Every year around Memorial Day flares up again the debate on whether we should

Every year around Memorial Day flares up again the debate on whether we should continue to remember the millions of victims of the Second World War. The generation that lived through the war is becoming increasingly smaller and will soon no longer among us. Others find just the commemoration should go to all war victims and not only those of the Second World War. It's a pretty pointless debate because the traces and consequences of the brutal Nazi regime are still everywhere in our society to observe. Moreover, a new generation may be more having no direct effects of the war but should be made aware of the horrors of '40 -'45. A brave attempt but very safe to carry out this mission is reflected in the French drama Les Héritiers (The Heirs).

Provided to be that this drama drawn from real events do not have the emotional and psychological impact of your American classic in this area: the television movie The Wave. Filmmaker Marie-Castille Mention-Schaar looking indirectly and therefore a lot less confrontation with the crimes of Adolf Hitler. At The Wave, after all it turned gradually indoctrinating a group of students to actually back there was no way back. Les Héritiers about a runaway beaten motley crew to gain insight through the tireless efforts of their teachers in the fate of the Jewish prisoners of concentration camps. Through participation in a match of the French government Madame Gueguen is trying to move her pupils to delve into history. Through the personal stories of survivors and murdered Jews, the teacher knows the approximation (religious) differences in class rule to erase and to get everyone on the same.

Nevertheless, the comparisons with the Wave are obvious. It is in this case to a school which is aware of the Second World War. Where Mention-Schaar Less successful is the realistic portrayal of the class in question. In high school in Creteil, a suburb of Paris, is the class which Mrs Gueguen must have compassion feared and notorious. Before Mention-Schaar to the core will be a number of short scenes outlined the dynamics of class reminiscent of the sounding as a documentary, but complete scripted Entre les Murs. Students from diverse backgrounds put everything upside down, are looking for their cultural and religious identity if it is defied. A new raid star whose name fly the French translation of ?? ?? is, ends up in a living hell if they hold to see the class in line. The extremes of this group provide a predictable course: the occasional hurdle to be taken, a tear-jerking but sincere story of a camp survivor, obstruction of the loner and the view to togetherness and unity. Les Héritiers plot offers moderately little surprise, but Mention-Schaar can also drop a hard bump because its intentions are sincere and legitimate.

For school classes who can identify with the Parisian student club is this excellent educational material. The principle that even totally spoiled youth without any future prospects with the right approach still something to do, is pretty trite. Despite the many mistakes plot moderate and predictable story arc there is little thematic in this sympathetic drama barter. It is a project from the heart. The inspiration was drawn from the experiences of Ahmed Dramé who was in the classroom conscious and the director mailed a self-written script. Dramé signs for one of the main roles youth. He used as his numerous fellow actors a lot of improvisation, an artistic choice that works out successfully because it distracts the already beaten path. Les Héritiers is prevailing at its strongest when the dynamics of the group, even if this means that the individual roles that loss.