Our mothers, our fathers

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Movie
Original title Our mothers, our fathers
Country of production Germany
original language German
Publishing year 2013
length 3 × 90 minutes
Age rating FSK 12 (all parts)
Rod
Director Philipp Kadelbach
script Stefan Kolditz
production Benjamin Benedict ,
Nico Hofmann ,
Jürgen Schuster
music Fabian Römer
camera David Slama
cut Carsten Eder ,
Tobias Haas ,
Bernd Schlegel
occupation

Our mothers, our fathers is a three-part German television film that was broadcast on March 17, 18 and 20, 2013 on ZDF and on ORF television. The first part was subtitled Another Time , the second Another War and the third Another Land . On the occasion of the 70th anniversary of the end of the Second World War , the three-part series was repeated on 3sat on May 4th, 5th and 6th, 2015 . Due to a supposedly distorted historical representation, which the producers declared as artistic freedom , the series was criticized in Poland and the USA and was sometimes compared there with "propaganda films from the Nazi era ".

Plot and people

Five friends - the 21-year-old officer Wilhelm, his two-year-old brother Friedhelm and the 20-year-olds Viktor, Greta and Charlotte (called Charly by their friends) - meet in Berlin in the summer of 1941 to say goodbye to each other. Wilhelm and Friedhelm have to go to the Eastern Front as soldiers of the Wehrmacht , Charlotte will follow them on a volunteer basis as a nurse . Greta wants to become a singer. They want to meet again in Berlin at Christmas 1941. But that happened only after the war ended in 1945 and two of them died.

Charlotte

Charlotte is in love with Wilhelm, but does not dare to confess her love to him. She volunteers as a nurse in the war and serves several kilometers behind the Eastern Front and Wilhelm and Friedhelm's infantry division in a field hospital . At first she cannot endure the misery of the wounded soldiers, but it hardens over time. The Ukrainian doctor Lilija helps as a nurse in the hospital, denying her Jewish faith. Charlotte discovers this secret and reveals it out of a sense of duty. She regrets it when Lilija is picked up.

When Charlotte Friedhelm and Wilhelm meet again during a close-up concert by the star star Greta, Wilhelm coolly rejects them because he doesn't want to give her any hope. At the time of their reunion, Wilhelm is already disaffected and does not believe that he will survive the war. When the severely wounded Friedhelm into hospital is brought, it is the Oberfeldarzt on. However, Charlotte insists that he be helped and thus saves his life. Because Friedhelm believed at this point that his brother had died, and Charlotte reported this, she began a relationship with the senior medical officer. When a unit of the probation battalion , to which Wilhelm now also belongs, stops at the hospital days later , Charlotte is shocked.

When the hospital has to be relocated again quickly due to the approaching front, Charlotte goes in search of the local nurse's helper Sonja. As a result, she missed the evacuation and stayed behind with Sonja and the seriously wounded. These are shot by the arriving Red Army and Sonja is led away as a collaborator . Among the Red Army soldiers is Lilija, in truth a Soviet officer (her motive for applying for the nurse's position was, among other things, to get morphine to treat her own partisans ), who prevents Charlotte's rape and shoots Sonja in front of her the unalterable death penalty to save ill-treatment by the soldiers.

Wilhelm

Wilhelm took part in the Russian campaign as a lieutenant and, like his comrades, believed in a quick victory. Gradually, however, he loses his optimism and idealism. On the basis of the commissar's order , he is supposed to shoot a captured Soviet political commissar , which goes against his officer's honor. Nevertheless, he carries out the order.

Soon afterwards he witnessed the war crimes of the SS and SD in the occupied territories. B. a Jewish girl is shot under the pretext of fighting partisans. In order not to be killed by partisan mines, the soldiers of his unit drive civilians through a swampy area. Friedhelm, serving in his infantry company, reminds him of his statement when he left in Berlin that the war would bring out the worst in them.

