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Rosenstrasse -- After the death of her father, Hannah becomes concerned with the strange behavior of her mother. As her mother's troubled childhood is revealed, Hannah realizes how little she ever knew.


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Release Date:
18 September 2003 (Germany) See more »
After the death of her father, Hannah becomes concerned with the strange behavior of her mother. As her mother's troubled childhood is revealed, Hannah realizes how little she ever knew. Full summary » | Add synopsis »
8 wins & 3 nominations See more »
(6 articles)
Film Review: ‘The Misplaced World’
 (From Variety - Film News. 26 February 2015, 7:40 PM, PST)

Vision (2009)
 (From The Cultural Post. 15 October 2010, 5:05 AM, PDT)

Rosenstrasse (2003)
 (From The Cultural Post. 5 October 2010, 1:20 PM, PDT)

User Reviews:
A Reminder of "A Ray of Light" in an Awful Abyss See more (26 total) »


  (in credits order) (complete, awaiting verification)

Katja Riemann ... Lena Fischer - age 33

Maria Schrader ... Hannah Weinstein
Doris Schade ... Lena Fischer - age 90
Jutta Lampe ... Ruth Weinstein - age 60
Svea Lohde ... Ruth Weinstein - age 8

Jürgen Vogel ... Arthur von Eschenbach
Martin Feifel ... Fabian Fischer

Fedja van Huêt ... Luis Marquez
Carola Regnier ... Rachel Rosenbauer
Plien van Bennekom ... Marian

Romijn Conen ... Ben
Julia Eggert ... Emily

Thekla Reuten ... Klara Singer
Jutta Wachowiak ... Frau Goldberg

Jan Decleir ... Nathan Goldberg
Lena Stolze ... Miriam Süßmann
Edwin de Vries ... Vater Erika / Erika's Father
Carine Crutzen ... Mutter Erika / Erika's Mother
Lilian Schiffer ... Erika Singer
Sarah Nemitz ... Adele
Rainer Strecker ... SS-Mann Schneider / SS-Man Schneider
Peter Ender ... Schupo 'Franz'
Roland Silbernagl ... Jüdsicher Ordner / Jewish Orderly
Katalin Zsigmondy ... Norissa
Hans Peter Hallwachs ... Vater von Eschenbach / Father von Eschenbach
Gaby Dohm ... Elsa von Eschenbach

Isolde Barth ... Mutter Fabian / Fabian's Mother
Fritz Lichtenhahn ... Vater Fabian / Fabian's Father
Nina Kunzendorf ... Litzy

Martin Wuttke ... Joseph Goebbels
Hans Kremer ... Hauptsturmführer Weber
Wolfgang Pregler ... Herr Müller / Mr. Müller
Claudia Rieschel ... Kollegin Klara / Klara's Colleague
Siemen Rühaak ... Sturmbannführer / SS-Officer
Burkhard Schmeer ... Hauptscharführer

Heio von Stetten ... Wolfgang von Welz

Carl Achleitner ... Sturmbannführer / SS-Officer
Frank Behnke ... Oberscharführer
Harald Burmeister
Stacey Denham ... Tänzerin im Club / Dancer in Club
Robert Dölle ... Hans Singer
Lars-Kilian Falk ... Der kranke Mann / The ill Man
Uwe Fischer
Monika Häckermann
Ben Kropp
Jean-Pierre Le Roy
Felix Moeller
Morris Perry ... Tänzer im Club / Dancer in Club
Heinz Rilling
Johannes Schäfer
Atto Suttarp
Cynthia Utterbach ... Sängerin im Club / Singer in Club
Britta Jakobi ... Frau aus der Rosenstrasse / Woman from Rosenstrasse
Hannelore Koch ... Frau aus der Rosenstrasse / Woman from Rosenstrasse
Yvette Richter ... Frau aus der Rosenstrasse / Woman from Rosenstrasse
Christine Schuster ... Frau aus der Rosenstrasse / Woman from Rosenstrasse
Renate Usko ... Woman waiting in Rosenstrasse
rest of cast listed alphabetically:

Cécile Decker ... Jewess (uncredited)
Susanne Frommert ... Geliebte (uncredited)
Jochen Striebeck ... Nathan Goldberg (voice) (uncredited)
Björn Wenner ... GeStaPo-Offizier (uncredited)

Directed by
Margarethe von Trotta 
Writing credits
(in alphabetical order)
Pamela Katz 
Margarethe von Trotta 

