TKKGMovie Ending Explained (In Detail)

Spoilers Alert:

This is already the third attempt TKKG-To bring stories to the screen in an appealing and contemporary way – and the first to succeed. Robert Thalheim proves himself to be the ideal director for the start of a children’s crime series that is aware of its own weaknesses and strengths. We reveal more about this in our review.

The Plot Summary

Tim (Ilyes Moutaoukkil) and Willi (Lorenzo Germeno), known as Klößchen, get to know each other on the first day of school at the boarding school. The two could hardly be more different and Willi in particular, the son of a good family, is not exactly happy about sharing a room with Tim, a scholarship holder from the suburbs. But when Klößchen’s father is kidnapped and a valuable statue from his art collection disappears with him, Tim is the only one who believes Willi that the police are on the wrong track. Together with the highly intelligent outsider Karl (Manuel Santos Gelke) and the smart police officer’s daughter Gaby (Emma-Louise Schimpf), the group begins to investigate on their own: a plane crash, masked kung fu fighters, a hidden message from Klößchen’s father. How does this all come together? And what do the blind clairvoyant Raimondo (Milan Peschel) and his assistant Amanda (Mai Duong Kieu) have to do with it? Against all odds, the four uncover a conspiracy.

Explanation of the Ending

There are moments in life when you have to choose between two things. For example, which is the better radio play series: “The Three Question Marks” or “TKKG”? For us, the answer to this question is very clear. Of course there are only the three detectives from Rocky Beach: Justus Jonas, Peter Shaw and Bob Andrews. Nevertheless, the two series have a lot in common. While their target group has grown up with them over the years and the average “Three Question Marks” listener is statistically male in their mid-thirties, both franchises have not fared well in their film adaptation. At least on this level, the “TKKG” stories, which have been known since the late 1970s as a book series and the early 1980s as a radio play series, are now gaining a few meters thanks to director Robert Thalheim (“Scouts of Peace”) has consistently internalized the charm of the template, but above all its constant points of criticism. In 2019, you simply can’t make a children’s crime thriller anymore because of prejudices and clichés – and because women are patronized while men are allowed to strike when they no longer know how to help themselves verbally. Thalheim and his co-author Peer Klehmet (“Better than nothing”) Nevertheless, they take these questionable unique selling points of the “TKKG” series to heart – especially in order to turn them completely inside out. The result is likeable, although only moderately exciting as a crime thriller.

Gaby (Emma-Louise Schimpf), Karl (Manuel Santos Gelke), Klößchen (Lorenzo USAo) and Tim (Ilyes Moutaoukkil) are TKKG.

Despite the criticisms already mentioned in the last sentence, “TKKG” from 2019 is probably one of the best USA children’s films of this year. On the one hand, this is because the accusation of being “only moderately exciting” is unlikely to interest the core target group of primary school children in the slightest. Ultimately, when it comes to narrative complexity and atmosphere, the makers primarily base their work on the standards of radio plays and novels. Certainly: with adult eyes you know from the moment Milan Peschel (“Class reunion 1.0”) When blind yoga trainer Raimundo comes onto the dance floor, he is definitely not blind: blind. And that means, conversely, that it has at least some dirt on it. The fact that Robert Thalheim plays really eerie music when the camera pans to Klößchen’s huge property for the first time, simply because the gardener is in sight (we remember: in crime novels it was always the gardener!), is flirtatious again in such a charming way With the genre tropes of the crime film, the adult companions (or adult fans) should feel at least as taken care of on the humor level as the young viewers. Over the course of the quickly narrated 90 minutes, they have a lot to puzzle over and guess at – and you have to give the script one thing: at least we wouldn’t have figured out one of the perpetrators even with the best will in the world, also because the person portraying him does everything he can to keep him alive for a long time To be sympathetic to the film.

Sympathy was always the case with the protagonists of the series – Tim, Karl, Klößchen and Gaby. As in the film, there is good chemistry between the characters, but when it comes to dealing with the outside world, the rough Tim in particular turned out to be quite brutal and downright anti-social. When the “TKKG” film from 2019 begins with us seeing the rowdy, also known as Tarzan in the radio plays and books, whose nickname is ignored here, in the opening sequence as a sprayer who plays two-thousander hip-hop too early. When he sprays music all over the walls and shortly afterwards flees from the police, one briefly fears that the makers have at least finally transferred his questionable image into the here and now. When his mother tells him shortly afterwards that he can go to an elite school with a scholarship, the gang’s origin story (this TKKG film is supposed to be nothing else) suddenly gets a whole new twist. Less successful, as it is still not really up to date, is the still very stereotypical characterization of Karl and Klößchen: one is the bespectacled nerd, the other is the sweet tooth, always armed with a chocolate – that gets to the core of the story Originally, it’s not that funny anymore and actually never was.

Tim and Klößchen take over the case.

Speaking of getting to the core of the original: What Robert Thalheim does particularly well is creating a feeling of nostalgia. Given the spirit of the times presented here, this isn’t even a given, because the makers are so clever about naming a specific decade that you can’t tell until the end when exactly “TKKG” is actually supposed to take place. Based on the use of smartphones and drones, it can be assumed that we are in the present. However, the camera work by Henner Visit (who already filmed Robert Thalheim’s “Scout of Peace”), with its grainy images and desaturated colors, captures the feeling of the eighties and nineties. This is exactly what applies to the clothing of the protagonists and without the attempt to create a fake-looking youth slang – big praise at this point! – everything about “TKKG” seems out of time in an endearing way. This also benefits the young actors, who are all still quite inexperienced, as they don’t have to work hard to speak like real kiddies their age do. This makes their interaction seem natural; something that cannot always be said, especially in USA children’s and family films. Big names such as the already mentioned Milan Peschel and Tom Schilling are convincing among the supporting actors (“Work without an author”)Antoine Monot Jr. (“Wer bin ich?”) and Laura Tonke (“Two in the Wrong Movie”) also. So it can be said with justification: This “TKKG” film is the best adaptation of a children’s and youth radio play series that has ever existed.

Conclusion: Director Robert Thalheim and author Peer Klehmet have internalized the quintessence of the “TKKG” series and adapted it to the zeitgeist. The result is still timeless, but will be particularly popular with young viewers, while adult fans will enjoy the winks and allusions.

“TKKG” can be seen in USA cinemas nationwide from June 6th.

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