Crime scene: the girl across the street

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Episode of the series Tatort
Original title The girl across the street
Country of production Germany
original language German
Production
company		 WDR
length 96 minutes
Age rating FSK 12
classification Episode 82 ( List )
First broadcast December 4th, 1977 on Das Erste
Rod
Director Hajo Gies
script Martin Gies
production Werner Kloss
music Birger Heymann
camera Gernot Roll
cut Ingrid Träutlein-Peer
occupation

The girl across the street is a German television film from the ARD crime series Tatort . Episode 82 was also the 12th case of Hansjörg Felmy as Commissioner Heinz Haferkamp . The script was written by Martin Gies and filmed by his brother Hajo Gies . It was first broadcast on December 4, 1977.

action

15-year-old Karl-Heinz, called Kalle, chases after Bärbel, who is of the same age. The girl, who lives across the embankment across from Kalle's parents' house, shows no interest in her classmate. When he approaches her after going to a fair and offers her to take her on her bike, she refuses and instead gets on the next bus. Curious, Kalle follows the bus and finally follows her into an old, run-down station building, where Bärbel has made an appointment. Despite the darkness, she discovers him, and when he approaches her, the two of them fight. When suddenly a male voice calls Babel's name, Kalle panics. He covers her mouth while a train is passing on the nearby track system, and the girl falls unhappy. When the boy realizes what has happened, he runs away in horror. The man finds Bärbel dead.

In the schoolgirl's home, Inspector Haferkamp meets a father who has returned from the night shift. The mother is not there. Immediately after the dead daughter was found, she was in shock and hospitalized. The father, it soon turned out, was hardly interested in his daughter. Barbel's enthusiasm for a boy named Klaus in her exercise book remains just as little hidden from him as the Miles Davis album Sketches of Spain on her record player, which is also the only jazz recording in her record collection. When he visits Barbel's class teacher in his apartment to get a better picture of the dead girl, he only meets his wife Jutta. Music by Herbie Hancock can be heard in the background . To Ms. Linder's surprise, the inspector turns out to be a jazz connoisseur and she invites Haferkamp in. She innocently tells that she still had a ticket for the Hancock concert the night before because her husband could not accompany her. Both start a conversation, in the course of which they also put on her husband's favorite record: Sketches of Spain . She also speaks openly about the open relationship that the couple has and that she knows that her husband has a girlfriend, but that she cannot imagine that he would do anything with a schoolgirl. When Linder comes home, he reacts irritably to Haferkamp's questions and also proves to be untrustworthy when asked about his alibi for the time of the crime, referring to the concert with his wife. Although Mrs. Linder asks Haferkamp for indulgence for her husband, the latter shows himself to be extremely uncooperative even in later questioning and refuses to reveal the identity of his lover, with whom he claims to have been on the evening in question.

His behavior quickly makes Linder the main suspect. But even Kalle, who was last seen by witnesses at the bus stop with Bärbel, seems to be hiding something. When questioning he is monosyllabic and denies having passed the station building on the way home, although his way home leads along there, he avoids his class teacher. When the boy finally admits to Haferkamp that he saw Linder at the old train station that evening, Linder evades arrest and flees in his car. He wants to confront Kalle, whom he believes to be the culprit. Using a pretext, he picks up the boy from home and drives him to the station area. There he confronts Kalle with his suspicions and puts him under massive pressure, but the boy breaks free and runs away. When Linder is arrested, he admits that he had a relationship with Bärbel. He asserts, however, that the girl was already dead when he came to the agreed meeting point and that he suspects Kalle to be the culprit. Haferkamp, ​​however, does not believe his statement and Linder's fear that the boy might harm himself, no hearing. Only when the inspector found a crumpled confession in the wastepaper basket in Kalle's room did he realize his mistake. A feverish search for the boy begins. Meanwhile, Kalle, plagued by feelings of guilt, wanders through the city at night in growing desperation. He returns to his parents 'property again unnoticed, where the police are already waiting for him, but believes he is in a hopeless situation, whereupon he takes a package with rat poison from his parents' garage and flees again. At the fair, Kalle finally ingests the poison, and the boy, who then appears increasingly disoriented, is mistaken for drunk by showmen and fair-goers. When Haferkamp finally finds him, it is too late.