As part of the Citadel company , Wilhelm, who has meanwhile been awarded EK 1 and has the rank of first lieutenant , receives the order to take a telegraph station . The Soviet troops entrenched there are militarily superior. No tank or air support is available for Wilhelm and his men. When a grenade and then bullets from a bazooka hit him next to him and he had to watch most of his soldiers fall in the fight for the telegraph station, he was traumatized and dragged himself into a forest hut. There he was later picked up by the field gendarmerie and arrested as a deserter . Captain Feigl informs him that the arguments put forward to exonerate him, “ Amnesia after a grenade impact” and “joint French campaign in 1940”, were not heard by the judge. The death sentence , however, in a disciplinary transfer into the next day Strafbattalion 500 converted. Lastly, he stabs his sadistic sergeant major to separate himself from the unit. After the war he returned to Berlin on foot.

Greta

Greta can be in favor of her Jewish friend Viktor and promote her singing career on an affair with the married, serving the Gestapo standing sturmbannführer a thorn. She asks him to help Viktor escape. However, Dorn betrays them and has Viktor deported . Greta meets Friedhelm, Wilhelm and Charlotte again in Russia when she, now famous as Greta del Torres , gives a concert for the soldiers initiated by Dorn. Greta lives in her own dream world. She only got an idea of ​​the cruelty of the war when she missed the return flight because of her starry airs and got to know Charlotte's work in the hospital. Back in Berlin, she was arrested for defeatism , “ hatred of the people ” and “degrading the Führer”, because she told intrusive soldiers that the final victory was likely to fail, and after several unsuccessful attempts to reach her lover Dorn, she finally called his wife. Greta is imprisoned in the Charlottenburg prison and executed shortly before the end of the war .

Viktor

Viktor is Jewish and lives in an apartment with his parents. He has a relationship with Greta, although this is considered " racial disgrace " and is a criminal offense. Ultimately, he decides to flee, his parents stay behind. However, Viktor, whom Greta believes to be in the USA with a new identity provided by Dorn, is picked up on the street by the Gestapo and deported with other prisoners on a train towards a concentration camp.

Together with Alina, a Polish forced laborer , he manages to escape from the cattle wagon. In order not to be extradited by Polish partisans to the German occupiers, both join the partisans. Since these are also anti-Semitic , Viktor has to deny his Jewish origins. He is used as a decoy for an attack on two German soldiers. In an attack on a motorized Wehrmacht troop, he plays a German soldier and guides the two Wehrmacht vehicles into an ambush. Friedhelm, as the driver of a car, recognizes him, suspects the impending danger and, together with SD officer Hiemer, escapes the ambush - also because Viktor is only pretending to the partisans that he is shooting at his friend.

When a train is attacked, the partisans shoot platoon leaders and soldiers accompanying them. They stole weapons from one wagon, and in the other wagons they find concentration camp prisoners whom they do not intend to liberate. Viktor, at odds with freeing his Jewish brothers and sisters and thereby revealing his Jewish identity or following the departing partisans, finally helps the inmates to escape and is therefore excluded from the partisan group.

During an action against partisans shortly before the end of the war under Hiemer's command, whom Friedhelm saved his life and whose unit Friedhelm has belonged to since the ambush, Viktor meets Friedhelm again. Because Friedhelm shoots Hiemer instead of his friend, Viktor escapes. After the war he returned to Berlin, where he had to find out that his parents and Greta are dead, that his apartment belongs to someone else and that Gestapo man Dorn is now employed in the Allied post-war administration.

Friedhelm

The newly called up, sensitive Friedhelm is critical of the war and does not share the enthusiasm of his comrades. They see him as a coward because, unlike everyone else, he never volunteers for missions. His brother Wilhelm, whose command he is under, and even the father of the two are of this opinion. When Friedhelm is beaten up by his comrades after a provoked mistake, Wilhelm waits to intervene and only then has him taken to a hospital.

