2023-06-11 12:23:30
ÜThe green toaster will perhaps come up for discussion again at some point. And that’s how it happens: The Munich detective inspector Elisabeth – known as Bessie – Eyckhoff is after a suspect regardless of the losses. And then she’s hanging on scaffolding between life and death, which is stupid because she’s afraid of heights.
In what may be the final moment of her life (we know it’s not because we’re barely halfway through her new “police call 110”), it’s not her life that flies through her mind in pictures, but a green toaster that tumbles by spits out two more slices.
“How pathetic is that,” she asks her colleague Dennis Eden (Stephan Zinner) after her near-toast experience – everyone who takes on “paranoia”, the last case of the “police call” investigator Bessie Eyckhoff, has to make the joke .
Can be a quote the green thing (you should set up a chat group for unraveling all the weird and funny cinematic side jokes that always got reality dancing in Bessie’s cases). Can also be an indication of how the brain of this down-to-earth and empathetically spun child queen among the Sunday evening detective sleuths works – a green toaster was standing around in the apartment of one of the dead of “Paranoia”.
Nobody noticed. Just the consciousness of Bessie Eyckhoff. This is particularly receptive to the marginal, the insane about reality. For everything human too. Bessie Eyckhoff is a goddess of the little things. The Bessie Eyckhoff adventures were accordingly. Impure mixtures of action and philosophy, cold madness and human cow warmth.
That’s why we will miss her. She will remain a mystery. A side street to the Sunday evening boulevard – as particularly beautiful, as particularly unique as the ones on which Fabian Hinrichs and Dagmar Manzel always drive through Franconia in the “crime scene”.
Paramedic Sarah Kant (Marta Kizyma) in the trauma room
What: Sabine Finger/Amalia Film & Dragonbird Films/BR
Before we get too sentimental and cry serious, bitter tears about Verena Altenberger’s decision to say goodbye to the Sunday evening crime archive at the end of her sixth case – there is one case. “Paranoia”, the title is for once very precise, is actually about delusions of persecution. The precision of the title wasn’t always the thing in Bessie’s Munich – “The lie we call the future” was the name of one story, “The light that the dead see” was another.
We are in the confused head of the paramedic Sarah Kant. Acoustically we are drawn into her awkward nature, optically too – hear noises, scraps of sentences that go crazy, see blurred images. Sarah Kant once loved Carlo Melchior. This is her colleague she is driving with. Everything that Sarah is was too much for him.
Now they are in action and just can’t believe that they are separated. In any case, Sarah (Marta Kizyma supports this film to the same extent as Verena Altenberger) cannot believe it. The mission is in a house that is a construction site, spun into scaffolding and foil. There’s a woman lying in her apartment covered in stitches. A mysterious caller pointed out the crime.
Are there torture cellars in Munich?
Sarah and Melchior take her to the nearest clinic, they want to, but they are diverted to one further away. Sarah wonders. The woman is gone the next day. And everything seems – show the clinic documents – to have gone differently than Sarah remembers from the evening before. And then there’s this VHS tape that has a man sitting in a chair with a sack over his head. The tape must have slipped her to someone at the crime scene.
Sarah breaks into Carlo’s apartment and wants to force him to watch the video. Then he’ll be dead, Carlo. And Sarah’s soul finally falls apart. And she mutters to herself when Bessie finally runs into her that there was something bigger going on. And then she sees a man with red shoelaces on black shoes, she’s seen him before.
There have been more reliable witnesses in the “police call” before. But – perhaps from Claudia Michelsen’s commissioner Brasch – none who would be better suited to dig through the undergrowth of the supposed phantasm inside Sarah Kant and find out the truth – than Bessie Eyckhoff.
“Paranoia” brings her to the edge, leaving her alone. Johanna Wokalek takes over the old Matthias Brandt commissariat. Nothing has been said about Bessie yet. It remains unresolved, unfinished. She wouldn’t have deserved anything else. Anyone can have themselves shot (caution: spoilers).
#Police #call #Verena #Altenberger #goodbye