IMDb > Moloch (1999)
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Moloch (1999) More at IMDbPro »Molokh (original title)

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Yuriy Arabov (writer)
Marina Koreneva (writer)
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Release Date:
13 October 1999 (France) See more »
In 1942, in Bavaria, Eva Braun is alone, when Adolf Hitler arrives with Dr. Josef Goebbels and his wife Magda Goebbels and Martin Bormann to spend a couple of days without talking politics. | Full synopsis »
7 wins & 8 nominations See more »
User Reviews:
Stylish snoozefest hardly hints of the greatness to come in Sokurov's "The Sun" See more (21 total) »


  (in credits order)
Elena Rufanova ... Eva Braun
Leonid Mozgovoy ... Adolf Hitler
Irina Sokolova ... Dr. Josef Goebbels (as Leonid Sokol)
Yelena Spiridonova ... Magda Goebbels
Vladimir Bogdanov ... Martin Bormann
Anatoliy Shvederskiy ... Priest
rest of cast listed alphabetically:
Franco Moscon ... Nazi Officer
Natalya Nikulenko
Rosina Tsidulko

Directed by
Aleksandr Sokurov 
Writing credits
(in alphabetical order)
Yuriy Arabov  writer
Marina Koreneva  writer

Produced by
Andrey Deryabin .... development producer
Thomas Kufus .... producer
Rio Santani .... co-producer
Michael Schmid-Ospach .... co-producer
Viktor Sergeev .... producer
Cinematography by
Aleksey Fyodorov 
Anatoli Rodionov 
Film Editing by
Leda Semyonova 
Casting by
Tatyana Komarova 
Production Design by
Sergey Kokovkin 
Costume Design by
Lidiya Kryukova 
Production Management
Andrey Deryabin .... on-location production manager
Sound Department
Hartmut Eichgrün .... sound
Editorial Department
Heinz Freitag .... synchronization
Other crew
Marina Koreneva .... dubbing director

Production CompaniesDistributors

Additional Details

Also Known As:
"Molokh" - Russia (original title)
See more »
108 min
Aspect Ratio:
1.66 : 1 See more »
Sound Mix:

Did You Know?

Directed by Russian filmmaker Aleksandr Sokurov, the film is the first in Sokurov's tetralogy of power. It was succeeded by Taurus (2001), about V.I. Lenin, The Sun (2005), involving Japanese emperor Hirohito, and Faust (2011/III), based on the old German legend Faust. For production, Aleksandr Sokurov employed Russian actors from Saint Petersburg to shoot the film, but their voices were later dubbed by German theater actors from Berlin.See more »
Movie Connections:
Featured in Sokurovin ääni (2014)See more »
Siegfried's Funeral March from DIE GÖTTERDÄMMERUNGSee more »


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10 out of 19 people found the following review useful.
Stylish snoozefest hardly hints of the greatness to come in Sokurov's "The Sun", 26 February 2006
Author: Chris Knipp from Berkeley, California

Part of a tetralogy that includes the recent, amazing "The Sun" about Hirohito (2005, shown at the New York Film Festival but as yet without a US distributor), as well as "Taurus" (Telets, 2002), about a mortally ill Lenin. (The fourth I think is not yet made.) All concern men of great power at decisive and tragic moments. "Moloch" concerns Hitler in 1942 in an eagle's nest castle in the Bavarian Alps, isolated, as in other portraits, among his cadres and Eva Braun, indulging in grumpy vegetarian dinners and tossing about weird racist remarks about other nationalities. This is acted by strong members of the theater of St. Petersburg, Elena Rufanova as Eva Barun, Leonid Mosgovoi as Hitler, Leonid Solol as Goebbels, Yelena Spirindonova as Frau Goebbels, Vladimir Bogdanov as Martin Bormann, whose lines are dubbed by German actors, and this is done well. The whole is bathed in a murky green-gray or verdigris fog -- saturated, someone has written, with a kind of patina characteristic of old Agfa films -- the fogginess typical also of Sokurov's style elsewhere, with (as in The Sun) a sumptuous feel in the mise-en-scène and amazing, evocative period realness to objects (photo books, ashtrays, serving dishes) which seem at once solid and delicate. Yes, this is remarkable film-making. But the film as a whole is yawn-inducing. Hitler spends most of his screen time moaning about his health. Ten minutes are devoted to Eva's wandering around naked without a word spoken. She is graceful and athletic; but why? Well, to evoke the boredom and idleness of the isolated concubine -- but is such length necessary? "Moloch" is very different from, and rather disappointing in comparison to, "The Sun's" stunning, touching portrayal of Hirohito, which dwells also on trivial moments, but always in the cause of a sensitive exploration of character and situation. There is a hushed intimacy about "The Sun" that "Moloch", though it has a few grand moments and may even evoke Lang's "Metropolis," never attempts. Hitler doesn't even really talk enough, and this brings us to the inevitable fact that at this date, 2006, "Moloch" is thoroughly overshadowed by the far more conventional, sometimes heavy-handed, but nonetheless richly detailed and accurate and breathlessly exciting recreation of the last days in the Bunker achieved recently by Oliver Hirschbiegel in his "Downfall" ("Der Untergang," 2004), released in the US last year and containing Bruno Ganz's powerful performance as the Nazi dictator.

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