- 3 out of 5 points
- A murder in the hospital becomes the personal “inferno” of Commissioner Peter Faber. No gripping thriller, but a showdown between investigator and chief physician.
What's the matter?
Dr. Gisela Mohnheim is found dead in a rest room of a Dortmund hospital. The internist is wearing only underwear and has a plastic bag over her head. A suicide exclude commissioner Peter Faber (Jörg Hartmann) and his team, because the door of the room was locked from the outside. Chief physician Dr. Andreas Norstädter (Alex Brendemühl) introduces himself to his people. He denies that any of his doctors or guardians could have anything to do with the colleague's death. Nobody wants to have seen or heard anything, everyone is too busy with the running clinic operation. Remained Mohnheim's husband Paul (Karsten Mielke), who has been convicted of assault and knew his wife had a relationship with a colleague.
Why is this “crime scene” worthwhile?
The hospital as a cool longing place, in which only attractive doctors work, bizarre cases emerge and private problems are solved – such a picture draw US series such as “Gray's Anatomy” or “Emergency Room”. The Dortmunder “crime scene” tries the exact opposite and takes the hospital any glamor. In “Inferno”, the title of the epic period, all are chronically overworked, stressed and exhausted. The corridors are gray, the doctors ashen and the patients sometimes on the spin. A thoroughly realistic picture of everyday hospital life.
The case is extremely tailored to Commissioner Faber and his fate. He still suffers from the death of his wife and daughter, has nightmares and depression. Faber's personal condition dominates the case and makes the murder almost a minor matter. In the end, it's a showdown between Faber and chief physician Norstädter. Even the private circumstances of the victim Gisela Mohnheim seem a bit exaggerated: The doctor was unhappy married, took psychotropic drugs, was in debt and had a drug dependent son. In addition, the choleric and previously convicted husband – all a bit much for a life, especially since these facets are only touched, but not told.
The Dortmund investigators will never get rid of the feeling that four commissioners are at least one too many. Nora Dalay (Aylin Tezel) does almost only desk work and seems dispensable. No wonder: actress Aylin Tezel will leave the team next year. New colleague Jan Pawlak (Rick Okon) is not integrated yet – his departure would not be a big loss. Faber deals only with himself and his neuroses. His methods and solo efforts are often unsustainable for the colleagues – and for the audience slowly old hat. The only one who really finds out is Martina Bönisch (Anna Schudt).
On or off?
If you're a big fan of cynic Peter Faber and you like his idiosyncratic investigative methods, you'll love Inferno. Anyone who wants to see an exciting criminal case can skip the TV.