Crime scene: the dumb idiot

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Episode of the series Tatort
Original title The dear idiot
Country of production Germany
original language German
Production
company		 Bavarian radio
Age rating FSK 12
classification Episode 696 ( List )
First broadcast April 27, 2008 on Das Erste
Rod
Director Michael Gutmann
script Alexander Adolph
music Rainer Michel
camera Kay Gauditz
cut Dirk Göhler
occupation

The oide dork is a television film from the crime series Tatort . The report produced by Bayerischer Rundfunk was first broadcast on April 27, 2008 on ARD's first program. Batic and Leitmayr roll up the murder of two animators , which took place over 40 years ago . Modern forensic technology enables them to re-examine one of the most famous cases in Bavarian criminal history.

action

When the former underworld king Robert "Roy" Esslinger parks his car without a parking ticket, it is promptly towed away. The police found the weapon for an unexplained double murder: a dagger. Batic and Leitmayr should work on the old cases again. They are assigned Commissioner Sirsch, a grumpy, older civil servant who claims that he cannot even operate a computer and is no comparison to their former colleague Carlo Menzinger.

The investigators question Esslinger after the murder weapon was found. He takes the news calmly. In the course of his activities in the Munich red light district, he has been tried to prove criminal offenses on several occasions. In addition, in 1965 he himself put a bounty on the murderer, since the murdered were his employees. As the commissioners are about to leave, Esslinger receives a call that clearly worries him. Shortly thereafter, Esslinger's dog is poisoned, Esslinger suffers a heart attack and is hospitalized. Leitmayer suspects that the attack has something to do with the events of 1965.

The Munich officials laboriously sift through the dusty files of the past. They find out that Gina Echsner, one of the murder victims, wanted to report someone a year before her death, but then changed her mind. It is possible that her complaint was directed at her future killer. The investigators also find that Johanna Wiesnet, the other murder victim, was murdered a year after her colleague Gina Echsner and according to exactly the same pattern, but that there are hardly any investigative documents for her case. Leitmayr drives Sirsch to Johanna's mother, where Batic is already waiting for her. Johanna's mother remembers that Gina was also with her with her friend Leonhard, a police officer. The investigators suspect that this policeman is heavily involved in the case.

During their research they repeatedly come across incorrect and incomplete investigation files, so they cannot find a police officer with the name "Leonhard". The old police officer Hubert Würzbauer, who was involved in the murder case at the time, is questioned and only remembers that he was alone on the patrol that evening. When she met the then police chief Dr. When questioning land graves, he admits that he was aware that both murders were sexual crimes. But the survey wasn't much more productive, and so Batic and Leitmayr suspect that Esslinger and Landgräber may have had a deal with each other. Thanks to his devious charm, the multi-million dollar cynic always knew how to cooperate with the city's leaders.

The investigators noticed the strange behavior of their employee Sirsch, who holds back in certain situations and becomes strangely active again in others. If you asked Sirsch at the last place of work by chance, it turns out that something is absolutely wrong - Sirsch, among other things, is considered an IT specialist. You look around Sirsch's apartment and find extensive documents on the Echsner case there. When they find a photo of Sirsch and Gina, they realize that Bernhard Sirsch must be the “Leonhard” they are looking for. They assume that he is also responsible for the attack on Esslinger's dog, and they try to protect Esslinger from him.

When they visit him in his villa, however, Sirsch is already there. Armed with an unlocked rifle, he asks Esslinger to confess to the murder of the two women. It was Sirsch who fell in love with the extremely attractive Gina when she wanted to place an ad in the district. Now Esslinger should finally admit that he had lost his temper when Gina informed him that she wanted to quit in order to marry her boyfriend Sirsch. In truth, however, it was not Esslinger who attacked Gina, but Sirsch's colleague Hubert Würzbauer. Esslinger knew the police officers because they also frequented his bars, and he knew that Würzbauer was basically perverted and did everything that Esslinger asked him to do. The delayed investigations were also due to the witnesses bought by Esslinger and the bribed police chief. A “standstill pact” prevented the murders from being investigated. Thanks to Sirsch's fudged investigation reports and the fact that the murder weapon was slipped in, the cases could now possibly be brought to an end.

Because of the threat from Sirsch, Esslinger suffers an acute heart attack. While Batic and Leitmayr take care of him, Sirsch immediately drives to Würzbauer to confront him. However, he quickly stabs him with a knife. When the police arrive, Würzbauer allows himself to be arrested without violence.

background

The crime scene was filmed in and around Munich under the working title “Dickschädel”. Director Michael Gutmann worked retrospectives shot in black and white throughout the film, telling the viewer the story of that time. For this stylistic device he also used old archive recordings from the police series Funkstreife Isar 12 by Michael Braun. The patrol car from the archive recording had the registration number "M-7086", while the number plate of the new recordings was "M-0416". This style mid actually contradicted an array of ARD - program director Guenter Struve , was to avoid black and white after in-house productions.
The budget for the shooting was higher than usual, so new sets of films could be made for the nightclub and police station of the 1960s . The flashbacks were shot on black and white negative film and are also based on the stylistic devices of the time, such as B. long shots.

reception

Reviews

This section consists only of a cunning collection of quotes from movie reviews. Instead, a summary of the reception of the film should be provided as continuous text, which can also include striking quotations, see also the explanations in the film format .