After losing a few comrades and a serious wound, he returns to the front and becomes more and more blunted. In the course of the Zitadelle operation, he fights side by side with Wilhelm, he believes his brother is dead after a grenade attack by Soviet soldiers. This experience makes him brutalize and abandon his previously lived values. He becomes the prototype of a soldier who carries out orders of all kinds, including killing civilians, as instructed, and who from then on is valued by superiors and comrades. Its old personality rarely shimmers through this tank. For example, he lets Viktor escape during an action against partisans by shooting his superiors, the unscrupulous SD officer Hiemer, instead of his. Three days before the end of the war, he leads a small Volkssturm troop and comes across a Red Army unit. Understanding the fanaticism of the indoctrinated children and adolescents, he approaches the Soviet soldiers with the rifle at the ready and is shot. The squad then surrenders.

background

Emergence

The project was realized by the German television producer Nico Hofmann and his film production company teamWorx , based in the Babelsberg district of Potsdam - a subsidiary of UFA - which specializes in historical subjects ( Der Tunnel , Dresden , Die Flucht and the documentary dramas Mogadischu and Rommel ). Hofmann said that he was “inspired” for this project by his father's war diaries and that he saw “parallels to his father's biography” in the figure of Wilhelm Winter.

The facts and data have been verified by three historians using historical photos. Author Stefan Kolditz stated that “everyone who was there had their own truth and memory”. Kolditz's script took six years to complete. There were comparisons to the award-winning US war series Band of Brothers .

The production cost 14 million euros. ZDF took over around 10 million euros of this. The production received funding from various German film funding agencies: Film- und Medienstiftung Nordrhein-Westfalen , FilmFernsehFonds Bayern , Mitteldeutsche Medienförderung , Medienboard Berlin-Brandenburg , nordmedia Fond and Filmförderung Hamburg Schleswig-Holstein .

Filming

In 86 days, 141 different sets were shot in Latvia , Lithuania and five German countries . Numerous scenes were shot on the premises of Studio Babelsberg in Potsdam , both indoor and outdoor. All of the shots in the film that took place in Berlin in the 1940s were made on the studio's outdoor area in large outdoor settings, the so-called “Berliner Straße” ; So did the bar where the five main characters met again and again. Another location was Potsdam-Marquardt . Another main location was in Cologne-Porz , where a fort built in the mid-19th century was converted into a military hospital and the partisan camp was established. In addition, especially in the third part of the film, there was often the empty old building of the Nuremberg prison . Some of the filming took place at temperatures as low as −30 degrees. 2000 extras and 50,000 blank cartridges were used.

Accompanying documentation

Following the first part of the three-part film, ZDF broadcast the accompanying documentary Another Time: Our Mothers, Our Fathers - The Documentation , in which five people are portrayed who each experienced something similar to the characters depicted in the film. In contrast to the feature film, however, the contemporary witnesses were not on friendly terms and probably did not even know each other. As a result, the issue of friendship relationships in the documentary before, during and after the war is left out.

Publications

On March 21, 2013, one day after the last episode was broadcast on ZDF, the multi-part series was released on DVD and Blu-ray .

In addition, ZDF has sold the production in over 80 countries. It was released in theaters in the United States under the title Generation War in January 2014, where it sparked further discussion.

reception

Audience ratings

The broadcast of the first part of Our Mothers, Our Fathers on March 17, 2013 was seen by 7.22 million viewers in Germany and achieved a market share of 20.1 percent for ZDF. The second part had 6.57 million viewers and a market share of 19.5 percent. The third part saw 7.63 million viewers, which corresponded to a market share of 24.3 percent.

