Dthe perpetrator’s name is Appold and he is a previously convicted sex offender, one of three suspects. Lena Odenthal can only judge him when she breaks his girlfriend, who gave him a false alibi. The investigation was fierce, and only moderately exciting for the viewers. And that is a while ago, because when Ulrike Folkerts, alias Lena Odenthal, had her first task, the Berlin Wall still stood. Since then, the inspector has ensured law and order in Ludwigshafen 75 times, where Johanna Stern (Lisa Bitter) has helped her for eight years. The most innovative episodes of “crime” are not. In the Southwest, people appreciate proper policing, thinking aloud about what could have happened, and looking into the middle of nowhere.
It should come as no surprise that 33 years of appalling work has left its mark. That in the latter case Odenthal’s “ugly, wrinkled face” is mentioned seems a little unfair. Of course, it’s an angry child who speaks like that, the cunning elementary school student Madita (Hanna Lazarakopoulos): type of gang leader and not the only one with the potential for aggression. There’s Pit (Finn Lehmann), who suddenly starts yelling, and of course Marlon (Lucas Herzog), a system cracker who didn’t just seem to have Madita on his back. But the eight-year-old is above all a victim here, in the worst possible way: He lies, fallen to his death, at the foot of the stairs of the primary school, even though he was actually banned from entering the school. It is not a problem school, but an exemplary facility.
“act in affect, I would say”
The “Marlon” section, directed by Isabel Braak (script: Karlotta Ehrenberg), brings together everything that speaks for and against the “crime scene”: a socially relevant topic – aggressive children who not only overwhelm their parents who feel guilty -, psychological resilience, believable empathy, an incredible twist, shameless daring (a teacher trembles at little Marlon’s flippers; right after the fatal fall we hear a childish rhyme: “Traffic light red. Mickey Mouse dead”) as well as dialogues that do not. even prior seemed fresh after the fall of the Berlin Wall: “‘Someone closed his eyes’ – ‘indicating an emotional connection’.” “” Act in anger, I would say “- ‘well, the perpetrator could also have been disturbed..'”
Well, otherwise it could have been one way or another until the search for the nudget is resolved in the usual way, even though it doesn’t really matter. Whether the blame lies with one of the children, with Madita’s seemingly ruthless father (Urs Jucker), the bullied caretaker (Georg Blumreiter), Marlon’s own parents (Julischka Eichel, Markus Lerch) or a completely different person, it is more important for film to point out the “vicious circle” of aggression and rejection. School social worker Anton Leu (Ludwig Trepte), an important helper for the inspectors because he is the only one who has access to the students, puts it in a nutshell: “Children are not the problem. You have a.”
The depiction of helplessness in the face of children’s outbursts of anger is not as convincing as in “System Crasher” (2019), but it is clearly visible how overwhelmed parents and teachers retire to themselves instead of seeking help. So “Marlon” could have been a realistic drama, moderately exciting, but carried by a noticeable and musically well-founded inner tension. Unfortunately, the creators did not rely on this dimension, but added elements that weaken the result. On the one hand, investigators must artificially recreate the course of events. On the other hand, the book attributes both main characters mirror image aggression: Stern has to deal with his anger as a single mother. She shouts into plastic bags and admits to her colleague, “Such a loss of control, it’s really awful. You’re making such bad mistakes.” Odenthal, on the other hand, has no children, “but I used to be, and I can well remember how shit it felt when you wanted to get rid of me.” That should probably explain why she now touches some suspects extremely hard. pondering into nothingness, while the case resolves almost by itself thanks to classical police methods.In Ludwigshafen, the “crime scene” may even manage without commissioners.
Crime scene: Marlon runs on Sunday at 20.15 in the first.
Video: ARD, image: SWR