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Voss (Fabian Hinrichs) with his date Anja (Maja Beckmann): "I don't love you anymore.
That's the most awful sentence there is."
Photo: Hagen Keller / Hagen Keller / BR
No »crime scene« began more tenderly: a young man lies in the sheets with a young woman and tells her all the things he loves about her.
It's going to be a long list.
Shortly thereafter, the young man is called by his mother, with whom he arranges to meet for dinner that evening and spends a lot of time on the cell phone.
Another love you list.
Oh, and then there's Commissioner Felix Voss (Fabian Hinrichs), who meets up again with the honey seller (Maja Beckmann), with whom he's been in wet-hand dating mode for two or three episodes now.
Here he is watching a Godard film with the honey seller in the arthouse cinema.
Both are blown away by the old Frenchman, only Voss' companion is also a bit sad because a love broke up in the film: "What a terrible sentence: 'Je ne t'aime plus'.
I do not love you anymore.
That's the most awful sentence there is."
Unconditional devotion, unresolvable pain
Voss laughs enthusiastically and says: "Oh, you know, life has such a stock of terrible sentences, and when I see you like that, then it's definitely one of them." Then he has to answer his cell phone;
we don't hear what's being said to him, but we can tell from his face that it must be one of those other horrible phrases.
Love, death – in this Nouvelle Vague-trained »crime scene« from Nuremberg, they are arranged in a way that is seldom seen in a Sunday thriller.
Unconditional devotion and indissoluble pain are close together here.
The focus is on the murder of the young man who was still in love with his girlfriend in the morning and is found in the night with his throat cut and his head smashed by kicks.
A crime in which a lot of hatred must have been involved.
Some time ago, a man was killed in the same martial way in the Upper Palatinate, the case remained unsolved.
What one murder has to do with the other remains unclear for a long time.
Voss and his colleague Paula Ringelhahn (Dagmar Manzel) are poking around in the fog, rapid police work is different.
Nothing romantic – pure physics!
As in the Frankfurt "crime scene" about love and hate in a suburban family two weeks ago, the crime plot lurches along over the first two thirds without one having any idea where it could end.
In the last third, however, he suddenly develops an enormous emotional force.
Here we are with the victim's parents (Valentina Sauca and Karl Markovics), who actually live separately, but develop a clear common focus on what is happening in the extreme situation.
And all of a sudden, all the little moments of affection between people, which at first seemed randomly interspersed, make a deeper sense: Love here is an energy – which is set in motion by pain.
Has nothing to do with romance, is pure physics.
Max Färberböck, who was commissioned by Bayerischer Rundfunk to film quite unusual »crime scenes«, is responsible for the screenplay and direction.
He once staged a prostitution crime thriller in the warmest colors for the Munich team, and most recently the Tinder »crime scene« from 2020 for the Franconian team. In his new episode entitled »Why« (co-author: Catharina Schuchmann), he succeeds , even unavoidable crime standards such as telephone conversations in a disturbing and touching way.
During the above-mentioned cell phone scene in the cinema, Voss learns that a suspect who he put undue pressure on during an interrogation has committed suicide.
After that, the world collapses for the investigator, his colleagues build him up again.
This also requires affection and tenderness.
In another scene, we see the victim's mother calling her dead son's number: "Lukas, you hear me, right?
I love you so much, wherever you are,” she whispers into her cell phone while looking up at the sky from a high-rise canyon.
There is so much love in this "crime scene" that it hurts.
Rating:
8 out of 10 points
"Tatort: Why",
Sunday, 8.15 p.m., the first
