Sophie Scholl - The Final Days

Very brave and courageous to speak against the hard headed Nazis that are brainwash by Hitler. Very good script , performance from the entire cast and well directed too.

The film begins with Sophie Scholl and friend breaking two laws. I do not think this fact occurred to the usual audience, nor even the director. But in National Socialist Germany, listening to broadcasts from the UK, and listening to Schwingmusik would have gotten you an extended stay in the Dachau motel. Such people were labeled Schwingjunge (Swing Youth). It was against the law to listen to swing music or Schraegemusik (jazz). Especially if they have Jewish, or Negro influence. That sort of entertainment was not considered appropriate for German Kultur. My next point. Sophie opened a dresser drawer, and one sees a P.08 (Luger). It was not against the law in Nazi Germany to have or own pistols, unless you were a Jew, or a Communist. To be legal, one merely applied for a Waffenschein.(weapon permit). In 1919, Adolf Hitler, was issued a Waffenschein to carry a pistol, while he went undercover for the Bavarian Army, to spy on the DAP. The DAP later was taken under Hitler's wing as the NSDAP (Nazi Party). Hitler did not outlaw the posession of private firearms, as the less than informed would like to postulate. Point three. The German communist female Else in Sophie's cell. I am not sure what she was doing in the Stadelheim Prison. Crimes against the state were dealt with quite effectively in the Dachau KZL. The initial head of Dachau named Theodor Eiche had colour coded triangles to show the guards instantly the nature of the inmates crime. Jews wore yellow, Communists red, and Homosexuals pink triangles! Another fact unknown to most, is that Dachau also had inmates who were former members of the SS. I do know know if the Else character was historical, but Communists were ruthlessly dealt with in the KZ system. After the Great War ended, there were over 400 political parties in Germany (right, left, and centre). By the time Hitler came to power in 1933, the two strongest parties in Germany were, the Nazis, and the Communists. To the ordinary German, there was but one choice. Hitler was the constitutionally elected head of state, and after that, he took it from there. Another interesting note, was the Adolf's real family name was not Hitler, but Hiedler. His grandfather had had an affair with Hitler's grandmother, while she was married to Hitler's great uncle! A bit of a family scandal. Roland Freisler...He was a piece of work. Hans Scholl accused him of not having been on the Eastfront. That was not exactly correct. Freisler was on the Russian Front during the Great War, and had received the E.K I and E.K. II, and was captured and sent to a POW camp. There was talk of him being a Bolshie, and prehaps he overcompensating (as an apostate) by the sentences handed out. One is reminded of Judge Lynch in British History. My next point is, regardless of what people think these days of Nazi Germany, the White Rose, and the von Stauffenberg crew were traitors againt the legitimate elected head of state. As far as the White Rose was concerned, such printed material, and behavior would have gotten you hanged, totally castrated, disembowelled, quartered, and finally beheaded in Elizabethan England, all the way up to the reign of King George II. Try that in Stalinist Russia and you would just disappear. My last point...the execution. Many folks may have been shocked to see die Fallbeil (the falling hatchet). The machine was called die Fallbeil in Germany; not Guillotine. The Scots had one from the Middle Ages, as well as the Germans, which was locally called the Maiden. But the standard form of execution in Bavaria until the 1920's was beheading with a hand held axe. It the obvious that die Fallbeil appealed to German efficiency. Lastly, I should like to say, I think the movie was wonderfully done, with great acting, production, and direction all around. It was rather haunting. If the records are accurate, Sophie should have taken the way out offered her by Inspector Robert Mohr. It all boiled down to all the people in the White Rose were betrayed to the authorities by the idiotic behavior of Hans Scholl. I cannot recommend this movie more highly. It is moving, and full of suspense.