Viewers from 3 years 14 to 49 year old viewers
date Range Market share Range Market share
17th Mar 2013 7.22 million 20.1% 2.06 million 14.5%
18 Mar 2013 6.57 million 19.5% 1.76 million 13.7%
20 Mar 2013 7.63 million 24.3% 2.08 million 17.5%

Controversy

The broadcast of the three-part series provoked broad and sometimes violent criticism internationally. Most of the outrage came from Poland , where the series was accused of almost exclusively anti-Semitic portrayal of Polish partisans, while in the USA and Russia a “questionable” to “trivializing” portrayal of the Nazi criminals is seen. The Polish population , both partisans and civilians, would be shown unilaterally as provincial, primitive and the only people who were convinced of the Jews who hatred Jews. The daily newspaper Die Welt criticized the contrast in the portrayal of the main German heroes of the film as sympathetic Berlin elite children and the Polish resistance fighters as provincial peasants.

One focus of the Polish criticism was the dramaturgical representation of the Polish Home Army . Many members of this underground organization would be portrayed as dull nationalists and aggressive anti-Semites. In a Sejm debate on cultural policy in 2018, Polish Prime Minister Mateusz Morawiecki accused the previous cabinet under Donald Tusk of allowing the controversial multi-part series to be broadcast on the Polish state television channel TVP : “ In this series, the soldiers of the Wehrmacht were benefactors, and the soldiers of the AK underground army are depicted as dirty, demolished anti-Semites. That is the cultural policy to which you have paid homage. "

Russian media also accused ZDF of playing down the Holocaust as well as distorting and rewriting history. The New York Times found parallels to Nazi propaganda films.

The Polish embassy in Berlin criticized the "historically questionable portrayal of the Home Army" and the uncritical reporting in the German media. The main trigger was an article by Ralf Georg Reuth in the tabloid Bild . The message from the embassy was that the Polish Home Army was not generally anti-Semitic. She also pointed out historical facts that had not found their way into the fictional work, e.g. For example, that the Home Army bore the brunt of the support for the Jews persecuted in German-occupied Poland and, from 1942, operated an aid and rescue organization for Jews in hiding.

The Polish Germanist and publicist Adam Krzemiński criticized the producer of the three-part film by noting that other incidents during the war were not included in the plot. The producer Nico Hofmann apologized for the fact that many people in Poland had felt hurt by the film and stated that the intention of the film was not to divert attention from the German guilt for the war and the Holocaust. He pointed out that the film dramaturgy was about the survival of a German Jew in occupied Poland and that many aspects that were noted as missing in Poland were not the focus of the fictional work. He called it a mistake that no Polish historian was involved in the development of the material . The ZDF then produced a documentary film Struggle for Survival. Poland under German occupation , who u. a. dealt with the Polish Home Army.

Two Home Army soldiers filed a civil lawsuit after the Polish public prosecutor's office rejected a lawsuit against the film after an examination. With the judgment of the Kraków court, which was not yet final , the ZDF was sentenced to compensation for pain and suffering and a reply because the home army was portrayed as anti-Semitic in the film; the ZDF, on the other hand, appeals to the freedom of art and appealed. The Warsaw civil law expert Daniel Wieckowski pointed out that such complaints were often used for propaganda purposes, with which the plaintiff is trying to attract attention. Right-wing conservative media and groups also tried to instrumentalize the broadcast in Poland for their interests by accusing Polish television of German propaganda . Thereupon some Polish historians expressed themselves, who called for a more differentiated view of things. Although there was a consensus in Polish historiography that there were anti-Semitic attitudes in the Polish population, the portrayal of the Home Army in the film was very one-sided in this aspect. Individual historians spoke of falsification of history. Other Polish voices called for more serenity when assessing artistic, i.e. fictional works and mentioned that it is also good for Poles to look in the mirror from time to time.

