This crime scene is not a normal one crime scene, but a Murot from Hessischer Rundfunk, and the Oscar winner Florian Gallenberger follows the beautiful principle of lavishness in his writing and direction. His thriller resembles a box full of cake slices – although some taste very surprising, keyword vagina cupcakes.
Murot, i.e. Ulrich Tukur, is an old-school hero and that’s not the only reason he’s lonely and unhappy: he suffers from the world, that’s where it starts. That’s why he goes to the analyst (dead smart: ex-crime sceneCommissioner Martin Wuttke) and talks about the big picture, which becomes urgent when life has been going on for a long time. He really wants to talk to God on the phone. This navel-gazing is interrupted, continued, interrupted in a pretty slapstick-like manner, because the man is an inspector and has to answer his cell phone and is soon staring at another navel, or at the place where the navel once was on a dead person. Instead, there is now a kind of opening there, perhaps for “docking”, the pathologist Dr. Dr. Kaspert (also dead-on: ex-crime sceneCommissioner Eva Mattes) literally trembles with knowledge of power at this information.
It’s worth paying attention to the women in this episode, they have the power, they give and take lives, they are amused when, in a very strange way, adult men beamed away into happy dreams make mouth movements like babies because they smack their imaginary mother’s breasts : “It always starts like this,” the dangerous women say with amusement. Of course, that’s also a cliché, but it gives Tukur the opportunity to create unforgettable mimetic scenes, strange and artificial and touching at the same time – that’s roughly the atmospheric mood of the whole film.
“Murot and Paradise” leads into the eerie business of a red-haired, goddess-like, white-robed seductress (Brigitte Hobmeier). And an option for feelings of happiness, which in principle has not been thought up for the first time, but here is very playful and wildly determined in German crime scene-Setting was adapted: underground car park with a difference.
In any case, a whole lot of people go to paradise, including in the end, for certain reasons, Murot’s clever colleague Magda Waechter (the wonderful Barbara Philipp). There are other names for this place in the underworld.
The first, Sunday, 8:15 p.m.
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