Very few people know anything of the resistance in Germany among some of the citizens who had conscience. There is a parallel in this country today if people would awaken to it. The nation has elected a man that they think represents them and they have no idea the road to perdition that he and his administration are taking. When you compare the history of Germany it is apparent that they people of that nation wanted a messiah to bring them out of their self inflicted woes. The same thing is happening in the US today and there are very few who recognize it. The people have elected for themselves a man who is a reflection of themselves in the bathroom mirror but they are unable to see it.While the NAZI's attempted to exterminate their opponents and that has not been the case in 2013 America, stilling the voices of opposition are certainly alive and well.The entrenched political class in both of the major parties cannot be made to see that they are on the same road that the political and ruling class were on in 1930-45 Germany.As for the film it is excellent. It is well acted. It does follow the history of the White Rose organization to a degree, there were more than the few depicted in this film, but as any film the director has to be careful to not weave too great a tapestry of intervening lives because of time.There is a monument behind the house in Munich. There are very few of these monuments anywhere in Germany, and there are not many who know about it. The White Rose did indeed struggle against the tyranny of the ruling class in their generation, and if the students of this nation's schools of higher learning ever wake up there is a possibility that the 1960's revolution would look more like an afternoon stroll in the park.This is a must see by anyone who is concerned about the way those in power today continue to consolidate power and make for themselves a way to keep the masses from ever learning just how much they have stolen. Just how much they have put the next generations into slavery, much more than what was experienced when men owned men physically, this slavery of economics is far more devastating.This film may be considered prophetic in that it very clearly foretells what will become of a nation that has forsaken God to seek their own salvation in accordance with their thought. This film should be required viewing.

an extremely well done movie using the actual locations where Sophie Scholl experienced her tragedy.

Muy aconsejable para quiénes quieran saber de alternativas en estos tiempos de conformismo, vulgaridad, y vacío humano, espiritual, e intelectual

