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The Last Ten Days (1955)
"Der letzte Akt" (original title)

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Title: The Last Ten Days (1955)

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Credited cast:
Albin Skoda ...
Hauptmann Wüst
Lotte Tobisch ...
Willy Krause ...
Erich Stuckmann ...
Erland Erlandsen ...
Curt Eilers ...
Leopold Hainisch ...
Otto Schmöle ...
Herbert Herbe ...
Hannes Schiel ...
Erik Frey ...
Otto Wögerer ...
Rest of cast listed alphabetically:
Herta Angst ...
Jutta Brinkmann, 13jähr. Tochter
Helene Arcon ...
Hanna Reitsch / Flugkapitän


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From Heil to Hell!...


Drama | History | War


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Release Date:

16 September 1955 (Belgium)  »

Also Known As:

The Last Ten Days  »

Filming Locations:


Company Credits

Production Co:

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Technical Specs

Sound Mix:

Aspect Ratio:

1.37 : 1
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Did You Know?


Traudl Junge, Adolf Hitler's "last" secretary, was interviewed by Michael Mussmano several times; part of her recollections were included in his "Ten Days to Die" from which this film is adapted. In Junge's memoirs, "Until The Final Hour," she says that Mussmano helped arrange for her to spend two weeks in Austria advising the director during filming, for which she was paid DM1500. See more »

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User Reviews

The Last Ten Days of Adolph Hitler
29 July 2003 | by (Hollywood, United States) – See all my reviews

I saw this obscure German film in Toronto in 1956, my first exposure to Oskar Werner. A "sleeper" of a movie for me, but so long ago and it seems never to be seen again. The topic has been treated many times but never, I think, to such effect. The last days in the bunker are entirely through the wondering subjective eyes of Werner, as Captain Wuest, a rather unimportant guardsman. Hitler and his henchmen are always kept at a distance, the way Wuest views them from his station, and what stands out in my memory is the finale of a drunken champagne party as though in celebration of something, but in reality as their means to forget the impending doom looming ahead as the Russians can be heard closing in. The problem with films portraying famous or infamous people is that they are almost always unbelievable because we are unwilling to suspend our disbelief, aware that they are actors up there trying to imitate the unknowable. Here, at least for the English speaking audience, the problem does not arise, we understand only through subtitles, and we hear the characters speaking in their own language. And, thank God, it is in black and white. The impact of the film stays with me still, and of course, Werner was a major revelation.

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