"It's the timeless story of love, sex, passion, power and suppressed urges - a classic tragedy with great actors and a rousing script that could just as easily take place on the big screen."

- Kathrin Buchner : Star

“It has become a small masterpiece that skilfully plays with different time levels and makes an unbelievable ensemble shine. [...] The play of the actors is so haunting that one wonders whether the renunciation of color sharpens the view of the characters. "

- Michael Seewald : faz.net

“Above all, it is the reviews that make the film an outstanding part of the Tatort series. The film narration jumps again and again between the present time and 1965 and the black-and-white scenes appear as if they were scenes from a lost film. [...] The oid dork is a very unusual crime scene. With the stylistic device of flashbacks and the clarification of a murder case over forty years ago, the film apparently draws on a common idea from American TV series such as Bones and other investigative series , but the stylistic device is perfected here. What often looks very stilted in 45-minute series is slowly developed and skillfully narrated here in 90 minutes. This is of course also due to the excellent cast of Jörg Hube as the nasty pimp-pug, to Fred Stillkrauth as the gnarled old policeman owl and to Muriel Roth as the sugar-sweet noble hooker Gina . They give the film the depth it needs. "

- Franz Solms-Laubach : The world

“Bayern deliver a series that breaks with habits. A great moment for television. [...] Strictly aesthetic images, closely narrated milieu scenes draw the viewer into the murder cases of two prostitutes. Also because the time layers are artfully intertwined, and also because the double cast of actors works perfectly. [...] The clever book by Alexander Adolph and the fine direction by Michael Gutmann spin a second narrative level. Great human issues are packed onto them: shame, guilt, fear and the pain of love that is lost. Or unfulfilled. The retrospective forces the characters to break open the well-locked doors to the chambers of their ugly memories. We see tragedy. And catharsis. Not less. Munich shines. And this "crime scene" from Munich outshines a lot of what is on German television. "

- Carin Pawlak : Focus.de

“Great idea, complex book, stylish presentation, great veterans. [...] This "crime scene" shows that the desired attention on Sunday evenings can not only be achieved with increased brutality and socially irritating topics, but also with intelligence, ingenuity and rear view. It is hardly surprising that “Der oide Damp” has become a real TV gem. Director Gutmann, anything but a veteran television thriller, wrote the books for the box office successes “After five in the jungle”, “Crazy” and “Lights”. Alexander Adolph is also a well-deserved colleague - with two Grimme Awards and a German Television Award within the last five years. "

- Rainer Tittelbach : Tittelbach.tv

“The story of Alexander Adolph (responsible for the crazy“ Gisbert Engelhardt case ”from the end of 2012) jumps into the old Munich red light district with elegant cuts . An increasingly tragic story unfolds in black and white flashbacks; In the colorful here and now, Stillkrauth and Hube put comedic tips. "

- tvspielfilm.de

Audience ratings

The first broadcast of Der oide Depp on April 27, 2008 was seen by 7.52 million viewers in Germany and achieved a market share of 22.8% for Das Erste .

Awards

The episode was nominated for the Grimme Prize .

Web links

Individual evidence

  1. ↑ Release certificate for crime scene: The oide dork . Voluntary self-regulation of the film industry , December 2011 (PDF; test number: 130 901 V).
  2. ↑ The oid dork. Crime scene fund, accessed on May 26, 2013 .
  3. ↑ a b The murder of whores in Munich returns . In: welt.de , accessed on August 18, 2013.
  4. ↑ a b Michael Seewald: Falling out of time and color , faz.net of April 27, 2008.
  5. ↑ Kathrin Buchner: The murdered hookers from back then. Stern, April 28, 2008, archived from the original on March 26, 2016 ; accessed on October 23, 2018 : "A Bavarian crime thriller in cinema quality about sex, passion, power and fatal urges"
  6. ^ "Tatort" - Munich shines. And how! , focus.de from April 28, 2008.
  7. ^ "Tatort - Der oide Depp" series on tittelbach.tv
  8. ^ Critique from tvspielfilm.de
  9. ↑ Manuel Weis: Primetime Check: Sunday, April 27, 2008.quotemeter.de , April 28, 2018, accessed on June 12, 2018 .
  10. ^ Nominated Fiction 2009. Adolf Grimme Institute, archived from the original on February 1, 2009 ; accessed on June 12, 2018 .
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