"Tatort" from Vienna: What a killer

It's complicated, although everything looks so simple at first glance: A clichéd official who has been cuckolded by his wife brutally breaks out of the gray of lifelong correctness, sees red and slits the throats of his wife and her best friend, then calls the police and dutifully awaits the officers at the crime scene at home.

The leading Viennese criminal investigators Bibi Fellner (Adele Neuhauser) and Moritz Eisner (Harald Krassnitzer) are presented with a picture that is as bloody as it is clear.

The perpetrator – embodied as a phlegmatic by Johannes Zeiler –, the murder weapon, the victims and the motive, everything neatly together, plus fingerprints and a confession, as far as the memory of the murderous husband, Stefan Weingartner, goes.

He can't remember the seconds of the bloody deed itself, there's only black.

Ursula Scheer

Editor in the Feuilleton.

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Nevertheless, the two veterans from the Viennese "Tatort" have as little doubt that Weingartner will spend life behind bars as they do about the quality of the sausage stand they trust.

"All that is right", is the title of the episode based on a book by Karin Lomot and Robert Buchschwenter, but then leaves her chewing on the lack of justice that the court will produce for a long time.

Responsible for this is a sleazy judicial juggler named Thomas Hafner (Julian Loidl), a defense attorney from the hell of the prosecution - and surprisingly, by the way, a friend of a good old friend: Inkasso Heinzi (Simon Schwarz) is back, what a joy.

Lots of untidy little things

The most likeable slob and petty criminal in Vienna gets it as thick as a stick.

Constantly beaten up in prison, he turns to Bibi Fellner for help, with whom he has had a special relationship since their time at the vice - much to Eisner's displeasure.

But, the lesson of this "crime scene": Whoever helps, will be helped, even if the ways of God in such things can seem quite labyrinthine.

Which brings us to the Catholic crack cultivated by the repentant bloodthief Weingartner.

There's a lot going on in Vienna this time, lots of disorderly little things that only gradually add up to a larger whole.

Criminal cleaning ladies with half-world past appear, a gardener (Marion Mitterhammer) with a soft spot for serious criminals and an incredible number of suspects for the next murder, which is not long in coming.

The duo supported by Meret Shame (Christina Scherrer) hardly has time for banter and grumbling.

The few jokes about "work-life balance" seem somehow lost.

On the other hand, anyone who has enough black humor will enjoy Eisner's attempt to unlock a smartphone in pathology: Keyword power surge.

Under the direction of Gerald Liegel, the ensemble moves almost objectively through cool, symmetrical sets (Gero Lasnig's camera).

The bourgeois home of the first perpetrator and his official office seem charming in their old-fashionedness;

they are film sets from a time capsule.

When figures emerge through the wavy glass insert of an interior door, you almost feel like you're back in the eighties.

The amazing thing about this "crime scene" is that it doesn't fall apart, that the mess is slowly being sorted out, without too much spectacle, but essentially carried by the secondary characters.

In the end, an almost banal motif is revealed, which at the same time lies beyond any reasonable comprehensibility.

And everything becomes easy again.

Only Heinzi's debt collection remains a complicated case.

The

" runs on Sunday, April 3 at 8:15 p.m. on the first.