– The big, grandiose farewell of the Frankfurt investigator duo
The finale is a through-composed work of art that goes beyond the “Sunday crime thriller” category – also thanks to the great Matthias Brandt.
Published today at 9:30 p.m
Bravura: Matthias Brandt as a psychologist who can no longer cope with his own life and is broken by his ideals.
Photo: The first
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Wow. This new “crime scene” from Frankfurt is a rollercoaster of emotions, a merry-go-round of techniques, a ghost train of quotes, and at the end you are speechless. The crew from Frankfurt, starring Matthias Brandt – the Chancellor’s son was estimated to have spent seven years in the role of noble chief inspector in “Polizeiruf 110” – apparently wants to know again in this farewell episode.
At the beginning the camera pans across a lush green meadow, which is dotted with piercing orange flowers like a drug trip. She films the silhouette of a man who looks into the cloudy sky, closes his eyes and then, yes, gently lifts off from the ground. And from the off, one of those narrator voices that seems to be based in eternity begins – that of Matthias Brandt: “The old Goethe once said: ‘Meditation brings us into contact with what holds the world together…'”
For a crime thriller like this to begin – with Goethe, without horror – you have to have guts. And that’s what the makers of “It’s so green when Frankfurt’s mountains bloom” had: The ironic title after “My Fair Lady” speaks volumes. We accompany a 53-year-old psychologist (the brilliant Brandt), who also works for the police, as he slowly goes mad. It is such a gentle transition from soliloquy to hearing voices to the bloody act that as a viewer you are initially unsure whether it even took place; unsure what is real and what is imagination.
For the last time, Janneke (middle: Margarita Broich) and Brix (front: Wolfram Koch) – a bittersweet end.
Photo: The first
Because Tristan Grünfels has been on the run for a long time – what a name! – mentally from his gloomy existence, his right eye twitches, his perception is disturbed. His two young children are busy with their own ambitions and the end of the world, his marriage has long since fallen asleep to his grief, his brother Hagen (exactly, he also has a Wagner name) has fallen into gambling addiction: Like Grünfels, his wife (the stunning Patrycia Ziolkowska) and the others paint a portrait of a perfectly normal disorder is terrific!
“Tristan Grünfels often felt like just a spectator in his family’s play of life,” reports the narrator, while the Hessischer Rundfunk symphony orchestra roars in the off-screen. The script by Michael Proehl and Dirk Morgenstern: as shiny as the Nibelung treasure – and the direction by Till Endemann breaks with Sunday crime viewing habits so that it is a pleasure. What an extraordinary, great overall composition!
The would-be Siegfried, who had always wanted to make everyone happy, now stands literally in a fog before the landscape of his life, a kind of Caspar David Friedrich of the 21st century. The romantic painter plays a crucial role from the start to the highly dramatic finale. In any case, Grünfels finally finds energy out of his paralysis, unfortunately. This development has its own – sometimes quite comical – tragedy and results in the bittersweet departure of the popular investigative team after nine years: Margarita Broich as Janneke and Wolfram Koch as Brix. Zazie de Paris sings Jacques Prévert’s “Les feuilles mortes” and we shed a tear. Or even two.
The new Frankfurt team, led by Melika Foroutan and Edin Hasanović, will start in 2025 and focus on cold cases.
Dear Alexandra is an editor in the life department, with a focus on theater and socio-political issues. Studied German and English in Konstanz, Oxford and Freiburg i Br.More info
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