I enjoyed the first episode of Generation War: Our Mothers and Fathers broadcast on BBC2 last Saturday. In the UK this is being broadcast, as I think it was in Germany last year, in three 90 mins episodes. In the US it is being shown theatrically in two parts. The action covers June 1941 to May 1945 and offers a combined combat picture-home front melodrama. At a reported cost of €14 million it has been argued to be a relatively high budget series from Germany which has now got international distribution.
I’m not going to review the series as such until I’ve seen all three episodes but I’m intrigued/disturbed by some of the responses that I’ve come across already. I quickly stumbled into what appeared to be an almost neo-Nazi blog (i.e. it questioned the Jewish experience and deaths in WWII and quoted David Irving with approval) and then some American reviews which took the opposite view and complained that no concentration camps are shown and that this is airbrushed history making it possible for a new generation in Germany to see their grandparents in a more favourable light. So clearly, this series, as well as attracting big audiences and prizes in Germany, is going to be the site for a major ideological struggle.
I’m just a little surprised that so many commentators seem to have ignored the great many films that have been made about both the fighting in Poland/Ukraine/Soviet Union by Polish and Russian filmmakers and the domestic lives of Germans at home by German filmmakers. To be fair, most of the films I could quote tend to deal with the latter part of the war and in that respect this series is different in starting from the high point of German expansion. On the other hand I’ve recently watched Douglas Sirk’s last film A Time to Love and a Time to Die (1958) which although set in the winter of 1944 includes some of the same incidents contained in this new series.
At this point I’ll just comment that Generation War: Our Mothers and Fathers is very well staged with exciting action, good performances and detailed production design. But I am sick of reading that the director must have been studying Steven Spielberg in order to handle a narrative like this and to show action so realistically. He may have done of course – but there are also plenty of other directors, especially Russians, who know how to make convincing combat pictures and home front melodramas. The war in Eastern Europe was extremely complex and many layered. Knee jerk analysis isn’t going to help. But perhaps the Saving Private Ryan reference does have some relevance since the series seems to have got families in Germany talking amongst themselves about what actually happened under the Nazis.