Reviews

Positive reviews

“The film is a step forward because we have never seen the war against the Soviet Union on German television in such an unadorned way. The advantage of this three-part work is its gray tones: no one-dimensional, idealized figures, no invitation to easy identification, no melodrama, but broken characters who become aware of their complicity. [...] The screenplay skilfully processes the results of recent historical research: the participation of the Wehrmacht in the murder of the Jews, the shooting of hostages in the partisan war, the commissar's order - but also, for example, the callousness with which national comrades spread out in the apartments of the deported Jews. That the experience of the war is taken up in this urgency and differentiation - that is important and new. "

- Norbert Frei (historian) : stern.de

"A three-parter that gets under your skin: Using the example of five young people, all in their mid / late 20s, the horror, pain and culpable entanglements of World War II are modeled for an entire generation." The television magazine Hörzu came to the conclusion that that the film exemplarily shows the fate of young people, and gave the highest rating: " Great "

- TV magazine Hörzu

“Stefan Kolditz ( Dresden ) worked on the script for six years - the effort was worth it. All-round successful mammoth project that never bores for a second. […] 'Band of Brothers' was the godfather of Philipp Kadelbach's moving fates, narrated without heroic pathos and captivatingly captured on celluloid by cameraman David Slama. A not small part of the 10 million euro budget went into the equipment and scenery. ”The television magazine Gong came to the overall verdict:“ Multifaceted, emotionally strong generation portrait ”and gave the highest rating of six points, which corresponds to the assessment of top performance .”

- TV magazine Gong

“The first part in particular tells the story of friendship, betrayal and atrocities juxtaposed with each other, based on the example of US series. And that, of all things, on a Sunday evening, when otherwise beautiful people stand around in beautiful landscapes in slow moving parts. Respect to ZDF for this programming feat. "

- Christian Buß : Spiegel Online

“This film, which Nico Hofmann produced and whose excellent screenplay was written by Stefan Kolditz, with its undeniable power and monstrosity has the chance to loosen the tongue of the last contemporaries in the midst of their family. As preliminary reviews rightly pointed out, it initiates a new phase in the cinematic and historical reappraisal of National Socialism. "

- Frank Schirrmacher : Frankfurter Allgemeine Zeitung

Negative reviews

“Nothing of the trust and love that Hitler showed from his youth. Nothing of the firm conviction that Europe must be ruled by Germany. And that it would be better if the Jews were gone. Not that they should be killed - but they should be gone. And completely normal Germans, as described here, the Jews themselves were not in the eyes of those Germans who were more reserved about the Nazis. [...] Our fathers and our mothers weren't just young people who just wanted to live but couldn't because of the war, as the film suggests. It was about a highly ideologized, politicized generation who wanted the German victory, the victory of National Socialist Germany, because they believed it was right. "

- Ulrich Herbert (historian) : taz

“The film fails to show why National Socialism worked. The fictional 20-year-olds seem like victims of the overwhelming violence of the war, without any joint responsibility. What is missing is the generation of 30 to 40-year-olds, who built and carried the system on a small scale, with a mixture of conviction and benefit. This is what a film should do: to finally show the many normal profiteers without getting caught up in stereotypes. "

- Habbo Knoch (historian) : stern.de

"A string of clichés, told in clumsy dialogues and flat pictures, without any background, kitsch, and above all, what is morally the worst, full of pathetic self-pity."

- Tobias Kaufmann : Kölner Stadt-Anzeiger

“ Our mothers, our fathers is a public education company freed from any inner aesthetic tension. [...] With something like that, the national anthem has been gathered together. But one identifies one hundred percent with the didactic-educational intention. The evil war under the evil Hitler was probably lost among our mothers, grandmothers, fathers and grandfathers. Worse still, we didn't look good doing it. But if you had laughed, you couldn't do anything afterwards. After all, thanks to Knopp (and teamworx) we are the best-educated people in the world historically. World market leader practically in penance. And there we have it again: our moral victory. You really shouldn't ignore so much mendacity. "

- Ekkehard Knörer : Cargo Blog

“The problem is less that the last contemporary witnesses feed 'incorrect' memories into the electricity, but that these are put in the service of a 'renationalization' of historical interpretation. There are many indications that the universal reference point represented by the Holocaust is gradually being replaced. But what comes after that? "

