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He conceals his religion, as they are clearly anti-semitic. Viktor escapes from the train taking him to Auschwitz, along with Alina, a young Polish woman, and joins a group of partisans from the Polish Home Army. Much of the criticism of the programme has come from Poland, hence the appearance of the Polish ambassador in this programme. Note that the rest of this post includes spoilers. She argued that this drama was a way of asking ‘where would you have stood, who do you identify with and what would you have done.’ She added that there will not be living German witnesses who can talk about it for much longer. McElroy argued that the unprecedented scale of the Holocaust means that other crimes of Nazi Germany have been overlooked until recently. A dramatist should tell ‘the complete picture of something that’s deeply personal… obligation… is to send characters there and then ask what it does to them.’ Horowitz said that he had ‘no responsibility necessarily to inform, to educate people…but to entertain.’ However, if he were ‘to twist history, to tell lies’ he would be ‘letting down the viewer.’ Phelps asked ‘whose historical accuracy are we recording?’ Different accounts ‘put a different spin on it.’ She thought that a drama could not give the complete picture of what happened to everybody.
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Other contributions to the programme came from Witold Sobków, the Polish Ambassador to the UK, the scriptwriters of two recent British war dramas, Anthony Horowitz ( Foyle’s War) and Sarah Phelps ( The Crimson Field) and Anne McElroy, a writer and broadcaster who has written extensively on German history. Sir Richard Evans, Regius Professor of History at Cambridge University and author of a three-volume history of the Third Reich and Dr Eva Hoffman of Kingston University, London, whose Jewish parents survived the Holocaust in hiding in the part of Ukraine that was then Polish. David Cesarani, Professor of History at Royal Holloway, London and author of several works on the Holocaust Prof.
#UNSERE MÜTTER UNSERE VÄTER EPISODE 2 SERIES#
The members of the discussion panel were: Benjamin Benedict, producer of the series Prof. For viewers in the UK it is available on the I-Player until 17 May, and is described by the BBC’s website as below:įollowing the final episode of the award-winning German drama Generation War, Martha Kearney is joined by a panel including the programme makers, leading historians and cultural commentators, to examine the historical facts behind the series, the controversy it has caused and why now Germany is confronting the difficult issues of its past. The BBC showed a discussion programme titled Generation War: Fact and Fiction immediately after the final episode. As described in this blog post, it tells the story of five German friends from 1941-45: two brothers, Wilhelm and Friedhelm, who are soldiers, Charlotte, a nurse, Greta, a singer and Viktor, a Jew. Its German title is Unsere Mütter, unsere Väter, which translates as Our Fathers, our Mothers.
#UNSERE MÜTTER UNSERE VÄTER EPISODE 2 TV#
They remain "everyday Germans," only slightly less generic than the film's title suggests, valuable chiefly as signifiers of Germany's evolving relationship with its past.Generation War, the German WWII TV drama series, has now finished on the BBC. Neither allies nor enemies, Charlotte, Wilhelm, Friedhelm, Viktor, and Greta are avatars of history all the same, their psychologies hazy, subject to the diffusions of cliché and hedged inference. Those same viewers require more from the plight of these characters, however, than the film is equipped to give. Non-Germans might sense in this enactment of these Berliners' wartime failings and sufferings a faintly therapeutic quality.
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All except Viktor (Ludwig Trepte), who is deported and joins the Polish Resistance after escaping from a concentration camp, will take on shades of the archetypal "good German" over four years of war in the beginning they are less black-and-white than green. Five young friends - two women and three men, one of whom is Jewish - part on a raucous 1941 evening, filled with romantic ideas of the war and where it might take them, certain of their return to Berlin by Christmas. Generation War presents a war of individuals whose actions are guided not by evil or ideology but common ignorance, self-interest, obligation, and compromise. Conceived and undertaken, in the words of producer Nico Hofmann, as "a sensitive, critical homage to the generation of my parents" - those "everyday Germans," according to writer Stefan Kolditz, caught out by history as adult life began - the four- hour production was also designed as a conversation piece. Created for German television, the World War II epic Our Mothers, Our Fathers has since aired on Polish, Irish, and Swedish networks, and now finds its way to a theatrical release, retitled Generation War for American audiences.