For all fans of the Viennese “Tatort” duo, there is a real delicacy on this Sunday (April 13th): Bibi and Moritz determine in the star kitchen and are in the crisis …
A top chef is stabbed behind his chic Viennese restaurant. But for Austria’s “crime scene” specialists who have long since done many murders, the case is not a feast. The brigade of the suspects is too big. And to make matters worse, it crises violently between Bibi (Adele Neuhauser) and Moritz (Harald Krassnitzer), which in the shiny “crime scene: knife” Even after 14 years of service, they prove that they are an excellent investigative duo.
Bibi needs help: her therapist is on vacation, and the only friend out of colleague Moritz sits in jail (or ports, as the Viennese say). So the collection of debtors (Ur Leiwand: Simon Schwarz) plays the soul plumber for three liver chires and sounds Bibi’s meaning: “Today Hammer saved, but tomorrow the next body and the next one will come,” states the commissioner, who thinks of transfer. Transfer? Moritz cannot and does not want to speak to it openly.
Time is not much anyway, because the tyrannical boss of a gourmet temple was murdered with the professional loop. Each knife a potential murder tool in the star kitchen, which becomes a battlefield in the evening. Then the ambitious brigade led by Sauschef Lars (Simon Morzé) is tight, crushed by the marching powder (coke) and the intoxication of functioning. Military customs, sexual harassment (patisser: “If I want to kill everyone in the industry. I don’t need a knife – I need an atomic bomb”) and a jealous wife and managing director (Martina EBM, “Vorstadtweiber”) – the staff who suffered from the Egomanian boss.
Screenwriter Sarah Wassermair truly does: precisely filled the multi -layered case, delivers polished dialogues and, as an intermediate, wonderful scenes with Bibi and Moritz. Everything just fits: the finely dosed comedy, the facial expressions, the gestures, the touching words. Neuhauser and Krassnitzer in top form, embedded in a case that director Gerald Liegel stages coherent and creatively from the first to the last minute. And so this “crime scene” worth seeing ends, as he started-at the debt collection in jail, which gives the finishing touch with the wisdom of an incorrigible Viennese stritzis of the episode.