background

Jurgen Prochnow , at that time already an established actor with starring roles in the crime scene hunting ground and movies such as One of us , and the brutalization of the Franz Blum , plays a teacher to 30, which - as in the scene sequence leaving certificate , the aired a few months earlier in March 1977 - has a relationship with an underage schoolgirl and is suspected of murder. Settled in a rather petty bourgeois milieu, however, it is the boy who comes under increasing pressure and in the end no longer knows a way out. In the role of Kalle's overprotective mother, Eva Maria Bauer can be seen, who became known in the 1980s as head nurse Hildegard in the television series Die Schwarzwaldklinik . For Hajo Gies, who was to make a name for himself as the director of numerous Schimanski films, The Girl across the street was his first directorial work for the crime scene.

Locations

The shooting took place in April and May 1977 in Essen and on the premises of Bavaria Atelier GmbH in Munich . The Essen East served as the focus of the episode's location. The houses of Kalles and Baebel's parents are located in the streets Kleverkämpchen and Wegmannstraße in Essen-Horst . The fair was located on the Kaiser-Wilhelm-Platz in Essen-Steele, which has now been very different . The "Globus-Center" and Steeles church towers can be recognized several times. The former reception building of the Essen-Katernberg Nord train station on Bischoffstraße in Essen-Altenessen was used as the filming location for the old station building in which Bärbel was strangled by Kalle . The school scenes were created in the school center at Stoppenberg in the Essen-Stoppenberg district . The shooting of the Linder couple's apartment took place in Putzbrunn , east of Munich. In addition, recordings were made on the tracks of the S6 in Essen-Stadtwald .

music

In The Girl from over repeatedly the opening track of the album Sketches of Spain (1960), Miles Davis ' interpretation of the second movement, Adagio from Joaquin Rodrigo's Concierto de Aranjuez to hear, which also sets the atmospheric tone. Birger Heymann takes up this in his musical design and underlines the melancholy undertone of the Tatort episode in the form of a recurring piano motif. The film shows the loner Kalle on his bicycle forays through a meal in predominantly dreary gray colors and - in obvious contrast to this - in the middle of the nightly colorful world of lights of the fair, which repeatedly serves as a setting. In the opinion of the Zeit reviewer, however, the background music reinforces the visual impressions in an unnecessary way where it is “too ominous” . The scene of the crime also ends with the piano melody and dispenses with the typical closing music.

criticism

The reviewer of the time is visibly taken with the cinematic implementation and recognizes the Tatort as an “anti-action film of class: no shrill effects […], no melodramatic play […], no false pathos and, above all, not a single word That could have been said differently. ”Instead, tracking shots describe the atmosphere“ imaginatively and wordlessly exactly ”, depicting“ a blouse in front of the window, an illuminated pair of rails, a suburban fair, the Ferris wheel in front of the church, the illuminated entertainment in its sadness ” told passages. “Epic sequences of images, shortened at the end, interplaying with short dialogues that occasionally come to a head to the point of stinging mystery ”, similar to a ping pong game, form the basic structure of the film, but it never becomes obtrusive. In addition to “naturalness down to the last detail”, the film scores with “the transformation of the action into what is hinted at and the shifting of the event from the (supposed) main location to those secondary locations where the real and dramatic actually happens.” And that doesn't happen on one Commissariat, “but in the streets that a boy roams, not in the streets, but in the boy's thoughts.” According to the reviewer, the result is “convincing and, thanks to long pictures and short sentences, suitable behind the unimportant To clarify the outer process, the far more important inner one: what is thought and felt, what is dreamed of and feared. " Filmportal.de calls the girl from across the street one of the crime scene episodes by director Hajo Gies, which " are now considered classics of the series. "

Web links

Individual evidence

  1. ^ Certificate of release for the crime scene: The girl across the street . Voluntary self-regulation of the film industry , February 2011 (PDF; test number: 126 367 V).
  2. ↑ a b c Censorship - Tatort WDR double review of the crime scene and a panel discussion on censorship, Die Zeit , No. 51, December 16, 1977.
  3. ↑ Hajo Gies ( Memento of the original from January 8, 2011 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. on filmportal.de @1@ 2Template: Webachiv / IABot / www.filmportal.de
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