- Ulrike Baureithel : Friday

“The (alibi) Jew Viktor is one of the five friends, but his function is limited to discreet disappearance. [...] And so the trilogy is a revelation for everyone who always knew that not only the Jews but also and above all the Germans fell victim to Hitler. "

- Jennifer Nathalie Pyka : Jewish General

"" Generation War "[...] is perhaps more interesting as an artifact of the present than as a representation of the past. As the Second World War slips from living memory, as Germany asserts its dominant role in Europe with increasing confidence, and as long-suppressed information emerges from the archives of former Eastern bloc countries, the war's cultural significance for Germans has shifted. Coming after the silence of the '50s and early' 60s and the angry reckonings of the '70s and' 80s, “Generation War,” emotionally charged but not exactly anguished, represents an attempt to normalize German history. Its lesson is that ordinary Germans […] were not so different from anyone else, and deserve the empathy and understanding of their grandchildren. This may, in the abstract, seem fair enough, but the film slips into a strange, queasy zone between naturalism and nostalgia. In effect, it is a plea on behalf of Germans born in the early 1920s for inclusion in a global Greatest Generation, an exercise in selective memory based on the assumption that it's time to let bygones be bygones. "

“'Our mothers, our fathers' […] is perhaps more interesting as an artifact of the present than a representation of the past. While the Second World War is disappearing from memory, because Germany asserts its dominant role in Europe with growing self-confidence and information from the archives of the former Eastern Bloc states that has long been suppressed, the cultural significance of the war for the Germans has changed. After the silence of the 50s and early 60s and the angry accounts of the 70s and 80s, “Our Mothers, Our Fathers” comes across as emotionally charged, but not actually fearful, but represents an attempt to normalize German history. His lesson is that ordinary Germans [...] are not so different from others and actually deserve the empathy and understanding of their grandchildren. There may be nothing wrong with that in and of itself, but the film slips into a strange, queasy zone between naturalism and nostalgia. Indeed, it is a plea for Germans, who were born in the early 1920s, to join a global “Greatest Generation” [self-perception of the war generation of Americans, Tom Brokaw, editor's note. Translator], an exercise in selective memory based on the assumption that it is time to let the past be past. "

- AO Scott : The New York Times

Awards

literature

  • Christoph Classen: Grandpa and Grandma at War: On the dramatization of the Second World War in the multi-part television series “Our mothers, our fathers” . In: Mittelweg 36, 1/2014, pp. 52–74; online: http://www.eurozine.com/articles/2014-02-26-classen-de.html
  • Laurel Cohen-Pfister: Claiming the Second World War and Its Lost Generation: Our Mothers, Our Fathers and the Politics of Emotion . In: Seminar: A Journal of Germanic Studies 50, 1/2014, pp. 104–123.
  • M. Sariusz-Wolska / Carolin Piorun, Missed Debate. “Our mothers, our fathers” in Germany and Poland, in: Eastern Europe (magazine) , 11–12. 2014, pp. 115-132.
  • Volker Benkert: "Our mothers, our fathers" - apology and redemption from the past in the television war . In: Jens Westemeier (ed.): "So was the German soldier ..." the popular image of the Wehrmacht , Paderborn: Schöningh 2019 (War in History; 101), ISBN 978-3-506-78770-5 , p 155-168.

