At some point, Hanna (Mia Rainprechter) simply gets fed up. About this dusty confinement, the stuffiness, the wooden cross over the bed and the domineering mother who makes the announcements in the family inn “Hirsch”. Hanna seizes the opportunity and also escapes from the town in the Swabian Alb. She starts an apprenticeship in Stuttgart, celebrates hard and enjoys her new life. But the step away from home costs her her life: she is discovered strangled in a bush on the Neckar.
The investigative duo Lannert and Bootz are more experienced in searching for Hanna’s murderer in the new Stuttgart “Tatort” case (November 17th, 8:15 p.m., Das Erste). They step back because the new crime thriller episode entitled “Let them go” tells a second story above all: the disintegration of a family is documented – and the fateful nature of chance.
When someone steps out of line
Bichishausen, actual district of Münsingen. Parish church, castle ruins, and the village tavern is actually called “Hirsch”. Swabian home of almost 120 people on the Große Lauter and film set for the fictional town of Waldingen. Here, the epitome of what is commonly mocked as village life reigns in front of the camera. The regulars’ table meets, he lets his everyday racism run wild under the deer’s antlers and in strict dialect – and woe betide anyone who steps out of line. While Sebastian Bootz (Felix Klare) picks up the trail in Stuttgart, Thorsten Lannert (Richy Müller) rents a room in the wedding family’s inn to take a look at the village and its residents.
Because there can be no talk of “Beautiful Land” for “Tatort” director Andreas Kleinert, appearances are deceptive on every street corner. Not everyone here granted Hanna the hasty farewell. There is the internally torn mother (Julika Jenkins), who struggles with regret because she no longer wanted to see her daughter after an argument. “You can’t just do whatever you want,” is her credo, which causes Hanna to despair. There is the father (Moritz Führmann), who tries increasingly helplessly to hold the rest of the family together and is falling apart because of it. And the little sister who lets out her frustration on the sports field, round after round after round.
When the mob prepares
“The atmosphere within our “filming” family makes the daughter’s outburst more than understandable, even if all family members have their “good reasons” for their actions,” says actor Führmann about Hanna and the roles in this Stuttgart “crime scene”. The offended ex-fiancé and the unhappily in love stalker who rejected the girl also have a motive. And then there is the mob arming itself in the village because it must have been someone.
The chief inspectors investigate their 33rd joint case in a well-versed, sometimes a bit staid and not really exciting way, which sometimes comes across as a bit sketchy. The village seems too dull, while a constantly yapping dog, a pun about Lannert’s chocolate-brown Porsche vintage car here and plaster casts there are intended to take away some of the leaden heaviness that lies over this episode.
The banal coincidence
“Let them go” has its strong moments especially when the gray dominates the village microcosm, when the conflict between tradition and modernity, between family obligations and one’s own dreams takes place. When it becomes clear that a personal decision can have consequences not only for the person themselves, but for an entire structure. And when it finally becomes clear in the showdown in the spectacular corpus of the Stuttgart City Library that even a cruelly banal coincidence can play a crucial, fateful role.
Martin Oversohl, dpa
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Image source:
- Tatort logo opening credits: © ARD/SF DRS/ORF/WDR
Source: www.digitalfernsehen.de