Die letzten 5 Tage im Leben einer Frau von der Verhaftung nach einer Flugblattaktion an der Uni München bis zum "Prozeß" vor dem Volksgerichtshof unter Vorsitz von Roland Freisler und der Hinrichtung mit dem Fallbeil noch am gleichen Tage; besonders durch Julia Jentsch' mehrfach preisgekröntes Spiel ist der Film von Marc Rothemund nach einem Buch von Fred Breinersdorf auf dem Boden erst seit der Wiedervereinigung einsehbarer Originalakten eine erneute Würdigung einer der großartigsten deutschen Frauenpersönlichkeiten des letzten Jahrhunderts.Der Film beginnt in einem Keller, in dem Sophie (Julia Jentsch), Studentin der Biologie und Philosophie, zusammen mit ihrem Bruder Hans (Fabian Hinrichs), Christoph Probst (Florian Stetter) und weiteren Mitgliedern der Widerstandsgruppe WEISSE ROSE Flugblatt Nr.6 erstellt. Wie üblich werden Exemplare per Post verschickt, Hans beschließt, die restlichen Hunderte von Exemplaren an der Universität zu deponieren, die Gruppe hält das für zu gefährlich, Hans nimmt es auf seine Kappe, seine Schwester macht mit, für eine Frau sei es leichter, Kontrollen zu entgehen.Bei der Aktion werden sie vom Hausmeister beobachtet, kurz vor dem geplanten Verschwinden stößt Sophie noch einen Stoß von einer Brüstung, von der hunderte von Blättern in die Eingangshalle segeln, beide werden verhaftet.In Form eines Kammerspiels gedreht müssen wir dann bewundern, wie die junge Frau gegenüber dem Vernehmungsbeamten Robert Mohr (Alexander Held) jegliche Beteiligung leugnet, jedes ihr vorgehaltene Indiz wie einen leeren Koffer kann sie plausibel erklären, sie stellt sich als völlig unpolitisch dar, Behauptungen ihr Bruder habe gestanden weist sie zurück und hat schon fast die Entlassungspapiere in der Hand, als sie zurückgwerufen wird: Offensichtlich hat die Polizei jetzt stichhaltige Beweise in der Hand.Die nächsten Tage bestehen aus Verhören, in denen sie sich und ihren Bruder als Alleintäter darstellt, um weitere Mitglieder zu schützen, Mohr verliert gelegentlich die Beherrschung, wird aber nie übergriffig, er bietet ihr sogar einen Deal an, sie solle sich als vorübergehend verblendete und verführte junge Frau darstellen, um der Todesstafe zu entgehen, wobei die Intention eher die war, sie zu belastenden Aussagen zu bringen. Die Nächte verbringt sie in ihrer Zelle mit Else Gebel (Johanna Gastdorf), bei der man am Anfang an einen Spitzel denken konnte, was sie aber offensichtlich nicht war.Am 22.Februar 1943 stenen Sophie und Hans Scholl sowie Christoph Probst, Vater von 3 kleinen Kindern, im Gericht unter Vorsitz des berüchtigten Rudolph Freisler (André Hennicke), in einem Prozess, bei dem die übrigen Beteiligten überflüssige Statisten für den cholerischen Nazirichter sind, werden die drei zum Tode verurteilt und nicht erst 99 Tage später, wie sonst wohl üblich, sondern noch am gleichen Tage hingerichtet, sie sterben unter dem Fallbeil.Bereits 1982 wurde Sopie Scholl von Michael Verhoeven aus der Vesenkung geholt und nach aufwendigen Recherchearbeiten durch den Film "Die weiße Rose" mit der dafür ebenfalls preisgekrönten Lena Stolze geehrt, im gleichen Jahr drehte Percy Adlon "Fünf letzte Tage":Sicherlich konnten die Filmemacher nicht die gesamten Verhörprotokolle und Gerichsunterlagen in den Film einbringen, und es mag dahingestellt sein, ob Sophie derart souverän und selbstsicher war wie hier bei den Verhören durch Mohr dargestellt. Offen muss auch bleiben, ob dieser wirklich derart beeindruckt von der Haltung der jungen Frau war wie hier von dem großartigen Alexander Held gespielt. Denjenigen, die vielleicht denken, dass André Hennicke Freisler übertrieben, fast als Karikatur gespielt habe, sei versichert, dem ist nicht so. Es gibt Filmaufnahmen von Auftritten Freislers als Vorsitzendem (besser Allein-"Unterhalter") des Volksgerichtshofes, die Hennickes Auftritt authentisch erscheinen lassen.Nicht umsonst gibt es in Deutschland Einrichtungen, Straßen und Plätze, die nach Sophie oder den Geschwistern Scholl benannt sind, auch die anderen Mitglieder der "Weissen Rose" sollten nicht vergessen werden. Dank der großartigen Leistung von Julia Jentsch wurde mit diesem Film besonders Sophie Scholl erneut ein würdiges Denkmal gesetzt. Ich denke, die Entzauberung unseres "Kaisers" können wir gut verschmerzen, mit Sophie Scholl haben wir eine wahre Lichtgestalt in unserer Geschichte vorzuweisen, vor ihr und Julia Jentsch als würdige Verkörperung gehe ich auf die Knie.Doc Halliday

