the crime scene from Münster celebrates its double anniversary with this episode, forty episodes, twenty years. To mark the holiday with a witty pun: era where era is due. The people of Münster had meanwhile leveled off at about this level after they had used the special form of the parodic crime scene once established. Chief Inspector Frank Thiel (Axel Prahl) and Professor Dr. dr Karl-Friedrich Boerne (Jan Josef Liefers) were pioneers, but they had become quota clowns, thigh-slappers, and at some point the eternal number, squabbling and love, seemed to be overused.
A few years ago they restarted all the systems again with the episode “Limbus”, in which the legal scholar Boerne landed in limbo and was finally freed by his old friend Thiel. The thought drama mingled with the comedy, and the room for maneuver was – gladly taken in the Crime scene – extended to the subconscious. It worked anyway, because the spirit being Boerne also resembled the real Boerne, because the people of Münster always stayed down to earth with every new tendency towards the supernatural.
This time Thiel has a problem and Boerne wants to save him
It’s similar this time, with the roles reversed. Thiel may have shot someone, but can’t remember anything. And Boerne is the one who wants to save him. They’re best friends, those two. Don’t get stuck. They can’t break with these habits and certainties in Münster – although at that time the effectiveness of acetylcholine played a role in Boerne, who got into trouble, this time Burundanga works, with Thiel who got into trouble. While that sounds like Brazuca, the 2014 World Cup ball, it has nothing to do with it.
“The Devil’s Long Breath” by Francis Meletzky (Thorsten Wettcke book, Bella Halben camera) tells the story of Thiel’s film tear and subsequent total catastrophe, on the one hand with flashbacks and silhouettes and even with the help of a wild boar. And Boerne, grand master of body shaming, contributes to the story’s down-to-earthness in his weaker moments by interspersing stupid old man jokes. In contrast to others crime scenes however, who lose themselves in dream sequences, they get the curve in Münster and tie all the story ends together, even the story of the wild boar is told to the end. Whereby at that time in “Limbus” the deceased colleague Krusenstern was given a very dignified farewell, this time the commissariat remains intact, as a refuge for the very best of friends.
In one of his better moments, Boerne puts things in a nutshell: “Positive speech, nice words, maybe a little thick at the end.” This also applies to this one crime scene.
The first, Sunday, 8:15 p.m