“Westwall”: the swastika tattoo from the box cliché

If constitutional protection officers plan to expose the state’s links to the far-right terror scene by planting a mole in the police, the contact person must meet three basic requirements: maximum reliability, minimum transparency, and most importantly, most importantly. : Back without a sidewalk-sized swastika that can be seen is impossible to hide during sex with a target.

The neo-Nazi business card on Romeo’s agent Nick, discovered by police student Julia after having sex, is just one of many “Really Now?!” moments. Which makes fun of the Germans, because the pathetic political thriller “Westwall”. . Ex-fascist Nick (Yannick Schumann), we learn at the beginning of the six-part series, assigned by VS Keppler officer (David Striesow) to police student Julia (Emma Bading) in order to find all kinds of branches in the Nazi network of Ira Tetzel (Janet Henn) , whose man for rough stuff (David Schutter) trains an army of street kids for the ultimate victory.

This is how bestselling author Benedict Goldhardt wants to fancifully blow up the plural system with his script teams. The fact that its director Issa Brahl is still relatively inexperienced in television, despite the many contributions of series from “Mary Brand” to “Friesland” to “Tatort” in Cologne, is hardly noticeable as she masters the cliched keyboard, as if the debut Her in her feature film was not called “1000 Ways to Describe the Rain”, but something with Edgar Wallace.

There, it seems, “New Original” copied some inspiration for building suspense. List all the stereotypes that were used on ZDFneo in the beginning of December and that are now used at once in the ZDF Media Library will go beyond the scope here. So just a few of the most disturbing things: with her goal of politically destabilizing Europe through a terrorist attack, revolutionary Dominatrix Ira, in an olive green suit, constantly advertising in combative prose, employs a group of street children among the Viking youth and a “lord.” of flies.”

Julia’s father (Carsten Antonio Milk) is a wheelchair-smoking ex-Communist, classmate Lydia (Lorna Eshima) is a black model, and her coach Rosen (Rainer Bock) is a government employee with principles, but a convenient family secret for blackmail. His boss Graf (Susan von Borsody) always wears Secret Service hats at conspiratorial meetings at church, your paddock employee (Costia Ullmann) plays a double game that jumps in your face like a swastika tattoo at the first briefing. And anyway, everything is so connected to everything else that the knot becomes more tangled with each scene.

So it’s no surprise that Julia isn’t just anyone’s daughter, but… that would be somewhat of a spoiler, against all expectations, and would also diminish the only ray of hope in this hopelessly hyper-thriller: Emma Padding. After nearly half of her 23 years in the film industry, the naturally gifted child of two stage professionals has easily made up for even the gross assumptions of the woodcut-like scenario.

How her pendulum movement balances the subject and theme of this conspiracy story is as authentic as the series would like it to be. When she keeps her head above water in thick seas of synthetic characters, it makes the senselessness of the love affair that she’s awakened with the rather frail Nick. And just the fact that the main character Emma Padding, unlike her lover, has transcended the prevailing ideals of beauty makes “Westwall” worth watching at times. A similar project in the same place on the same topic shows how fictional television can add depth to the growing threat of right-wing terrorism.

“Furia”, a German-Norwegian political film that commemorates the devastating attacks in Utoya and Oslo ten years ago. Here, too, the desperate neo-Nazis want to turn liberal democracy against themselves with brute force – the eight part must be seen in half. Norwegian zombie expert Magnus Martens runs the first four episodes and German “tatort” expert Lars Kraume directs the second. And unfortunately you can see both in binational single productions.

As Martens describes how a terrorist network forms in the fjords of the Scandinavian wastelands with a strong sense of the human depths, Kraume amplifies his frontline activism in Germany into a star-studded plot, where everything is mastered and thus appears lifeless. Which brings us back to the Western Wall, the National Socialist defense line that was supposed to protect the warlike Reich from Allied invasion since 1940 and is now called the Next Plot Network.

Likewise, star-studded, but incomparably more intrusive, all six episodes attempt to distract us with the film’s famous soundtrack by Volker Bertelman aka Hoschka on how to tie the traditionally poor, boring, and complicated plot threads into a story that, despite a fantastic cast, is worth watching like a tattoo Homemade prison.

“Westwall” is available from Saturday 20 November. 10 a.m. at ZDF Media Library. ZDF will premiere the first two episodes as appetizers on Saturday, November 27. From 9:45 pm also on the main programme. ZDFneo will air all six episodes on December 7th and 8th from 9:45pm in packs of three.

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