German screenwriter, producer and director Marc Rothemund`s second feature film which he co-produced and which was written by German screenwriter, producer and director Fred Breinersdorfer, is inspired by unpublished transcripts, interviews with witnesses and historical facts, It premiered In competition at the 55th Berlin International Film Festival in 2005, was shot on location in Germany and is a German production which was produced by producers Fred Breinersdorfer, Christoph Müller and Sven Burgemeister. It tells the story about a German student named Sophie Scholl who lives in an apartment with her brother named Hans who as her and their two friends named Willie and Alex are determined members of a revolutionary resistance movement called The White Rose which is opposed to the reigning regime in GDR. One afternoon after sneaking in to university grounds to place leaflets with anti-national socialist content, Sophie and Hans are caught by a janitor who immediately reports them. Hans and Sophie is then transported to a police station in Munich where they are to be interviewed by different interrogators and where Sophie meets a patriotic Gestapo investigator named Muhr. As he doesn`t get Sophie to reveal anything about the leaflets and she is considered a prime suspect she is taken to a prison cell. Shortly after she is told that she is to be released, but when she has signed the release form she is taken back to investigator Muhr`s office.Astutely and subtly directed by German filmmaker Marc Rothemund, this quietly paced and somewhat fictional retelling which is narrated from multiple viewpoints though mostly from the main character`s point of view, draws a quiet and reflective portrayal of the daring fight initiated by The White Rose (1941-1945) to enlighten their fellow countrymen about the consequences of their fatherland`s development under their leader`s non-democratic regime and their courage to use their knowledge as a resource to prevent their nations downfall. While notable for its naturalistic and mostly interior milieu depictions, minimalistic production design by production designer Jana Karen, cinematography by cinematographer Martin Langer and costume design by costume designer Natascha Curtius-Noss, this narrative-driven and dialog-driven story which is inspired by real events in the life of a 21-year-old kindergarten teacher and nursery school teacher named Sophia Magdalena Scholl who came from a Lutheran family and the city of Ulm in the federal German state of Baden-Württemberg, was profoundly influenced by her father named Robert Scholl`s opinions and had a close relationship with her older brother Hans Scholl who was the second eldest of her five siblings, depicts a heartrending and singular study of character.This biographical, historical and quasi-documentary drama which is set in Munich, Germany during the Second World War in 1943 after Germany had lost the Battle of Stalingrad (1942-1943) and where an affianced protestant befriends a communistic prison guard and during an interrogation with a Gestapo officer with contrary convictions gets into an ethical and ideological debate where none of them is willing to compromise, is impelled and reinforced by its cogent narrative structure, subtle character development and continuity, reverent depiction of a young woman who strenuously and in an admirable and impressive way fought to protect and preserve her integrity whilst always considering the well-being of others, incisive dialog, calm atmosphere, fine editing by film editor Hans Funck and the understated, conscientious and visibly wholehearted acting performance by German actress Julia Jentsch who also had a role in German filmmaker Olivier Hirschbiegel`s "Der Untergang" (2004) and the commendable acting performance by German actor Alexander Feld. An unforgettable, inspirational, authentic and pivotal narrative feature from the early 21st century which gained the Silver Bear for Best Director Marc Rothemund and Best Actress Julia Jentsch at the 55th Berlin Film Festival in 2005.

A sa sortie, bien qu'ayant très peu de temps pour aller au cinéma, j'ai été tout de suite très attiré par ce film, même si je n'en savais pas grand chose au départ. Très motivé, je suis parvenu à aller le voir avant qu'il ne soit trop tard, alors qu'il n'était plus présent que dans une seule salle parisienne. Et je n'ai vraiment pas regretté le déplacement.Sophie Scholl fait partie de ces personnages héroïques qui, pour moi, demeureront des références.Plus qu'un personnage, il s'agit d'une jeune femme dont l'histoire narrée ici est bien réelle et qui ressemble étrangement à une Antigone des temps modernes (si l'on peut dire). Elle et son frère ont fait preuve d'une force de caractère remarquable en défiant le régime Nazi et ce, au péril de leur vie, avec une détermination qui confine presque à l'inconséquence.Pour la force des idées, leur soif de justice et de raison, ils n'hésitent pas à braver les interdits. Et lorsque le responsable de son interrogatoire la questionne, presque désireux de la sauver (tel le personnage de Créon qui tente, en vain, de ramener Antigone « à la raison » et d'ainsi lui épargner la mort), sur ce qui la motive, sur ce qui peut être plus fort que le droit, elle répond, sûre d'elle-même et pleine de dignité, « la conscience ». Il s'agit là du moment fort de ce film, celui où on perçoit à quel point les idées, les notions philosophiques, le respect de la vie peuvent l'emporter sur l'idée de mort, telle la leçon universelle que nous a prodiguée le personnage d'Antigone.On trouve là, dans le sens le plus fort que l'on puisse imaginer, l'illustration de ce que recouvre la notion de liberté, mot qu'elle inscrit d'ailleurs, et ce n'est pas un hasard, sur une feuille de papier avant de quitter sa cellule à un moment du film.Un bon cas pratique de ce à quoi entend remédier  Le droit naturel . Un film réellement bouleversant sur une mort qui semble à première vue absurde et inutile et qui pourtant doit mener à une vraie réflexion sur l'idée pratique de conscience et de liberté. Le droit naturel