Vienna Blood is back, and it feels like a reunion with an old friend - which is quite an achievement, considering that all that came before were six episodes in two years.
The early 1900s aesthetics are still the highlight of show, and they presumably draw more fans than the cases themselves. This time around a much larger part of filming took place in Hungary, which is perfectly understandable, because when it comes to era appropriate interiors, Budapest has far more to offer than Vienna, from beautiful cafés to rather less beautiful hospital wings. And even this slightly disappointed Viennese viewer must admit that it takes nothing away from the look and feel of Vienna Blood.
The show still effortlessly captures the melancholy and morbid decadence of those last years before the fall of the empire, without being bogged down by historical accuracy. I say this without the slightest hint of irony: I have read Joseph Roth’s epic “Radetzky March“, many of Arthur Schnitzler’s plays, as well as his 1901 inner monologue “Leutnant Gustl“. They all draw a similar picture of a society paralyzed by traditional values, clinging to its glorified past at tremendous human cost. The fact that Oskar and Max tell the same story by using modern language makes them more relatable, and allows us to focus on their personalities rather than superficial gimmicks like pipe smoking.
Speaking of which, the two male leads once again deliver on every level. It is a joy to see Oskar and Max interact in their casual, honest, deeply human manner. My personal highlight is Max stealing a slice of Oskar’s cake by pretending to examine its baker’s personality. There is also a new ounce of friction between them, which I found refreshing. As much as I enjoy seeing them happy and supportive of each other, there was a danger of their friendship becoming too perfect and drifting into unrealistic buddy movie territory. As it is, Oskar starts to question Max’ motives and becomes more reluctant to share confidential police materials with him - a believable development for his character.
On the romantic front, everyone is back to square one, apart from Amelia who has disappeared altogether. But this would not be Vienna Blood if the psychological wounds of past relationships wouldn’t start to bleed into the present. Oskar meets a woman who is clearly smitten by him, but he cannot get over his lingering guilt towards his old family. Max is drawn back to Clara who has broken off yet another engagement and finally started to build her own life as a journalist. But perhaps he has finally understood that he only wants what he can’t have. And everyone learns the hard way that when we meet someone new, we jump to conclusions about them all too eagerly.
The Liebermanns are disappointed and deeply worried about their son when they hear rumours of a certain lady’s visits to his house. And thinking back to the duel of S1, who can blame them?
Society’s burdens are also visible elsewhere: Max applied for a promotion and was rejected - both distrust of Freud’s school of psychoanalysis and rising antisemitism are implied as possible reasons (though in fairness to his colleagues, Max’ insubordination and apparent lack of interest in his work at the hospital may have factored into the decision).
I won’t say too much about the crimes themselves, other than that the structure remains unchanged from previous years - political intrigue, untreated psychological issues and old-fashioned jealousy all serve as potential motives for murders with hat pins, arsenic and hot steam. Long suffering Hausmann has to assist in dangerous missions, and the police archivist gets a bit of her own story at last.
All in all, yet another three hugely enjoyable episodes spent with old friends.
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