"Hamlet" in the Swiss aristocracy of the currency: the new "Tatort" of Lucerne convinces

Entrepreneur Walter Loving (Hans Hollmann), next to his son Franky (Andri Schenardi) and his wife Alice (Sibylle Canonica) in KKL. (Image: SRF / Hugofilm)

"Welcome to Lucerne. Switzerland really feels Switzerland here, real and expensive! Lucerne's new "crime scene" welcomes the public. Swiss entrepreneur and patron Walter Loving invited the Argentinean Jewish Chamber Orchestra to a benefit concert at KKL. The idea is to remember the Jewish composer who was a victim of the Holocaust. A chair costs 10,000 francs, the evening is 15 million francs.

While the rich ennoze their good mood with champagne, Walter Loving, 80, boss, as a former escape agent, is drunk with the wave of feelings that emerges from the public. The chief advocate of his foundation makes a pathetic marriage proposal to the current wife and spans his beloved son Franky with this gesture equal to the girlfriend.

The KKL becomes a glass cage

So the tone of the directorial work of carnival director "Crime Scene" Dani Levy ("Dirty Thursday"). There is excess and incest, hysteria, love, hatred and annihilation. All that is given in Lucerne's regular "crime scene" only in homeopathic doses.

The film, filmed by Levy in one shot, gradually houses amoral corpses in the basement of a wealthy Swiss family. As in the film "Victoria" (2015) by Sebastian Schipper, shot down a dizzying shot, in which teenagers thwart their fate in the excesses of Berlin's nightlife, Levy, fascinated by the " strong feeling of cinema truth "in Schipper's film, Protagonists a similar case similar with a fatal outcome.

The KKL glass cage becomes the Danish royal house. Loving's son, Franky, as a modern figure of Hamlet, spits disdain on his family and on the Swiss aristocracy of money.

Franky is played by actor Urner Andri Schenardi. In 2011, he delighted Switzerland with his "Hamlet" performance at the Stadttheater Bern. In Levy he takes the viewer with the gaze of the geek in his hand – the only one he keeps eye contact with the camera. During his walks through the KKL, he complains of having to fill Levy's story with "relevance".

The latter will upset the spectators of the conservative camp "Tatort". Nevertheless, Schenardi's presence will hardly be able to escape anyone. How he defies Swiss smallness as rich Grosskotz-Schnösel with the vacillating folly in the eyes at the security check in front of the KKL, is a force.

"It stinks like a pile of dung here," he says, looking into the ladies' room, where Brünneli has just been spewed, and this view is not spared as a spectator. One should understand: "Something is rotten in the state of Denmark." Condescending patronage is a joke.

Filip Zumbrunn sued the protagonist with his camera freehand, tickling nerves with rear views, baths in the anonymous crowd and claustrophobic elevator scenes. Zumbrunn feels good when the tracheostomy is done and the defibrillators chase electric shocks through lifeless bodies. This creates extreme speed and intensity that has not been used since Lucerne.

Liz Ritschard, usually aseptic (Delia Mayer), can also escalate into her Apricot evening dress. Stefan Gubsers Commissioner Flückiger, who plays in the FCL T-shirt like a second Frank Thiel through the Cüpligesellschaft, is not keeping pace. "I'm getting too old for that shit job," he cursed once. Unfortunately, you must take it at your word. Gubser goes down to the bathroom of this illustrious crowd of actors something.

The cast of veteran theatrical actors is the greatest asset of the large-scale experiment "Tatort" by Daniel Levy. It took four weeks of rehearsals. Four times was gone. Gottfried Breitfuss captivates as a driver brimming with passion. The former Grand Lady of the Lucerne Theater, Heidi Maria Glössner, is the event's leader. The Swiss-Turkish actress Uygar Tamer, who has attracted such attention in the trilogy of the German TV trilogy on the murders of the NSU, gets great success for Ophelia's folly as a leading lawyer and lawyer of the truth. And as the former director of the Basel Theater, director and actor Hans Hollmann, with his 85 years of sponsorship monologueed in his version of the past, is already crazy. He covers guilt with crocodile tears. And because the shaky images of Zumbrunn's camera believe that the viewer is in this fragile old man's body, it's very oppressive.

Money or justice?

In the end, not only is the atmosphere of this Cüpli society poisoned, but – Shakespeare's "Hamlet" sends greetings – also the bodies of some dignitaries. Money or justice, that was the question. In the end, justice wins. A thriller-style franchise must finally be.