Of course, he is right and that’s why the film needs to be discussed as a modern drama, not a historical reconstruction. https://www.youtube.com/watch?v=TmyGPX23px4#t=15. I don’t know – but it is a useful narrative device, requiring Greta to act in a way that will help Viktor escape Berlin.

Inevitably it will use the conventions of mainstream cinema, including the generic conventions of the combat picture and home-front melodrama. |

We should consider the riveting performances and the stupendous production design as well as the music and cinematography. The discussion was intelligent and stimulating and the three academics, specialists in this period, historians Richard Evans and David Cesarani and writer/literature professor Eva Hoffman, all expressed their agreement on how well-made and exciting the film was as well as the range of problems it raised in terms of the history of East/Central Europe during the Second World War. Greta and Viktor are lovers. 270 min

Variety
The three part series has had a significant impact, having since been broadcast in several other European countries and rumour has it the series will also be broadcast here in the UK, later this year.

This strategy was once fairly common on the BBC after controversial films or television productions but this is the first time (that I can remember) when a foreign language production received this kind of attention. Having said that, I do think the final scenes in 1945 don’t represent the horror of Berlin as well as Anonyma– Eine Frau in Berlin (Germany-Poland 2008).

The programme also included some brief interviews with two writers but my main problem with the discussion was that no one was prepared to discuss the film ‘as a film’ and there was no other filmmaker’s voice apart from the producer Benjamin Benedict.

23 #1: La Madre (Spain-France-Romania 2016).

This site uses Akismet to reduce spam. The films don’t ignore the Jewish question and they certainly represent both the cruelty and viciousness of some of the Germans and the political naivety and ideological confusion as well. | Furthermore, I have always regarded it as important that current generations remember the sacrifices of past generations, especially those who gave their lives in the service of our nation and I believe that material both…, By Max Musson: There has been a mixed reaction to the recent broadcast on German TV of a three-part series entitled ‘Unsere Mütter, unsere Väter’ (‘Our Mothers, our Fathers’), depicting the effect that the Second World War conflict had on the lives of ordinary German citizens, and on the lives of five young Germans in particular. Finally, we should consider how it compares to films from other combatant nations in 1941-5. Five friends go out to war and promise each other to be back for Christmas. By Max Musson: BBC 2 have begun to broadcast the highly acclaimed three part German World War Two series, ‘Unsere Mütter, unsere Väter’ (Our Mothers, Our Fathers). Viktor becomes the catalyst in the story, both for Greta’s actions and for a lengthy sub-plot about the anti-semitism of some members of the Polish ‘Home Army’ – but also the courage of other Poles. What all the films explore is the sweep of the action across a huge swathe of territory disputed over centuries by different occupying powers. Sophie Scholl (Germany 2005) is a very different kind of film but it shows very well what kind of ideological ‘work’ is possible in stories about Germany from 1943 onwards when the ‘final victory’ becomes increasingly less likely for some young Germans – as distinct from the younger teenagers recruited into the German forces in 1944-5 who are depicted in Generation War as completely driven by propaganda.

Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. Charlotte becomes a better person. After the party in Berlin, the five are never together again but four of them meet up on the front and at various times Wilhelm and Friedhelm fight in the same unit and meet Charlotte.

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