Polizeiruf 110 from Munich: The Rest is Silence


    melancholy – who could be silent immersion in the Black of the soul as a Commissioner Hanns von Meuffels in his last case. His farewell was one on the installment plan, announced two years ago. At the time, Matthias Brandt said that he would no longer be on the role of the television Commissioner. For a TV Commissioner, this is almost a separate job title. He was rather an actor.

    Ursula Scheer

    editor in the features section.

    F. A. Z.

    Here was wrong Matthias Brandt. Because never in the seven years in which he filled in “Polizeiruf 110” in Munich is the leading role, the idea expire, to see anything other than an outstanding actor in the gradual solidification of a character study, in the case of the step of sensing a figure that seemed rather to deal randomly with capital crimes – and, perhaps just because the professionally enforced proximity to murder and manslaughter had to hit him all the vital on the mind. “This is not a profession,” he said often, was right, and sowed with such datasets, but also quietly self-doubt in the crime-obsessed audience. This is not an evening’s entertainment.

    Hanns von Meuffels, the nobles from the North, in the Bavarian capital wasted had, always remained a Stranger. As a man despised with a sense of Form and decency, the spread of fuss, has him drawn to Brandt, as Schweiger with fine annoying criminological sense and grobschlächtigem slope of the outburst. A “Who’s Who” of the German Top-Directors has been engaged for this prestigious project in the BR: Dominik Graf, Hans Steinbichler, Leander Haußmann, Hermine Huntgeburth, to name just a few, and now for the third Time Christian Petzold. He has written, and how it corresponds to his work routine, and also the script for the Final Episode of the “crime scenes”.

    the title of The Meuffels-final like by the way, eyes squinting, with a wink in the direction of criminal competition, but above all, he is what we see. Crime scenes, as places and spaces of terror carefully into the picture of Hans Fromm. From the back seat of a car whose windshield wipers against the low-patter pumping rain like a raging heart against the fear, we can look to the opening scene to the first scene of the crime: the vormittäg Lich abandoned Parking lot of a drive-in cinemas. The woman at the wheel, says the daughter in the child seat, it takes a long time, gets out and walks up with a folder in Hand on a parked car. From this a man rises, pulls out a gun and shoots the mother. The fleeing child he misses.

    section. Meuffels floats through the melancholy clouds of Sound of classical music from his stereo sources. He’s on the phone. We know that he goes to Constanze, his former criminal assistant and now Ex-life partner. You don’t want to see him, he appears nevertheless, to your new job. In the Nuremberg LKA-school, she staged crime scenes. The cases you think of at night in bed, says Constanze, the, by Barbara Auer embodied, no less enigmatic and hard to Take effect as as the Commissioner. A doll with fake blood poured in a shower cabin, the other dangling in a noose from the ceiling. The police are contenders fathom: suicide or murder? Heartbreak is Meuffels, but also so that he remains alone. The crime scene in the Parking lot calling, and his new assistant Nadja.