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You are what I have always wanted for you, says the man in the wheelchair to his son.
Adam is called that.
Which can't be a coincidence.
The man is a wreck.
He was in a coma for fifteen years.
After Leo, his son's best friend, hit him over the head with a spade when he whipped Adam again.
Father also says that he is proud.
The son who became a commissioner during these fifteen years, just like his father was and Leo is one too, doesn't give a shit about father's pride.
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"Everyone", it says in "Big Sky Country", the wonderful novel by Callan Wink, who tries one last time to put together the myth of the old manhood, "Everyone has an asshole for a father".
If there is one thing that you have to particularly like about the new “Tatort” in Saarbrücken, it is the way in which being a man and the consequences of terrible fatherhood are negotiated here.
It was the same in the first case for Leo Hölzer (Vladimir Burlakov) and Adam Schürk (Daniel Sträßer).
Now continues in the woods around Saarbrücken, where a girl is found.
First it was shot wounded, then its heart was torn out.
Who murdered Jessi Pohlmann (Caroline Hartig)?
The team of investigators from Saarbrücken begins work
Source: SR / Manuela Meyer
A wild, mute man is haunted, blaming himself for his father's death.
A father who believes in rituals, but by which he means something other than playing chess with his son.
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And then there is Adam's father who - hardly awake again - wants to play God, help, shake hands with his reluctant Filius, on which he would love to spit.
You get sore muscles in your face
The film has weaknesses.
The pictures, the sounds sometimes want to be bigger than they are and the story.
The bickering between Adam and Leo and the rest of the group gets on your nerves, as is always the case with the bickering in "Tatort" teams.
About how Daniel Sträßer's Adam has to pinch himself and his facial expressions in a psychologically plausible manner in order not to explode permanently, you get sore muscles in your face when you watch.
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But how author Hendrik Hölzemann and director Christian Theede manage not only to lead the testosterone-heavy plot threads through the undergrowth of the story, how they use their cross-generational sub-stories, to shed light on the origins and traditions of male violence from ever new angles, is nice pretty exciting.
We still happily claim that everyone has an asshole to their father, of course not true.