The “crime scene” from Munich: you dream your way to success

The boundaries between dream and reality have always been open in the film, and they already appeared in “Tatort” - just think of the Norwegian psychology student Trude, who appeared in the Berlin episode “Maybe”, the final adventure of Chief Inspector Felix Stark , Prophesied a murder in 2014. In the Munich crime scene “Dreams”, a young orchestral violinist rushes to the police and asks for help. Your nerves don't seem the best. She is under pressure because she would like to make the leap from an academy position to deputy concertmaster, the decisive round in the audition is imminent. And she had a bad dream. Or did she not dream at all?

The excited drivel that Ivo Batic (Miroslav Nemec) and Franz Leitmayr (Udo Wachtveitl) listen to with patience would, in the first case, mean that Marina (Jara Bihler) is too ambitious and thus a sad child of the competitive society.

In the second case it would mean the same thing, albeit with a bad ending - then Marina would have promoted her competitor Lucy (Dorothée Neff) to the afterlife on the roof of the Gasteig cultural center in Munich.

Does she need a lawyer or a therapist?

How one should imagine that is shown by dark pictures accompanied by dramatically swelling orchestral sounds: Marina performing virtuoso foreplay, Marina and Lucy arguing, Lucy with a bleeding throat. A little later, when the commissioners are led to the crime scene mentioned next to the beehives, we also see over the edge of the roof through the eyes of the murderer, who may not be. Lots of German forest, where in truth lots of Munich can be seen.

The woman needs a therapist. Or: a lawyer. Because there are traces of blood that you can't look past, and said Lucy has been gone for days. Neither her friend Mats (Theo Trebs), a dogged artistic gymnast, nor Lucy's father Ludwig (George Lenz), a star pianist living abroad, who let his daughter sniff concert air since she was a child (in jars that he filled for her at performances all over the world and labeled), have heard from her since the weekend and thought the radio silence was a side effect of the foreplay stress. There are also bags of psychotropic drugs in Marina's apartment.

The investigations, in which Commissioner Kalli Hammermann (Ferdinand Hofer) works hard because he played the cello as a child and knows that the stress level of orchestral musicians is comparable to that of racing drivers, lead to an ominous service provider that both Marina and Lucy and Mats have also made use of: the “Institute for Applied Oneironautics”, ie applied lucid dreaming. And this is exactly where we unfortunately lose our curiosity about this 87th Munich “Tatort” written by Moritz Binder and Johanna Thalmann. The idea with the institute, which advertises itself with “Träum Dich Dich Successful”, is not bad in itself: Marina, Lucy and Mats took part in a study on “lucid dreaming”, they wanted to refine their motor skills through dream training - such efforts actually exist in sports."The performance society is now also costing those who perform their dreams," Binder and Thalmann state in the accompanying material.

But in this “crime scene”, which director Boris Kunz (“Hindafing”) staged emphatically gloomy, it seems very artificial. The head of the institute (Katrin Röver), an inconspicuous scientist who can take off her glasses in a dramatic way, has to recite thin information sentences like other characters. This is followed by scenes shrouded in mystery, in which one has to dream again. One of the senior commissioners, who, thirty years after their first case, are so similar that they are constantly confused, will of course also dream, albeit without training and institute.

And as obvious as it is for a case from the world of classical music that David Reichelt's soundtrack was recorded by the Münchner Rundfunkorchester - for a more conventional "crime scene" in terms of the structure, which only has the usual niceties between the investigators and the elegant interlinking of Saving dream and reality (camera: Volker Tittel), the film music is simply too intrusive, makes thriller too much, loses its appeal.

Several good cases have recently come from Munich.

Unfortunately, “Dreams” did not turn out so fantastic.

The

runs on Sunday at 8.15 p.m. in the first.