Standard situations want to be carried out in an original way. That's the way it is in football and not different in the ARD Sunday evening thriller. There it is about free kicks and corners, this is the crucial question: Where does the body come from that starts all investigative actions?
The new Rostock police call episode SöhneRostocks (NDR editor: Daniela Mussgiller) surprises with an unknown variant that has something funny. Bukoff (Charly Hübner) is awakened from his nightly blues on the river bank with red wine by the radio report that there is a break-in in a villa around the corner. Once there, he meets Michael Norden (Tilman Strauß), a temporary employment agency founder who is one of the hanseatic people of the Hanseatic city and is therefore recognized by the police. But Nord wants to have nothing of the break-in the body in the form of Fränki Fischer (Patrick Eble) runs into his arms. Police job creation measures: The Commissioner looks for his own case.
Matthias Dell has been writing weekly about "Tatort" and "Polizeiruf 110" since 2010. On ZEIT ONLINE since 2016 in the column "The autopsy report". © Daniel Seiffert
And is buried under him for now. The moment when Bukoff is busy with the body of the dead, a friend of the villa owner, it turns out, is used by Nord to flee. From which Söhne Rostock then carves a very exciting starting point (script: Markus Busch, director: Christian von Castelberg): North must be found, a murderer must be found, and it is open whether it is the same person.
This is actually exciting because the fleeting north is gaining contours in the course of the investigation. A rough climber who goes where capitalism hurts (competition) and whose past in the form of an unknown son and a father who died homeless in Belgium illustrates the balancing act between the top and bottom in the "performance society" (Christian Lindner).
Unfortunately, the resolution then does not quite succeed in finding one of the many possible ways of explaining the case that develops its own explosiveness in the final. Norden had stolen a forward transaction from Fränki, which Fränki then wanted to pull through with Norden's business steward, Stefan Larges (the Ernst Bloch of the principle of profit: Germain Wagner). When Fränki found out again that Larges only used it to point north where Bartelden got Most, he turned against Larges, who countered with a contract killer - the consequences are known from the beginning of the film.
The thing is so complicated and long-winded because the case solution has to be taken care of by the North's confession. In a way, it avenges itself that previously the focus on north long, characters like Larges or the contract killer could not make themselves suspicious on their own or just because they acted in the background.
But: whining already exists. Sons of Rostock please because the thriller actually shows investigation. Because he gives the dialogues more space than is the case in the ARD Sunday evening crime episodes, which are hoping for a place in the street of the best from constant scene changes - keyword: action, hashtag: just not boring.