The second and last season of House of Promises, a fine German television series about the Jewish proprietor of a department store in a working-class district of Berlin, gets under way as Germany lurches toward the abominable Nazi era.
In the first six episodes of the debut season, which appeared on the ChaiFlicks streaming platform, viewers were introduced to several key characters. They show up again in the grand finale.
Arthur Grunberg (Alexander Scheer), the owner of Jonass, is a patriotic and assimilated German Jew and a decorated World War I pilot. He runs the business with his wife, Alice (Nina Kuzendorf). Their adult son, Harry (Ludwig Simon), is a jazz musician of promise who shows no interest in Jonass. Vicky (Naemi Florez), a young woman from the countryside, works as a Jonass sales clerk. Gerd (Paul Zichner), the store detective, has just joined the Nazi movement as a Brownshirt.
Season two begins in 1932 as Harry’s ex-wife, Helene, dies, and as he learns that his former girlfriend, Vicky, has given birth to their illegitimate child.
On the streets of the city, pro-Nazi fervor is growing, as exemplified by the antisemitic taunt of a group of rowdy children.
Gerd, the Nazi acolyte, is torn. He owes his position to Grunberg, who has treated him well, but his sympathies lie with the Nazis. Zichner skillfully distills his gnawing dilemma.
Adolf Hitler is appointed chancellor on the same day as Harry makes his first vinyl record. In a torchlight parade, Brownshirts triumphantly march to the Brandenburg Gate in celebration of the Nazi victory. The menacing new chapter in Germany’s history is portrayed succinctly but powerfully.
The antisemitic atmosphere gripping Germany is encapsulated by Propaganda Minister Joseph Goebbels in a radio speech during which he announces a boycott of Jewish shops.
“It won’t be so bad,” says Alice, downplaying his announcement and Germany’s descent into state antisemitism. “The worst is over.” Little does she know what lies ahead.
In another telling scene, the series captures the anti-Jewish hatred coursing through Berlin following Hitler’s accession to power. After a Nazi sympathizer throws a rock through the window of a Jewish-owned shop, he shouts, “Jewish pig.”
More indignities are in the pipeline.
When a Nazi bigwig orders Grunberg to fire his Jewish employees, he balks. Called to a meeting of Brownshirts, Grunberg appears in his bemedalled air force uniform, naively thinking that his show of patriotism will have a positive effect on them. In a heart-rending segment, he is humiliated. Scheer’s modulated portrayal of Grunberg is superb.
Finding himself in desperate straits, Grunberg appoints Gerd as store manager on the condition that its Jewish employees are protected. Gerd agrees to abide by his terms. He cannot keep his promise, much to Grunberg’s bitter disappointment.
The decapitation of the Jewish sales staff, a turning point in Grunberg’s perception of reality, marks the dramatic high point in the series.
In the final episode, the Nazis step up their campaign against German Jews like Grunberg.
Under Nazi pressure, a bank takes control of Jonass, leaving Grunberg bereft and unemployed. A colleague gently advises him and his family to leave Germany. He takes his advice under serious consideration.
Gerd, meanwhile, draws closer to the Nazis, telling Vicky that Jews are responsible for Germany’s woes. Amid heightened antisemitism, Harry and Vicky rekindle their romance.
House of Promises, distinguished by a credible cast, a plausible screenplay and atmospheric backdrops, is television drama at its best. It’s a pity that it has run its course.