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At the end of the war Viktor reunites with Charlotte and Wilhelm in the rubble of the bar where Greta worked. Friedhelm Tom Schilling is a sensitive young man who has no ambitions as a soldier.
His comrades deride him as a foolhardy coward who puts their lives at greater risk and they beat him up after it is perceived he gave away their position to a Polikarpov Po-2 "sewing machine" by lighting a cigarette.
Friedhelm becomes emotionally hardened and ruthless throughout the Eastern front campaign, willingly executing prisoners, and leading a charge to take a Russian telegraph station after witnessing his brother's apparent death by a Panzerfaust.
He is shot by his fellow soldiers when they mistake him for a Russian when he had stolen a Russian uniform to escape from aforementioned telegraph station upon its recapture by the Red Army.
Charlotte manages to save him by begging the chief surgeon of the field hospital to operate on him, despite the surgeon's bleak triage assessment.
Before being sent back to Berlin he tells Charlotte mistakenly that Wilhelm perished in the Panzerfaust attack. But during a raid on a Polish partisan group, Friedhelm has a chance encounter with Viktor, and when Hiemer orders him to shoot Viktor, Friedhelm instead betrays and kills Hiemer, allowing Viktor to escape.
Friedhelm orders them to stay put and walks alone towards the enemy aiming his rifle at them causing himself to be gunned down. The Volkssturm soldiers surrender after witnessing Friedhelm's futile death by fire from a Maxim machine gun.
It was filmed in sound stages and backlots at Studio Babelsberg in Potsdam   and on location in Germany and Lithuania   as well as in Latvia.
Originally, Viktor was to escape to France and finally to return as a regular soldier with the US Army. This part of the script was changed to a solution which could be produced on already available locations.
The show was broadcast with English subtitles. Italian state broadcaster RAI showed the series divided into two parts on the Rai 3 channel over two consecutive evenings on 7 and 8 February Audience figures were 1,, 5.
When shown by Swedish public broadcaster SVT in late May , it received very high viewing figures, the highest ever for a non-English language import.
Flemish public broadcaster VRT aired the series in six parts on Canvas starting Tuesday 4 February both in standard and high definition.
Danish public broadcaster DR aired the series over two consecutive evenings beginning 9 May It was aired on its culture channel DR K. When the series aired in Germany in March , each episode had some 7 million viewers.
The series was awarded the Deutscher Fernsehpreis German Television Award for the best multi-part television film of The Frankfurter Allgemeine Zeitung wrote that the film would give the remaining survivors of the World War II generation an opportunity to discuss it with their families.
The film had introduced a new phase in historical films on the Nazi era. The historian Norbert Frei praised the film for showing, for the first time on German television, an unvarnished portrait of Germany's war against the Soviet Union, including the participation of the Wehrmacht in murdering Jews, the shooting of hostages as reprisals against partisan resistance, and the looting of homes vacated by Jews.
He wrote that the film did not present idealised one-dimensional figures, but people of broken character who become aware of their shared guilt.
Several German historians criticised the film. It showed all Germans as victims. The film showed nothing of the love and trust that Hitler inspired in German youth, or of the widespread belief that Germany deserved to rule Europe.
In reality, he wrote, these "mothers and fathers" were a highly ideological and politicised generation, who wanted Nazi Germany to win victory, because that would be right.
The historian Habbo Knoch said that the film failed to show how the Nazi system functioned. The film showed year-old characters who became victims of war, but missing were the to year-old Germans who built the Nazi system and supported it out of a mixture of conviction and self-interest.
The film should have shown those who profited from the Nazi system. The Poles are shown as even more anti-Semitic than the Germans. Furthermore, they are presented as convinced ideological anti-Semites, whereas the German characters are portrayed mostly as not ideological.
Soviet soldiers are presented in a primarily negative light. A critic in the Kölner Stadt-Anzeiger called the film kitschy, devoid of deeper meaning, and morally worst, full of pathetic self-pity.
The film's message was "We perpetrators of war crimes didn't have an easy time. The film provided an epiphany for those who had always known that not only Jews were Hitler's victims, but more important — all Germans were Hitler's victims.
Many Polish viewers were outraged at the depiction of Poles as anti-semites. Tygodnik Powszechny described the film as "falsification of history" in depicting all Poles as fanatical anti-semites, even more so than the Germans who are shown as "basically good people" misled by the Nazis.
Poland's largest daily newspaper Gazeta Wyborcza published a review under the title "Who can explain to the Germans that the Armia Krajowa was not the SS?
