2024-03-24 10:16:30
At this point we have already called for the introduction of a rich tax on television crime dramas. In other words, a tax that forces television broadcasters to pay a fee every time a member of the upper class (industrialists, lawyers, heirs) appears as a particularly nasty prick in one of their murder and manslaughter stories. Which, according to a recent statistical survey, seems to be the norm in Sunday evening crime dramas.
Now the proportion of moral degenerates among the bigheads, the wealthy, is probably about as high as it is in the total number of so-called small people. The Sunday evening crime thriller is less interested in that. Which is also the case if, instead of just one person thinking about the script, there were five people in the writers’ room, as in “pigs”, the first Sunday evening crime thriller created in the Writer’s Room. “Pigs” is the new case for the German-Polish “Polizeiruf” team. And the name really says it all. There is no shortage of pigs.
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What is the case: A gang of decadent young lawyers from the textbook of discrimination against the rich have booked a hunting trip. They’ve been drinking, they don’t like each other, they envy everything about each other. Then someone is dead. Washed up on the Oder with a gunshot wound. They come from Berlin and hunt to relieve pressure (that’s how they are, the rich lawyers; playing golf is no longer enough for them).
They have a Polish game warden. He canceled everything. Because the boys drank like crazy. They have crossed a line. In general, “Pigs” is very much about boundaries. Between the poor (Poles) and the rich (Germans). Especially around the demarcation fence for bristle cattle, which stretches for hundreds of kilometers – a protective measure against the spread of African swine fever.
The patriarch (Bernhard Schütz, M.) along with his son (Nicolas Handwerker, left) and foster son (Marius Ahrendt)
Source: rbb/Christoph Assmann
And now the dark side of the social moon comes into play, which casts a pale light on “Pigs”. In a Polish snout farm that has just converted to organic and serves as a starting point for Berlin hunting parties, the entire animal population is being culled as a prophylactic measure. If only one sick bristlecone is found, that’s it for the farm.
For Polish farmers it is about existence. It’s all about having fun with the young Germans. After reading the “Schweine” press material, it can only be said to a limited extent that the screenplay pulp will deepen when more people take part in its creation.
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The fact that there is only one near-catastrophe in the Sunday evening crime drama at the German-Polish non-border has to do with the forest. He looks great. He is great in his magic, his majesty and his mythical power. He – and the river that runs through this film in all its vigor follows suit – plays along, holds up his greatness against the villainy of people. It’s been a long time since a forest looked so grandiose and not at all German on a Sunday evening. You want to go there immediately.
Maybe also to meet Alexandra Luschke (Gisa Flake) and her colleague Rogov (Frank Leo Schröder). They are the Brandenburg “Polizeiruf” team in this case. A skeleton team. The gender-fluid colleague Vincent Ross (André Kaczmarczyk), who has just made Świecko the most exciting German Sunday evening crime scene, is – it is said – on further training.
Inspector Ross – that’s a strong achievement for an air spirit who hasn’t been around for long – is so missing that one would have liked to have done without every 16-ender in the forest or one or two suspects. Nobody at the RBB was interested in the fact that such castling should perhaps only be carried out once a police station has actually been found (the Brandenburg trio has only existed for one case).
A father from hell
They wanted Luschke and Rogov to get together. Which also works. Halfway. With weeping and gnashing of teeth. The grumpy old investigator and the large detective with a penchant for dancing in carnivalesque silver costumes find in each other what they lack in themselves, but don’t admit it to each other.
This is really nice overall. However, not even differentiation tightrope artists like Bernhard Schütz save the rest from falling into the Mississippi-wide pool of clichés. Schütz is the senior lawyer, the patriarch, the central sun over the potentially murderous Jura worm.
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“We would be different people”
And of course he doesn’t like his son (“You have to earn a father,” he yells at him at one point), but of course he likes his hunting buddy better. What would have been an ancient tragedy ends as a mud fight in a shallow moral morass.
However, the consideration of the opposite world, that of the upstanding Polish farmers who are threatening to fail because of the real plague and because of the plague called EU agricultural policy, does not get much more in-depth. Unfortunately, it cannot be said that anything would result from what was attempted in the Writers Room – namely, to let the two worlds rub against each other to create tension and social insight. Unfortunately, at some point you start to feel like the forest towards people – you don’t care about them.
#police #call #forest #pigs