The story becomes quite compelling as you go along and eventually earns a right to be judged apart from the classic 1981 productionĬertainly, this new Das Boot enjoys a very adult temperament, dishing out nudity, violence, rape and torture with atypical commercial sensibilities (likely commensurate to its international funding), adding to the gritty feel of the endeavour beyond its ostensibly glossy style. This may not be Hunter Killer, or even The Hunt for Red October, but the complexities it is afforded thanks to its broader scope do make for a slightly more conventionally unpredictable voyage, rather than just an outright blow-by-blow retread of the extended dive dive dive, watch the mines, fire the torpedos, surface before our oxygen runs out threats that pervaded the original. The cast are undeniably good (the little-known German actors manning the U-boat do the heavy lifting, but Game of Thrones' Tom Wlaschiha enjoys a darker part back on land), and perhaps it's worth the sacrifice of a bigger 'international' cast of characters - many of which are Western players (Lizzy Caplan, recently in Netflix's Extinction Phantom Thread's bilingual Vicky Krieps Mad Men's Vincent Kartheiser Dunkirk's James D'Arcy) - if that helped secure the decent budget that must have been required so that they could still have some modestly good effects and underwater action.
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The reality is that the eight-part series does its best to expand the scope afforded by the original, highly claustrophobic piece, allowing for a broader and likely more accessible character set (the director curiously cited the #MeToo movement as inspiration for having a dominant female cast on land), even if it does come at the expense of some of that aforementioned claustrophobia. Within seconds, however, this new story goes in a very different direction, following an entirely new U-boat crew, whose plight is juxtaposed and cross-connected with a resistance movement on land, making you wonder whether it might have been better pitched as a brand new U-boat series, and perhaps simply called the name of this new boat, U-612.ĭas Boot - as you could probably guess from its very name - was always supposed to be about the boat, and so it's understandable that the land-based shenanigans may be somewhat disappointing. This new co-German production is being touted as a sequel, in part because it is based upon the same source novel - also called Das Boot - that the original was based upon (as well as that novel's own sequel, Die Festung, written over three decades later) and in part because it quite literally continues straight on from the end of the last series.
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Wolfgang Petersen's original movie (which was turned into a TV series and then back into an extended Director's Cut movie) was one of the most expensive German productions at the time (second only to Fritz Lang's Metropolis), but it was also one of the most critically and commercially successful, enjoying the most Academy Award nominations of any German film to date.
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