Someone probably already did it, otherwise it’s time for someone to get down to business, which is not always very pleasant, and look at all the Sunday night detective thrillers of the past – let’s say 45 years, that is, since the “Tatort” there has been a game in the village.
A ranking of circulating clichés, a map of conflict lines and a sociogram of imaginary country life that could be compared with real life was created. One could analyze how brilliant it becomes in the films of dark Germany, who faces life beyond the cities and how, what has changed in the confrontation between the inspectors of the metropolises and the murderers in the villages between Emsland and Upper Bavaria. And why who dies?
“Let them go”, the new case for the Stuttgart team Lannert and Bootz, might be suitable for luring every media scientist into the village who is not yet completely convinced of the idea. It’s called Waldingen. It’s somewhere in the Swabian Alb. It has 120 souls.
This is known because Waldingen exists in real life, it is just called differently, but we will not reveal it here, the city in the freezing valley looks ideally ugly. Waldingen – this would be the argument for the criminal work of the large villages – is everywhere. And it’s never nice there. But we are going too far.
Nothing actually happened in Waldingen. Without Waldingen Hanna Riedle would still be alive – apparently for a good eighty minutes. In reality everything was ready in Waldingen for Hanna’s happy village life. The boyfriend, the leather sofa, the large television, the fully furnished children’s room, the village pub called “Zum Hirsch”, which Hanna was supposed to inherit from her hard-working parents. A sweatshop of old white Germans.
Language becomes an open knife
The men sit and drink and fantasize about the hunt, their tongues like an open knife. Hanna’s mother has to let herself be groped, her father watches, her sister, her name is Emma, and she looks exactly like Hanna, looks away, learns, remains silent.
Hanna is the fastest runner in town. At a certain point he runs away. He comes to Stuttgart. She has not lived long in the city and has never been happy with the fact that, as a provincial, it is as difficult to get rid of the province as it is to get rid of Catholicism, since a Catholic is probably one of the foundations of the wisdom of the moment. end of a future crime analysis of the village.
Then Hanna lies in a Stuttgart bush. She was strangled. And the inspectors come to the city because they want to tell the parents about their daughter’s death and suspect that perhaps it all started in Waldingen.
They take the priest with them. Jubilant regulars asked him if he had run out of sacramental wine. Shock appears on the parents’ faces. And from that moment on, despite everything, one remains enchanted by what director Andreas Kleinert, who collects Grimme awards like other sports trophies, does with Norbert Baumgarten’s book.
The inspectors decide who should stay in the “Hirsch”, where no one seems to have slept since the late 1970s. Lannert stays, Bootz can return to town in Lannert’s magnificent Porsche.
Somehow it never really gets light in Waldingen. Everything is hunter bottle green. And you always feel wet. If to a certain extent one can tolerate it in this village museum of depraved German malaise, it is thanks to Irene Böhm’s Emma, which needs very few words for a lot of desperate depth, and Julika Jenkins.
She is Hanna’s mother, a woman torn between fanaticism and strength and cowering, between cadaverous obedience and envy of freedom, whose desperation is no less great, culminating in her attempt to strangle herself with ravioli. Waldingen, this whole knee-deep case of guilt and atonement would really be worth nothing without Moritz Führmann.
It’s worth every penny of the fees
In any case, not enough praise can be sung to him, because he ennobles every film because he is the William H. Lacy of German films. A man every star needs to be warned about because he surpasses every lead actor in every supporting role. He also does it in “Let Her Go”. With every wonderfully emphasized phrase, with every gesture, every look. Moritz Führmann is the beating heart of this “crime scene”. And it’s worth every penny of the fees.
Waldingen, which serves as a consolation to all villagers in the Eifel, Harz, Ore Mountains and everywhere else like Waldingen, is not responsible for Hanna Riedle’s death. However, if she had stayed, she would have lost her life.
How does the authenticity of setting enhance the connection between audiences and crime dramas?
Interview between the Time.news Editor and Dr. Johanna Becker, Media Sociologist
Editor: Thank you for joining us today, Dr. Becker! Your insights on crime dramas and their sociocultural implications are always enlightening. Let’s dive right in. The article discusses the German detective thriller landscape, starting from “Tatort” to recent shows. What do you believe makes these village-set crime dramas so compelling to audiences?
Dr. Becker: Thank you for having me! The appeal of village-centered crime dramas lies in their ability to juxtapose the quaintness of rural life with the dark undercurrents of human nature. Villages, like Waldingen in the example you mentioned, create a striking contrast. They often embody nostalgia and simplicity, yet when you introduce crime—murder, in particular—a fascinating duality emerges. Audiences are drawn to this exploration of how societal norms can be shattered in seemingly idyllic settings.
Editor: That makes sense! The article highlights the thematic elements of fear and secrecy prevalent in these narratives. How do you think these elements reflect real-life issues within small communities?
Dr. Becker: Precisely! These stories often showcase underlying tensions that exist in real-life communities, such as class struggles, patriarchal dominance, and even the darker sides of human relationships. The character of Hanna, for instance, reflects the struggles of youth feeling trapped by their environment. Through crime, these dramas reveal layers of conflict that may otherwise go unnoticed, creating a mirror to societal issues like domestic abuse or archaic gender roles.
Editor: Very interesting. The piece also mentions the role of language, describing it as “an open knife.” How does language play a crucial role in shaping these narratives?
Dr. Becker: Language is a powerful tool in these stories. It shapes the dynamics between characters and environments. In the context of the article, you can see how dialogue is used to maintain power hierarchies, particularly through the interactions between men and women in the village. The realistic portrayal of language can enhance authenticity, allowing viewers to engage with the socio-political commentary being made. It can bring to light the unspoken anxieties and desires that exist in these communities.
Editor: Absolutely, and the sense of place is so important as well. Waldingen, though a fictional representation, is rooted in the reality of many small villages. How critical is it for these dramas to depict real-life locations authentically?
Dr. Becker: Authenticity in setting is essential. Audiences resonate with familiar landscapes, and it allows for a more immersive experience. When viewers see their hometowns—albeit with a fictional twist—they may find their own truths reflected in the stories. This connection amplifies the emotional impact, making the narrative feel more real, which enhances the horror when a crime disrupts that harmony.
Editor: That’s a great point! As we look at the evolution of these dramas, do you think they are becoming more socially aware or addressing broader societal issues than in the past?
Dr. Becker: Yes, they certainly are! Modern crime dramas have started to move beyond mere entertainment. They’re engaging with contemporary social issues such as mental health, immigration, and systemic inequality. For instance, the inclusion of diverse characters and perspectives reflects changing societal attitudes. The portrayal of inspectors who navigate these complexities brings depth to the narrative and engages the audience in critical conversations.
Editor: Well said, Dr. Becker! As we conclude, what do you foresee for the future of crime dramas in rural settings?
Dr. Becker: I believe we will continue to see innovative storytelling that harnesses both realism and the dramatic tension of crime. These narratives will likely keep evolving, addressing pertinent social issues while exploring the human psyche. The enduring appeal of the genre lies in its ability to surprise, challenge, and provoke thought, and I am excited to see how new creators push these boundaries further.
Editor: Thank you so much for your time and insights, Dr. Becker. It’s been a pleasure discussing the depth of crime thrillers and their connection to real-life issues.
Dr. Becker: Thank you! It’s been a delight to delve into this thought-provoking topic with you.