Commissioner on the phone: Kiel crime scene “Borowski and the great anger” – media

In this crime scene There are actually two films in there, which is good value for money, but also confusing. Mood picture one: comedy that revolves around clumsy colleagues and the beloved inspector’s Volvo, about little wines and flirts, the easiest entertainment subject, TV like from a sillier time. Atmosphere two, that’s really tough.

Both happily alternate and Axel Milberg, i.e. the witty Borowski, of course manages to play the leading role in both, although he actually only lies in the hospital bed or at most uses the landline network to conspire with the clinic florist, among exotic plants, as if he were suddenly in the jungle camp.

The telephone is important in the episode “Borowski und die Große Wut” (book by Eva Zahn and Volker A. Zahn, directed by Friederike Jehn). The phone is the connection to Celina, a teenager with uncontrollable flare-ups of aggression. Celina pushed a woman off the sidewalk under a truck in the middle of beautiful Kiel. Celina allegedly stabbed her grandmother, possibly also taking Borowski to the intensive care unit. And now she’s out there with her little sister somewhere on the run and very, very angry, with good reason. But Celina – that’s the trick in the story – keeps calling Borowski. Interestingly enough, after a short period of reflection, the doubts as to whether this is credible disappear, this dedicated line from Desperado girls to the inspector. The film has a few surprisingly carefree coincidences, things are just like that, but this surreal lightness hascrime scene maybe worked out After all, someone has walked through walls here before.

"crime scene" from Kiel: And Borowski still hasn't changed quarters, but now Maren Puttkammer (Sophie von Kessel) is entering his hospital life, and that's clearly a win.

And Borowski still hasn’t changed quarters, but now Maren Puttkammer (Sophie von Kessel) is stepping into his hospital life, and that’s clearly a win.

(Photo: Thorsten Jander/NDR/ARD)

What actually happens can only be seen in the head cinema and in a radically thorough way: at the beginning Celina is a hooded figure for a short time, then only a voice. Of course, this is also finance-friendly. Still, you don’t think, oh, that’s cheap (except for the radio mast in the landscape, again and again when Celina’s cell phone needs to be located). You think: Borowski, don’t make a mistake with the girl. Pretty careful.

Mila Sahin (Almila Bagriacik) mainly shows professional investigative work this time. Instead, Sophie von Kessel appears in a one-a-support role as a hospital acquaintance, wears colorful clothes, steals Borowski’s red wine and sings “I got Life” from “Hair” on the hospital piano. And they all lived happily everafter.

The first, Sunday, 8:15 p.m.

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