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In fact, one would like to put an Englishman or a Chinese, a Gabon or an Italian in front of Dortmund crime scene: Rabies (WDR Editorial: Frank Tönsmann) and let m tell mselves what y see in it. What you can do with what movie tells you.
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The Dortmund crime scene is a fascination: quite popular, but of depressing averageness, which is overplayed by a fundamentally unsympatic arrogance of characters. You have to be sensitive to mentality, see popularity, sigh: that, dear children, is “Germany” (Angela Merkel). In this episode, a screenplay by Jürgen “The typewriter” Werner is guaranteed for mediocrity.
Matthias Dell has been writing for 2010 weekly about “Tatort” and “Polizeiruf 110”. On time online now in column “The autopsy report”. (copyright) Daniel Seiffert
His story is about a series of recurring prisoners ‘ deaths from rabies or symptomatically similar poisoning. What is behind it reveals itself in movie late. Werner’s language is characterised by verbal pallor and unambitious generality. A good example of this is “deliver” power vocabulary introduced by managers and FDP-Stutzer in language use. Commissioner Faber ( Potsdam City planner Jörg Hartmann) takes you on several occasions in mouth; But because text that is available to him is so grey and boring, one does not know at any moment how it stands to unsightly buzzword. Does he use it ironically to mark distance to alien-specific wannabe rhetoric of “movers and shakers” (Ulf Poschardt)? Does he use it affirmative because he himself would like to be a wannabe Topchecker? Or is term just slipped into script like language used by people who don’t think about it?
Male thigh Thumper
I would tap on latter, and you could even argue that it is “realistic” that Commissioner is talking about how many talk in times of Economization. But such a detail shows how non-specific dialogue is written in rabies, how little attention and interest are used to give characters a typical speech (typical for Faber is “tasty”).
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A second example would be “tasty Breakfast”, which Faber once brought with colleagues Bönisch (Anna Schudt) and Dalay (Abu Tai) in such obsessively good mood, that you get bad yourself. The young and attractive Nora Dalay is offered twice a “latte”, where one would actually speak of “a” coffee latte. Again, it seems rar that author joke for male thigh thumpers in audience smuggled past idea, characters could be recognizable by ir speaking. For all pathological disturbances that Faber Commissioner is carrying before him: Sexismen did not belong to it so far.
