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A pedestrian zone in Cologne, a car, surrounded by media people and fun-looking. In car re are two armed men who have previously invaded a bank in Gladbeck, ir accomplice and two hostages. The whole country knows that re are criminals on run, that one of men has just shot a 15-year-old in head. Here, however, in pedestrian zone, Dieter Degowski and Hans-Jürgen Rösner are amazed at a public press conference like celebrities. It’s a huge spectacle that only ends when a reporter gets into car and shows men way out of city.
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At that time, in 1988, if one had been ridiculed, such a scene would have been written into a feature film. Today, hostage drama of Gladbeck looks like a “big bang” for medialization of a crime, “says Kilian Riedhof, who has now filmed 54 hours in August 1988 for ARD two-parter Gladbeck. This “case of collective media failure”, as n editor-in-chief of Cologne Express, Michael Detonate, recently formulated in time, was a harbinger of media landscape of present. At latest since 1994 live televised flight of murder suspect O. J. Simpson, we know that a real criminal case can provide even better spectator odds than best thriller. We know today that smartphones are kept on everything that moves, Liveblogs are sometimes filled faster than knowledge is available. We know what freaks we are.
We see crime once again
On basis of this knowledge, how is this film to evaluate a crime that was filmed 30 years ago? Gladbeck is very detailed, reality is well documented. It was shot at many of original scenes of crime. The protagonists are similar to real perpetrators and victims of striking. In part, even documented conversations and interviews are repeated verbatim. So we see crime basically once again, of course, compressed to three instead of 54 actual hours. The film was refore already accused of turning reality behind and quasi doubleing it. There’s something in it. But we must not forget that we see images of day differently.
Because of this history, Gladbeck develops an enormous pull. But not because you want to know what is happening, but because you want to know how it all happened. This is doubling of reality that this TV film makes.
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So, how did all this happen? How could police fail in such a way, as media – private and public-law differed a little – a non-political crime to be so relevant, that even Daily Show on several consecutive days with latest Reports on case opened? And how could re be such a fascination with spectators?
Hans Meiser calls in bank
The film shows, as an answer to it, dynamics of slipping. For example, re are three scenes in which chief of police in Recklinghausen (Ulrich Noen) is seen in backseat of his company car. In first of se scenes, even before he is confronted with bank robbery, he diligently reads a work organization paper. He believes that you can solve problems by doing what you have been thinking about in peace. In second rear seat scene, when he already suspects that his ory does not fit into complicated practice of case, he is perplexed at photos of hostages. In third scene he hears latest information only from radio. The police are only running after this time; The media have long since improved access.
The media people, in turn, slip away because y do what y always do: get everything, record everything, talk to as many participants as possible. When first journalist calls in bank and, because it is spontaneously possible, interviewing one of hostage-taker, all barriers fall: if re are pictures and O-sounds-n everyone wants to have m. Without any restraint. Photos of Dieter Degowski (Alexander Scheer) with loaded weapon at head of hostage Silke Bischoff (Zsá Zsá Inci Bürkle) will be produced later in interview. And a reporter asks young woman in earnest: “How do you feel?” You wouldn’t believe it if se shots didn’t actually exist.
It was Hans Meiser, n with RTL Plus, who called in bank, and Udo Röbel, at that time at Cologne Express, who went into car in pedestrian zone to perpetrators. But film, produced by ARD Degeto, does not conceal fact that public service also took same role in media race. Silke Bischoff’s grandfar (Uli Krohm) For example, one sees several times in front of news sitting. The first time he switches to a western. The second time, when me scenes of an interview conducted by a ARD reporter are broadcast with Rösner, he cannot look out. He hears spokeswoman speak of a “macabre document” and scolds: “Macabre is that y show such a thing!”
