Kaputt “Repetition from Cologne, is it worth it?

Potassiumonzinnität should be the core category of TV criticism, even in the zero to five point category. In Cicero’s classical rhetoric, the term describes syntactic elegance and prosodic balance that transcend pure grammatical correctness. So it is well formed. Quintilian, the great Cicero expert and proponent of natural language, rejected the sophisticated Gorgia’s “superficial” rhetoric as “cold and empty pursuit of opposition and symmetry”, precisely because of the lack of language, sound and Concise arrangement of ideas. But Gorgia did not slow down.

When the new Cologne “Tatort” opened, you could see a window. Behind the window we saw three drunk people, yelling staggeringly to the booming music, and then there was something (we It will soon be known: someone) walks in. Next is a reverse shot, focusing on the greatest contrast: in the dark garden in front of the house lies a visibly depressed policewoman (Anna Brugman); a threatening voice burrows into the muffled music now. To be absolutely sure that people understand the contrast between the happiness of carnival violence and the abuse of state power, the windows fade again, then the policewoman, then the window, the policewoman, the window, the policewoman, the window, the policewoman. If it were not the symptoms of the whole movie, on all three levels of book (Rainer Butt, Christine Hartmann), director (Christine Hartmann), and performance (anti) maturity, this kind of empty pursuit of antithesis is hardly worthwhile. carry. For a long time, this bloodthirsty drama still has the elegance of a farmer’s theater, even because it competes for related topics.

The business trip ended cruelly because of disturbing peace

The policewoman’s colleague was beaten to death at an incredible party: the business trip was brutally ended for disturbing the peace. As the comments on the online forum quickly revealed, the victim “encountered a notorious police hater.” The next day, when the main suspect (Hauke ​​Diekamp) was found dead in the same place, Commissioner Freddy Schenk (Dietmar Bär)’s work hypothesis was: “They flattened a policeman. But after the kick, the hangover Here they are. They are in trouble, have to run, need money, need drugs. They wait until the air is clear to get the materials-and there is pressure.” “The police murderer shot. Is it revenge?” The tabloid asked bluntly. As said, Max Ballauf (Klaus J. Behrendt) did not want to exclude lynching justice from the police circle a priori.

So it decided on two directions, the other participants of the opposition party and the “company” that opposes itself, but with all the stubbornness of the Asterix-and-Obelix couple that people are used to: the permanent interpretation service of holding a coffee cup. Even according to ” “Tatort” standard, Gorgian’s narrative of the police, homosexuality or female hatred complex in the police family is clumsy and devastating. Unfortunately, the brave Götz Schubert Schäfer as the staunch head of the department was helpless. Even more fake than suspicious “listening” to suspects or unprofessional civil servants who stinks to the environment (and foreigners and homosexuals) drinking beer after get off work, troubled character Jütte (Roland Riebeling), problematic, partisan colleagues Even after a year, it didn’t become more interesting, seemed to be more fake than suspicious (“It doesn’t always hit the wrong person”) and had to pretend to be an obviously funny minor plot (the staff committee’s candidate).

To make matters worse, when trying to provide, hapless scripts and routine guidance are entangled in outrageous coincidences of who, when and where, and inconsistencies in details (everything revolves around videos of behavior; it’s almost impossible to physically (Photographed into the belly) a surprising explanation and psychological fantasies (blame is incomprehensible; the motive for the murder seems to be artificial). Nevertheless, with at least a suitable title “Kaputt” and a more suitable last question “Why?”, the film aims at a tragic finale. To paraphrase Quintilian’s words: zero consistency, zero thumbs.