Their recipe, he wrote, "tastes like a western movie, but in the background waves a flag with a swastika. Commenting its success in Germany, The Economist wrote that some German critics suggested that, "putting five sympathetic young protagonists into a harrowing story just offers the war generation a fresh bunch of excuses.
Jackson Janes, president of the American Institute for Contemporary German Studies at the Johns Hopkins University , commented that the series "does not filter the Nazi atrocities nor the reality of war.
Instead, it tries to portray how the millions of people who followed Hitler into the catastrophe he created were attracted to the vision he offered, only to then be confronted with trying to survive it.
Scott stated that by not showing the Nazi death camps, Generation War perpetuates "the notion that ordinary Germans were duped by the Nazis and ignorant of the extent of their crimes.
According to the NPR review by Ella Taylor, the film depicts how totalitarianism corrupts almost everything in its path, including individual responsibility.
The New Yorker reviewer David Denby wrote that " Generation War has the strengths and the weaknesses of middlebrow art: it may be clunky, but it's never dull, and, once you start watching, you can't stop," and "the old accepted notion that the barbarians were confined to the S.
The series acknowledges what scholars have established in recent years: that the Wehrmacht played a major role in committing atrocities in the occupied countries.
The movie says that young men and women were seduced and then savagely betrayed—brutalized by what the Nazis and the war itself put them through.
Their complicity, in this account, is forced, never chosen. Aimed at today's Germans, who would like, perhaps, to come to a final reckoning with the war period, Generation War is an appeal for forgiveness.
But the movie sells dubious innocence in the hope of eliciting reconciliation. The Tablet reviewer Laurence Zuckerman said that Generation War' s presentation of World War II Germans as tolerant and free of anti-Semitism was "wildly out of sync" with what scholars have learned from letters, diaries and other primary sources.
In reality, "most ordinary Germans at the time held attitudes of casual racism at the very least, and a strong sense of imperial entitlement over Jews, Slavs and other races deemed racially and culturally inferior.
The series tries to draw a distinction between Nazis and everyday Germans that simply did not exist in any broad way.
The tagline on the movie's poster — 'What happens when the country you love betrays everything you believe? Most Germans believed in the Nazi agenda.
The Spectator reviewer James Delingpole criticized the series as "semi-apologia" that "had ducked frank and fearless authenticity in favour of face-saving, intellectually dishonest, respectful melodrama that leaves its audience feeling frustrated, cheated and rudderless".
None of the new productions directly addresses the Holocaust or other Nazi crimes. Instead, most Germans appear as victims Concerning the film's not showing Nazi death camps, Avnery writes "The Holocaust is not the center of events, but it is there all the time, not as a separate event but woven into the fabric of reality.
In the beginning they still dare to protest feebly, then they keep their doubts to themselves, then they take part in the crimes as a matter of course.
A citizen under a criminal totalitarian regime becomes a child. Propaganda becomes for him reality, the only reality he knows.
It is more effective than even the terror. Concerning the miniseries not showing Nazi death camps, Klein writes, " Instead of history, Klein likens the production to a typical Hollywood product of action, special effects, and a romanticized story of essentially noble individuals caught up in a war not of their choice.
The score was released in Germany on 15 March on CD and in a digital format. The CD consists of 22 pieces. From Wikipedia, the free encyclopedia.
Generation War Promotional English language poster. The Economist. Retrieved March 30, The New York Times.
Retrieved 20 October Retrieved 17 October Retrieved March 28, Der Spiegel. Retrieved April 12, World in Polish. Archived from the original on November 29, Retrieved December 18, Episode 2.
Event occurs at Retrieved March 21, Retrieved April 27, Archived from the original on April 20, Retrieved April 8, Dinaburg Fortress Documentation Centre.
Retrieved 20 July Retrieved March 25, Special Broadcasting Service. BBC Two. Retrieved 8 September BBC News. Retrieved 19 August BBC Media Centre.
The Guardian. Retrieved Archived from the original on March 2, Retrieved February 26, Retrieved April 28, Northwestern University Press, , pp.
Retrieved March 29, Retrieved April 9, The Daily Telegraph. Retrieved 8 July Retrieved March 18, Retrieved 15 January The New Yorker.
The Spectator. Online-Glücksspiele boomen, und Corona verstärkt diesen Trend noch. Besonders Beats Produzieren Die Schwingungen des unteren Schlagfells gegen die Snares produzieren den so typischen "kurzen, raschelnden" Sound.
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