Web links

Individual evidence

  1. ^ Certificate of Release for Our Mothers, Our Fathers (Part 1) . Voluntary self-regulation of the film industry, January 2013 (PDF; test number: 136 656 V).
  2. ^ Certificate of Release for Our Mothers, Our Fathers (Part 2) . Voluntary self-regulation of the film industry, January 2013 (PDF; test number: 136 657 V).
  3. ^ Certificate of Release for Our Mothers, Our Fathers (Part 3) . Voluntary self-regulation of the film industry, January 2013 (PDF; test number: 136 658 V).
  4. ↑ a b c "Our mothers, our fathers": Production company in Poland in court. Spiegel Online, July 18, 2016, accessed July 30, 2016 .
  5. ↑ a b c d Christian Buß: ZDF World War II epic: Faith, Love, Hitler. Spiegel Online, March 13, 2013, accessed on July 16, 2016 : "The project cost 14 million euros."
  6. ↑ Sabine Goertz-Ulrich: ZDF multi-part series “Our mothers, our fathers”. Hörzu, March 16, 2013, accessed on July 16, 2016 : “How merciless the Second World War was, how a whole generation of young people was robbed of their youth and of all normality, that is the subject of the brilliant three-part series' Our mothers, our fathers '(Start: March 17th, 8:15 pm, ZDF). "
  7. ↑ a b 141 sets in three countries. ZDF, March 17, 2013, archived from the original on March 20, 2013 ; Retrieved on July 16, 2016 (Production Designer Thomas Stammer on the complex filming): "[...] the trip through five federal states in addition to the filming in Lithuania and Latvia was a blessing."
  8. ↑ Alexander Krei: “Our mothers, our fathers” - “Hard, ruthless”: ZDF tells about the war. In: magazine. DWDL.de , March 17, 2013, accessed on July 16, 2016 .
  9. ↑ a b Our mothers, our fathers. In: Production mirror: Lower Saxony / Bremen. Nordmedia , 2013, archived from the original on October 31, 2013 ; accessed on July 16, 2016 .
  10. ^ Babelsberg backdrop "Berliner Straße" must be demolished. In: Westdeutsche Allgemeine Zeitung . Funke Mediengruppe , November 21, 2013, accessed on July 16, 2016 .
  11. ↑ "Our mothers, our fathers" becomes an export hit. Sold to 82 countries. In: Culture & Society. N24.de , December 1, 2013, accessed on July 17, 2016 .
  12. ↑ Michelle Orange: Generation War: Germany Asks Why Everyday Folks Signed On for the War. The Village Voice , January 15, 2014, accessed July 22, 2016 .
  13. ↑ Patrick Bahners: The chaste, self-sacrificing Aryans. "Our Mothers, Our Fathers" in America. In: Feuilleton. Frankfurter Allgemeine Zeitung , January 16, 2014, accessed on July 22, 2016 .
  14. ↑ a b Manuel Weis: Nico Hofmann's world war film fails to win the day. Quotemeter.de , March 18, 2013, accessed on July 22, 2016 .
  15. ↑ a b Fabian Riedner: Primetime check: Monday, March 18, 2013.quotemeter.de , March 19, 2013, accessed on July 22, 2016 : “With the general audience, the second part of“ Our mothers, our fathers ”won in Jenke was ahead of the target group. "
  16. ↑ a b Fabian Riedner: Primetime-Check: Wednesday, March 20, 2013.quotemeter.de , March 21, 2013, accessed on July 22, 2016 : “The market share was a strong 24.3 percent, with young people one took with 2.08 million viewers even a great 17.5 percent market share - no primetime program was stronger. "
  17. ↑ Gerhard Gnauck: Poland accuse the world war epic of ignorance . THE WORLD. March 26, 2013. Retrieved March 28, 2013.
  18. ↑ "Our mothers, our fathers": Polish TV boss outraged by ZDF war epic . March 27, 2013. Retrieved March 28, 2013.
