Abstract: This article presents the analysis of some narrative and compositional aspects and dramaturgical solutions in creating the characters of the three telefilms dedicated to the Great Patriotic War (“Call the fire itself” (1965), “Major Whirlwind” (1966), and “The Shield and the Sword” (1968). These are the first three telefilms, two of which are the very first fictional film series in the history of Soviet television,  demonstrate the evolution of establishment of the tradition and principle of television narration: from a real hero to fictitious superhuman devoid of weaknesses; from preserving and transmitting memory of the historical events to adventurous film that resolves the existing ideological tasks; from random solutions to the principles of creating film series. The results of such evolution are demonstrated in the TV series about the wartime, filmed in the following decades, and namely in contract to war, in the author’s opinion, will be structures the first post-Soviet motion pictures.