Produced by
Henrik Meyer .... producer
Errol Nayci .... co-producer
Kerstin Ramcke .... executive producer
Sabine Schenk .... line producer: New York
Sabine Schild .... line producer
Richard Schöps .... producer
Volkert Struycken .... co-producer
Markus Zimmer .... producer
Original Music by
Loek Dikker 
Cinematography by
Franz Rath 
Film Editing by
Corina Dietz 
Casting by
Sabine Schroth 
Production Design by
Heike Bauersfeld 
Costume Design by
Ursula Eggert 
Makeup Department
Nicola Faas .... makeup artist
Maike Heinlein .... assistant makeup artist
Gerhard Nemetz .... makeup artist
Mia Schöpke .... makeup artist (as Mia Schoepke)
Production Management
Hans-Erich Busch .... production manager (as Hans-E. Busch)
Arno Neubauer .... unit manager
Art Department
Michael Düwel .... managing director: art department studio babelsberg
Marco Pressler .... construction manager
Torsten Schwartz .... supervisor plasterer
Cindy Schnitter .... plasterer (uncredited)
Sound Department
Christian Bischoff .... sound assistant
Sören Blüthgen .... foley mixer
Svenja Dielforter .... boom operator b
Christof Ebhardt .... sound editor
Joo Fürst .... foley artist
Lisa Geffcken-Reinhard .... foley editor
Monika Gussner .... adr editor
Magda Habernickel .... sound editor
Annette Prey .... sound editor
Max Rammler-Rogall .... sound re-recording mixer
Eric Rueff .... sound
Marcel Spisak .... sound editor
Special Effects by
Bernd Wildau .... special effects
Adolf Wojtinek .... special effects
Visual Effects by
Markus Drayss .... digital artist
Michael Lanzensberger .... visual effects set supervisor
Frank Rueter .... digital artist: 2D and 3D
Dominik Trimborn .... visual effects coordinator: Arri
Christian Wieser .... pre-visualization artist
Christof Genesis .... stunts
Udo Harnach .... stunt performer
Armin Sauer .... stunt coordinator
Camera and Electrical Department
Jan Betke .... assistant camera
Jan Betke .... still photographer
Steven C. O'Neill .... grip
Jörg Widmer .... Steadicam operator
Casting Department
Iris Müller .... extras casting
Editorial Department
Traudl Nicholson .... color timer
Music Department
Michael Hinreiner .... music mixer
Transportation Department
David Mohn .... production driver
Other crew
Jed Curtis .... dialogue coach
Peter Futschik .... account assistant
Birgit Mangold .... production controller
Arno Neubauer .... location unit manager
Marco Schenke .... crowd marshall
Lars C. Steinmeyer .... set runner
Juliane Voigt .... production secretary
Harro von Have .... legal services: production
Martin Zwanzger .... title designer

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
Rated PG-13 for mature thematic material, some violence and brief drug content
Canada:136 min (Toronto International Film Festival) | Switzerland:136 min | USA:136 min | Argentina:136 min
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Filming Locations:

Did You Know?

Based on the Rosenstraße protest, which took place in early 1943 when the Nazis wanted to round up the last Jews in Berlin, but were resisted by the victims' relatives.See more »
Movie Connections:
References Ein Walzer mit dir (1943)See more »
Sonata for Piano and Violin in ASee more »


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22 out of 25 people found the following review useful.
A Reminder of "A Ray of Light" in an Awful Abyss, 21 August 2004

Berlin-born in 1942 Margarethe von Trotta was an actress and now she is a very important director and writer. She has been described, perhaps even unfairly caricatured, as a director whose commitment to bringing a woman's sensibility to the screen outweighs her artistic strengths. "Rosenstrasse," which has garnered mixed and even strange reviews (the New York Times article was one of the most negatively aggressive reviews I've ever read in that paper) is not a perfect film. It is a fine movie and a testament to a rare coalescing of successful opposition to the genocidal Nazi regime by, of all peoples, generically powerless Germans demonstrating in a Berlin street.

Co-writer von Trotta uses the actual Rosenstrasse incident in the context of a young woman's search for information about her mother's never disclosed life as a child in the German capital during World War II.

The husband of Ruth Weinstein (Jutta Lampe) has died and in a surprising reversion to an orthodox Jewish lifestyle apparently hitherto in long abeyance, Ruth not only "sits shivah" (the Jews' week-long mourning ritual) but she insists on following the strict proscriptions of her faith. Her apartment in New York City reflects the affluence secured by her deceased spouse's labors. Her American-born daughter, Hannah (Maria Schrader) and her brother are a bit put-off by mom's assumption of restrictive orthodox Jewish practices but they pitch in. The mother coldly rejects the presence of Hannah's fiance, a non-Jew named Luis (Fedja van Huet). A domestic crisis might well erupt as Ruth warns that she'll disown Hannah if she doesn't give up doting, handsome Luis. Stay tuned.

