sings, including the specially composed song “Kompass”. And off-screen “Same again”, a great song. He dreamed of death and chatted with him all night. Charlotte Lindholm still listens to Brahms privately.
“Everything comes back”, ARD, Sun., 8:15 pm.
