"crime scene"-Stammgast: All you need is Lars

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“Tatort” regular guest
All you need is Lars

From Ingo Scheel

When Ulrich Tukur – or rather Felix Murot – investigates on Sunday evening, it usually revolves around the tricky story, unusual perspectives, the metaphysical in crime fiction format. All of this turns out to be entertaining this time too. The eye-catcher, however, is different. Again

One would like to play little mouse on such a day of filming. The team is “on location”, as the saying goes. Cameras in position, everything at the beginning. Light, sound, final instructions. What does the director, in this case Rainer Kaufmann, say as the final briefing before filming: “Give us Lars”? “Do the Eidinger”? Oh, you don’t know. Of course, it’s also nonsense, a naive suggestion from an amateur’s point of view. Nevertheless: As soon as Eidinger comes into the picture, it becomes traditional, well, how should you put it … special, idiosyncratic, exalted. Unique, to put it in a postmodern way.

Of course, it’s again a matter of the “crime scene” timing that some viewers have the feeling that they see Lars Eidinger more often than their own grandmother. The final shot in the last case from Kiel hardly faded away, the silent guest covered in blood – and henceforth forever silent – slammed onto the parquet, when Lars Eidinger gave up just a few weeks later. Duplicity of events: In “Borowski and the good man”, Eidinger, alias Kai Korthals, played theater at the beginning, and used a rehearsal in his prison mime troops to break out of prison. And this time, too, Eidinger is at the entrance, in his role as Paul Muthesius, on a stage again. He gives a full monologue about life, thinking, hope, ruin for the best.

For a moment, only very briefly, some people winced at this point. Not the Eidinger again. We had it first. How about, shall we say, Frederick Lau. Or Louis Hofmann. Florian Bartholomäi? Whereby, he may not have any free space on his “crime scene” punch card, with 14 appearances so far, as of November 21, 9:50 pm. But then Eidinger just lets Lars off the leash, or vice versa, ranting, monologizing, philosophizing, as if he had to fall silent the next day. He holds the cigarette even more elegantly than Houellebecq.

The lust for madness

And it remains so brilliant in “Murot and the Hope Principle”, also because there is a splendid ensemble at Eidinger’s side. Karoline Eichhorn, for example, not exactly a “Tatort” rookie, who beguiles with all her verve, her ability to capture the viewer with a twist of the body, a hand that runs through his hair, a millisecond smile. In addition Angela Winkler, the grande dame of German film, whose play often enters into a diffuse combination of elegant lightness and morbid heaviness. Barbara Philipp, whose down-to-earth hands-on aura never seems constructed. Friederike Ott, passionate and superb in timing. Christian Friedel, who gives his tragic hallodri with a loosely seated pistol theatrical flair. And of course Ulrich Tukur, whose smile in some places seems as if he could hardly hide his personal enjoyment of Eidinger’s madness even in front of the camera.

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What exactly is it that makes the audience of the 45-year-old Berliner so absorbed over and over again? The lust for madness. Madness with announcement. Grandezza with lipstick. Butt with filter. In the West German crime thriller context, there is also the subtle combination of cherished Kempen: Kinski’s loudmouth. The scurrying of a Peter Fricke. The free turning of a Martin Semmelrogge. And of course the Eidingeresque of himself. The quirky, the crooked, the beauty in the horror, the cruel in the beautiful. Looking forward to the next “crime scene” with Lars Eidinger. Perhaps there will even be a vacancy as a commissioner …

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