A cousin arrives to pay her respects and also drops clues to an interested Hannah about a wartime mystery about mom's childhood in Berlin. Hannah is intrigued - she queries her mom who resolutely refuses to discuss that part of her life. This is very, very realistic. I grew up with parents who fled Nazi Germany just in time and I knew many children whose families, in whole but usually in part, escaped the Holocaust. Those days were simply not discussed.

So Hannah, having learned that a German gentile woman saved Ruth's life, traipses off to Berlin hoping to find the savior still breathing. Were she not, this would have been a very short film. But Ruth, pretending to be a historian, locates 90 year-old Lena Fischer (Doris Schade), now a widow. As the happy-to-be-interviewed but shaken up by repressed memories Lena tells her story, the scenes shift fairly seamlessly between present day Berlin and the war-time capital.

The young Lena of 1943 (Katja Riemann) was a fine pianist married to a Jewish violinist, Fabian Fischer (Martin Feifel). With the advent of the Nazi regime he was required to use "Israel" as a middle name just as Jewish women had to add "Sarah" to their names(incidentally I wish IMDb had not given Fabian's name on its characters list with the false "Israel" included-it simply perpetuates a name applied by Nazis as a mark of classification and degradation).

While Germany deported most of its Jewish population to concentration camps, those married to "Aryans" were exempted. For a time. Until 1943 when the regime decided to take them too (most were men; a minority were Jewish women married to non-Jews). The roundup is shown here in all its frightening intensity.

The young Lena tries to locate her husband. All she and many other women know is that they're confined in a building on Rosenstrasse. The crowd of anxious women builds up, some piteously seeking help from German officers who predictably refuse aid and also verbally abuse them ("Jew-loving whore" being one appellation). As a subplot Lena more or less adopts eight-year-old Ruth who hid when her mother was seized (remember, Ruth is now sitting shiva in Manhattan). The child Ruth is fetchingly portrayed by Svea Lohde.

Through increasingly angry protestations the women finally prevail. The men, and a handful of women, are released. As in the real story the Nazis gave in, one of the rare, almost unprecedented times when the madmen acknowledged defeat in their homicidal agenda (another was the termination of the euthanasia campaign to rid the Reich of mental defectives and chronic invalids but that's another story).

Von Trotta builds up the tension and each woman's story is both personal and universal. Hannah continues to prod the aging Lena who slowly, one gathers, begins to suspect she's not dealing with an ordinary historian but rather someone with a need to learn about the girl she rescued, the child whose mother was murdered.

The contrasts between Rosenstrasse of 1943, a set, and the street today in a bustling, rebuilt, unified Berlin provide a recurring thematic element. Today's Berlin bears the heritage but not the scars of a monstrous past. Von Trotta makes that point very well.

The main actors are uniformly impressive. Lena's husband while strong is also shown as totally helpless in the snare of confinement with a likely outlook of deportation (which is shown to have been clearly understood by all characters - including the local police and military - as a one-way trip to oblivion). The older Ruth is catalytically forced to confront demons long suppressed in her happy New York life. Hannah is very believable as a young woman whose father's death triggers a need to discover her family's past. These things happen (although the Times's critic appears not to know that).

Von Trotta's hand is sure but not perfect. A scene with Goebbels at a soiree enjoying Lena's violin playing is unnecessary and distractive. The suggestion that she may have gone to bed with the propaganda minister, the most fanatical top-level Hitler worshiper, to save her husband detracts from the wondrous accomplishment of the demonstrating spouses and relatives. Most of the German officers come from central casting and are molded by the Erich von Stroheim "copy and paste" school of Teutonic nastiness. But that's understandable.

The Rosenstrasse story has been the subject of books and articles and some claim it's a paradigm case for arguing that many more Jews could have been saved had more Germans protested. Unfortunately that argument is nonsense. The German women who occupied Rosenstrasse were deeply and understandably self-interested. Most Germans were located on a line somewhere between passive and virulent anti-Semitism. THAT'S why the Rosenstrasse protest was virtually singular. Whether one buys or rejects the Goldenhagen thesis that most Germans were willing accomplices of the actual murderers it just can not be denied that pre-Nazi endemic anti-Semitism erupted into a virulent strain from 1933 on.

The elderly Lena remarks that what was accomplished by the women was "a ray of light" in an evil time. Most of the men and women sprung from a near death trip survived the war. So "a ray of light" it was and von Trotta's movie is a beacon of illumination showing that some were saved by the courage of largely ordinary women and for every life saved an occasion for celebration exists. And always will.


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NYC Scenes Filmed in English + Dubbed in German? kellis329
To me, the facts weren't explained clearly kathysnet
Remark made by Gestapo officer wataru-7
Why did Hannah have a German accent? mardidee
How did ***** die? (spoiler) lauriejoyce
Great movie line Simon_Bocanegra
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