Babylon Berlin is the most expensive German television drama ever made. It’s also the most successful, with its depiction of Weimar Republic-era Berlin having been shown in more than 100 countries worldwide. Since its early seasons this detective noir show has exploded with colour, razzle-dazzle, danger and sweeping set pieces, and it has now spent five years vividly bringing to life a decade-long flash of chaotic democracy that ended in economic turmoil, corruption and, ultimately, fascism. With its superb opening titles, breathless, trippy pace and extravagant song-and-dance numbers – last season even saw a turn from Bryan Ferry, singing a German jazz version of his song Bitter-Sweet – heady, dangerous times have never been better depicted.
This season, the feel of the show has become even more menacing. Since its October launch on Sky Atlantic, UK viewers have been given a darker, wintry vision of Berlin, its smoky streets lined with the dishevelled and desperate victims of the 1929 crash. The Nazis are no longer lurking menacingly in the wings, but are violently taking centre stage. Lead detective Gereon Rath, played by Volker Bruch, has found himself uncomfortably close to Hitler’s militant supporters as he undertakes a secret assignment to infiltrate the National Socialist party. As the city descends into chaos, all the dancing and hedonism takes on a new poignancy, as it becomes clear that decadence is now a last, desperate refuge from the dreadful world outside the ballrooms. At one point, we see one of the show’s lead characters – flapper girl and sex worker-turned-aspiring-detective Charlotte “Lotte” Ritter, played by Liv Lisa Fries – nearly lose her job when she tries to help her homeless sister. The city depicted is one of broken dreams, shattered hopes and lives on the edge.
