Updated on 09/23/2022 at 1:50 p.m
In “Murot and the Law of Karma” the inspector wonders what a young con artist has to do with an old vacation experience. The audience asks: what did we do to deserve this.
Commissioner Felix Murot (
Murot has already been punished for his omission, ironically quite old-fashioned by a con artist: the young woman (Anna Unterberger), with whom he flirted so nicely at the spontaneous dinner in the hotel restaurant, dribbles something into his Bordeaux. The inspector wakes up in his hotel room the next morning – without a wallet but with a dull headache.
In the meantime, another guest is lying motionless in his bed in the conference hotel. However, he was murdered, and yet Murot only shuffles apathetically through the investigation and through a large part of this “crime scene”.
This is a bit soporific for the television audience, but a reason for the colleague to introduce Murot to her family doctor. After all, the inspector once had a brain tumor. Because the doctor comes from India and works holistically, he wants to know after the examination whether Felix Murot believes in coincidence or that everything in life is controlled.
He then explains the religious principle of karma, according to which every action of an individual has a consequence, in this life or in a subsequent life. “Bad karma,” says the doctor, “is caused by negative interference in another’s life.” In other words: Murot is somehow to blame for the brain tumor and knockout drops.
Buddha must have been a screenwriter. But it’s not about him, it’s about karma, which the screenwriters Lars Hubrich and Matthias X. Oberg (who also directed the film) use as a practical means of weaving threads between the characters and their actions. Buddha must have been a screenwriter: after all, as such, one can easily link the con artist to a holiday experience from Murot’s youth, and both to an investment scam, because the young woman also stole a laptop from the hotel dead man.
Which is why a sociopathic entrepreneur (Philipp Hochmair) is now chasing his overwhelmed killer Xavier (Thomas Schmauser) on her heels. After all, actor Thomas Schmauser makes him the most interesting character in the story, because he manages to arouse pity and disgust for Xavier at the same time.
In addition, a few more superfluously bizarre characters are thrown into the plot pot (ventriloquists! bodybuilders! chickens!), and the pseudo-spiritual superstructure poorly held together, unexciting crime journey into Murot’s past is complete.
The Wiesbaden “crime scenes” are known for being willing to experiment, and now and then experiments are allowed to fail. But this time the audience can ask themselves: What did we do to deserve “Murot and the Law of Karma”?
Exit in a hail of bullets: Most recently, Meret Becker said goodbye to the Berlin “crime scene” with a bang, her character, Commissioner Nina Rubin, died during the investigation. Not the first spectacular and fatal departure of an investigator in the “crime scene”.