Mardi Gras and Mardi Gras are among the most lovingly illuminated phenomena in the crime scene. No wonder: The friendly and the evil touch each other there. A person who dresses up wants to have fun – or they want to do something illegal without being recognized. The carnival is floating, it is open-ended. When you dance around the carnival in a film, you can distance yourself from it at the same time. Unforgotten is a scene from Münster that was set in limbo: there, in limbo, carnival programs ran continuously on television.
The Munich episode “Kehraus” by Christine Hartmann (book by Stefan Betz and Stefan Holtz) focuses on the melancholic side of Munich carnival and the pain-relieving effect of every disguise. Because even someone who has long passed life can pull out the old frills and dress up as Little Red Riding Hood or a princess, then it’s almost like it was then, then he’s almost young again. Then he almost stops time. This is how Silke Weinzierl (Nina Proll), the main character of this story, does it. Broken family, professional failure, apartment gone, all that’s left of the last business idea is the packaging that says “Sausage Star”. But during carnival, Silke Weinzierl lets it rip again as Little Red Riding Hood in “Irmis Stüberl” until she becomes unconscious. Unfortunately, a dead man is found, a gold dealer with whom Little Red Riding Hood had points of contact, and the inspectors begin their investigations.
The undisguised situation of the present can be learned from the dialogues of old investigators
The piece thrives on the precise acting of Nina Proll as Weinzierl, a survivor whose fate could have been given more space. Instead, among other things, a money laundering story is packed into the plot, and this belongs to it crime scene then to the episodes that take on too much, he wants to be a psychogram and milieu studio and hard thriller and light local comedy. For the latter, the inspectors Batic (Miroslav Nemec) and Leitmayr (Udo Wachtveitl) are responsible, along with Little Red Riding Hood, they are the ones who refine the play. It’s nice how Leitmayr taps on empty glass containers at the gold dealer’s and in this way reenacts “Smoke on the water”. But Batic remains unimpressed: “Sounds more like Almabtrieb.” In general, you learn everything about the completely undisguised mood of the present from the dialogues of old commissioners. As Ivo Batic puts it: “The world is ending, Franz. Haven’t heard it yet?”
The first, Sunday, 8:15 p.m.
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