  19. ↑ "Our mothers, our fathers" in the USA: "Five hours of self-pity" , spiegel.de
  20. ↑ Niemiecka ZDF: Polskie podziemie walczyło for Niemcami, jednocześnie w AK było wielu antysemitów . TVN24 . Retrieved March 26, 2013.
  21. ↑ Poland is debating “Our mothers, our fathers”: They are not sparing themselves . FAZ. June 23, 2013. Retrieved August 27, 2013.
  22. ↑ Second World War: How the Polish Home Army became a myth . THE WORLD. June 24, 2013. Retrieved August 27, 2013.
  23. ↑ ZDF three-part series “Our mothers, our fathers” broadcast in Poland . The Poland magazine. Retrieved August 27, 2013.
  24. ↑ Gerhard Gnauck: We demand the truth! . The world. June 19, 2013. Retrieved August 27, 2013.
  25. ↑ Debata nad odwołaniem Piotra Glińskiego w Sejmie onet.pl, May 8, 2018.
  26. ↑ Condensed truth, falsified history . Germany radio. May 5, 2013. Retrieved June 20, 2013.
  27. ↑ "Our mothers, our fathers" annoy Russians . SZ-Online. April 20, 2013. Retrieved June 20, 2013.
  28. ↑ ZDF pokazuje Partyzantów for AK jako antysemitów . TVP.Info. March 22, 2013. Accessed March 24, 2013.
  29. ↑ The big discussion about our mothers, our fathers "Were German soldiers really so cruel" In: Bild.de of March 24, 2013.
  30. ↑ Bernhard Chiari, Jerzy Kochanowski: The Polish Home Army: History and Myth of the Armia Krajowa since the Second World War . Oldenbourg Verlag, Munich 2003, ISBN 3-486-56715-2 , The Home Army and the Jews, p. 635 .
  31. ↑ The Polish stopgap . Southgerman newspaper. March 28, 2013. Retrieved March 28, 2013.
  32. ↑ Poland: No anti-Semites? . Jewish general. Retrieved May 8, 2015.
  33. ↑ Allegedly misrepresentation: ZDF in Poland convicted of the series "Our mothers, our fathers" . In: DER SPIEGEL of December 28, 2018. Accessed December 29, 2018.
  34. ^ Deutsche Welle (www.dw.com): Polish court convicts ZDF of TV series | DW | December 28, 2018. Retrieved January 10, 2019 (German).
  35. ^ Polish partisans are suing ZDF. Deutsche Welle , November 28, 2013, accessed on November 29, 2013 .
  36. ↑ “Their mothers, their fathers” . contemporary history online. Retrieved May 8, 2015.
  37. ↑ They have high culture, we just stew . Taz.de. June 24, 2013. Retrieved August 27, 2013.
  38. ↑ a b The split judgment of the historian Norbert Frei In: stern.de of March 23, 2013, accessed on March 24, 2013.
  39. ↑ Our Mothers, Our Fathers (1): Another Time. In: Fernsehmagazin Hörzu No. 11 of March 8, 2013, pp. 40, 42.
  40. ↑ Our Mothers, Our Fathers : Another Time. In: TV magazine Gong No. 11 from March 8, 2013, pp. 45, 48.
  41. ↑ Frank Schirrmacher: The history of German nightmares. In: Feuilleton. Frankfurter Allgemeine Zeitung , March 15, 2013, accessed on July 23, 2016 : "Don't wait for a major holiday, gather your family now"
  42. ↑ Nazis are always the other Ulrich Herbert In. taz. Retrieved March 23, 2013.
  43. ↑ Our mothers, our fathers "We poor perpetrators" Tobias Kaufmann In: Kölner Stadt-Anzeiger. Retrieved March 20, 2013.
  44. ↑ World market leader in Büßen Ekkehard Knörer In: Cargo Blog. Retrieved March 19, 2013.
  45. ↑ 3rd generation Germany Ulrike Baureithel In: der Freitag, April 4, 2013, p. 1 (print edition)
  46. ↑ victims envy as a three-piece Jennifer Nathalie Pyka In: Jewish General, March 3, 2013
  47. ^ AO Scott : A History Lesson, Airbrushed. 'Generation War' Adds a Glow to a German Era. , in: The New York Times , Jan. 14, 2014
  48. ↑ Award for "Our Mothers, Our Fathers"