Mikołaj Mirowski: First came the Molotov-Ribbentrop Pact, then 1 September 1939: the invasion by Nazi Germany of Poland that began the Second World War. In 2009 he was awarded Dialog Magazine Prize of the Polish-German Society and the 2010 European Solidarity Centre medal (author: Neil Bates CC BY-SA 3.0) 1948) former Eastern German dissident and essayist. It’s just that only those acknowledging the Communist interpretation of history were absolved. After the film was broadcast during primetime by the Polish state television channel tvp and seen by over 3.5 million Poles, the Polish ambassador in Berlin Jerzy Marganski in a letter to ZDF expressed his shock at the way in.There was a mass absolution in East Germany of its Nazi past, says Wolfgang Templin, former director of the Heinrich Böll Foundation in Warsaw and recepient of the European Solidarity Centre Medal in 2010. (9) The most tendentious critiques of UMUV were without a doubt from the lands which were the focus of much of the narrative: Poland and Russia. In Austria, where the film was broadcast simultaneously with its German premier, Die Presse noted its astonishment over acclaim for a film that presented "only cliched figures-the evil or dumb SS officer, the helpful Jewess, and the bloodthirsty partisans." (8) In Great Britain and America, where the film appeared later and under the less conspicuous title Generation War, the critique was a bit more differentiated. In contrast to such praise bestowed upon the film in Germany, more critical voices were heard abroad. If the film managed to strike an emotional chord with the millions who tuned in for three nights to watch it, then this was just the intention of producer Hofmann, who argued that, "history must transport feeling." (6) This approach to character development became, not surprisingly, Kolditz's leitmotif, his goal, "to write characters that displayed a certain scope but were nonetheless individuals, not stereotypes." (7) Through the storyline arcs, which repeatedly allow for improbable reunions in the field, the viewer is taken on a didactic journey of personal transformation. His argument for the innate power of the cinematic medium over the written word was echoed by screenwriter Stefan Kolditz, who asserted that the film-like all films-represents, "condensed reality." (5) Given the long history of films concerning these events it is no surprise that Hofmann and Kolditz sought out an approach praised by critics for its newness: a story line revolving around five young friends from Berlin who, each in their own way, are victimized by Nazi Germany. (2) The Siiddeutsche Zeitung praised it as "epochal" and "awaking the war in its entire monstrosity." (3) Der Spiegel lauded the film as "a new milepost of German cultural remembrance," for posing "the most important question for those born after: "how would I have acted?" (4) Even Martin Schulz, the German president of the European Parliament, weighed in on the film, praising the film's emphasis on the subjective perspectives of the protagonists. Frank Schirrmacher, co-editor of the Frankfurter Allgemeine Zeitung, credited the film with ushering in "a new phase of the cinematic-historic treatment of National Socialism," specifically praising Nico Hofmann, the film's producer, for his "seriousness, attention to detail, and uncompromising" approach to the film.
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(1) Winner of the Goldene Kamera for best television film of 2013, UMUV could boast such positive reviews and sensational viewer ratings as few other television films in the almost seventy-year existence of the Federal Republic.
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FySy most accounts, the March 2013 television event Unsere Mutter, Unsere Vater (UMUV) marks an important milestone in the evolving cinematic treatment of the Third Reich, World War II, and the Holocaust.