Schimanski’s jacket and the consequences for the “crime scene”

The “crime scene” on the Sunday evening after the “Tagesschau” and in front of “Caren Miosga” may be the last campfire of the nation: For more than fifty years, the spectators gather in front of the television to at least have the experience here that crime cases are solved. And something else is striking about the durability. With the more than twenty “crime scene” teams on television, the view of the wardrobe shows that the commissioners always wear the same jacket. Felix Murot (Ulrich Tukur) is on the move in Wiesbaden in the same way, Peter Faber (Jörg Hartmann) does not take off his green parka in the office in Dortmund, and Lena Odenthal (Ulrike Folkerts) has been wearing her black leather jacket in Ludwigshafen, in the winter with fur trim. who was in Duisburg between 1981 and 1991 and carried his beige-gray M65 field jacket so consistently that it became his trademark. As a non -conforming uniform, whether with a toothbrush in your pocket or a button against xenophobia on the collar, the jacket should express something like his personality: rough, chaotic but open. That was new at the time that a commissioner appeared as a person and goes back to director Hajo Gies, who turns eighty this Sunday. With his Schimanski episodes and another 21 “crime scene” episodes, he shaped the crime series. With Schimanski, who swears so often that the “Bild” newspaper began to count at the time, the prevailing investigative type, which had followed the service with military discipline. Instead, Schimanski amazed Germany of the 1980s as beings with feelings, affairs and all sorts of weaknesses. He beat himself with criminals and sometimes fell so passionately in his cases that he only caused further problems. For the first “crime scene” episode “Moltke”, Gies received the Grimme Prize for the last “The Schimanski case” the Bavarian television award. The “Schimanski” jacket had long since become a seller. It was taken over as a trademark and expression of the respective personality. One could speculate why the Commissioners Bootz (Felix Klarue) in Stuttgart, Falke (Wotan Wilke Möhring) in Hamburg and Ballauf (Klaus J. Behrendt) wear animal skin. Götz George was also offered a leather jacket from the costume department. He decided on the hip -length jacket of the American armed forces. Nobody would do that anymore today.

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