Das Boot (2019)

Ultimately, Das Boot looks to be a wonderful find for fans of high-quality international television series with real ambition.

A spectacularly ambitious enterprise of unfailing power, rich in all the ways that matter in drama, in writing.

There have been plenty of films and series that purport to show the grim reality of war, not least Das Boot’s forebears. This series, coy as it may be about its status as a reboot, is an extremely capable addition to the canon.

Unlike the 1981 Das Boot, the TV version only spends about a third of any given episode following the crew of a submarine. And whenever it gets out of the boat, it doesn’t really feel much like Das Boot.

The USP of Das Boot 2.0 is that the underwater drama has to budge up to make room for landlubberly intrigue involving the resistance. On the plus side there’s Vicky Krieps, who was so ineffable in the film Phantom Thread, as Simone Strasser, a wartime translator from Alsace caught on the horns of a dilemma. ... Somehow it’s odd that she should be the best thing in a testosteroney drama about blowing up convoys.

From its window-dressing address of Nazis’ “final solution” attitudes toward Jews, to its dutiful recreation of Petersen’s submarine set pieces—in which alarms sound for each incoming attack, the crew goes quiet as it’s stalked by enemy destroyers, and rapidly escalating sonar beeps presage imminent danger—Das Boot is a handsome endeavor that’s never urgent or unique. Or, consequently, necessary.

The sense of cheapness and naked commercialism that pervades the series makes its explicit depiction of disturbing violence—a death by firing squad, the gang rape of a Jewish woman by German sailors—feel unearned and, particularly in the latter case, completely irresponsible.