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Sophie Scholl: The Final Days (2005)
"Sophie Scholl - Die letzten Tage" (original title)

7.7
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Ratings: 7.7/10 from 19,608 users   Metascore: 76/100
Reviews: 94 user | 130 critic | 30 from Metacritic.com

A dramatization of the final days of Sophie Scholl, one of the most famous members of the German World War II anti-Nazi resistance movement, The White Rose.

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Cast

Cast overview, first billed only:
...
Alexander Held ...
Fabian Hinrichs ...
Johanna Gastdorf ...
André Hennicke ...
Anne Clausen ...
Traute Lafrenz (voice)
Florian Stetter ...
Maximilian Brückner ...
Johannes Suhm ...
Lilli Jung ...
Klaus Händl ...
Lohner
Petra Kelling ...
Jörg Hube ...
Franz Staber ...
Maria Hofstätter ...
Wärterin
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Storyline

The Final Days is the true story of Germany's most famous anti-Nazi heroine brought to life. Sophie Scholl is the fearless activist of the underground student resistance group, The White Rose. Using historical records of her incarceration, the film re-creates the last six days of Sophie Scholl's life: a journey from arrest to interrogation, trial and sentence in 1943 Munich. Unwavering in her convictions and loyalty to her comrades, her cross-examination by the Gestapo quickly escalates into a searing test of wills as Scholl delivers a passionate call to freedom and personal responsibility that is both haunting and timeless. Written by Diaboyos

Plot Summary | Plot Synopsis

Taglines:

The true story of a young woman who did what few in Nazi Germany dared even think! See more »


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Details

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Release Date:

24 February 2005 (Germany)  »

Also Known As:

Sophie Scholl: The Final Days  »

Filming Locations:

 »

Box Office

Opening Weekend:

$34,560 (Argentina) (10 November 2006)

Gross:

$34,560 (Argentina) (10 November 2006)
 »

Company Credits

Show detailed on  »

Technical Specs

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Sound Mix:

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Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

The Stadelheim prison in Munich's Giesing district, where the execution of Sophie Scholl and many others (at least 1,035) took place during the Third Reich, is still in use as a prison as of 2014. Adolf Hitler had also been imprisoned here for a month in 1922. See more »

Goofs

In the long interrogation in the middle of the film, the pile of index cards in front of interrogator Mohr keeps moving around on the table. See more »

Quotes

Richter Dr. Roland Freisler: In the name of the German people, in the criminal case against Hans Fritz Scholl from Munich, Sophia Magdalena Scholl from Munich, and Christoph Hermann Probst from Aldrans, the people's court has reached a verdict following court proceedings on 22 February, 1943: The defendants published leaflets at a time of war, calling for people to sabotage armaments, and to overthrow our people's National Socialist way of life. They propagated defeatist ideas and visciously insulted the Fuhrer. By so ...
[...]
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Connections

Referenced in The Making of 'Sophie Scholl - Die letzten Tage' (2005) See more »

Soundtracks

Voiceless
Written by Christoph Gracian Schubert
Performed by Christoph Gracian Schubert
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User Reviews

 
Heroism to respect and cherish
1 February 2006 | by (United Kingdom) – See all my reviews

True heroism, like martyrdom, must be imposed by fate, not sought. This is a profound moral principle that exercised Joseph Conrad in Lord Jim. Again, Robert Bolt's Sir Thomas More in A Man For All Seasons does everything he can to avoid his looming martyrdom - except sacrifice his conscience and moral identity.

This is not the only moral concept within this quiet, dignified, deeply moving German film, that resonates with significance for today's world. Much literature and most films, portray heroism as dramatic, with feats of daring and thrilling actions. This finely judged, beautifully played little film shows us heroism of a different kind: an unshakeable belief in justice, loyalty to personal conscience, and conviction unto death of the reality of the idea of freedom.

The story of the events leading up to the actual execution in 1943, of Sophie Scholl, her brother Hans and friend Christoph Probst, is horrifying for the sheer banality of their offence. As members of a student group, the White Rose, they were secretly distributing pamphlets daring to question Hitler's conduct of the war and the likelihood of victory. On discovery they are drawn into a process with none of the strutting, grandiose black clad villains so beloved of decades of British and American movies. Like someone standing too close to a dangerous machine, they are caught by a tiny thread of circumstance and increasingly dragged deeper and deeper into its destructive mechanism.

Each meticulous step in their tragedy is efficiently recorded, documented and processed with a detached calm that makes one shudder when one recalls the sheer bureaucratic efficiency with which the same machine disposed of 6 million Jews, Gypsies, and other selected groups of human beings. It is enormously affecting that three of the brightest and best of German youth are subjected to the same fate because of their refusal to conform to a corrupted nationalism and a cowed people. Perhaps because it suggests that the collective insanity that was Germany in the 30's and 40's was not a uniquely German phenomenon but one to which any society might succumb if the voice of justice is silenced, the rule of law subverted and fear becomes the currency of social life. Another conventional and comfortable fiction of British and American movies cast in doubt. And a thought for today.

The moral and dramatic heart of this absorbing film is in Sophie's extended interrogation by Mohr (Gerald Held), one time rural policeman now grateful to the Reich for his elevation to interrogator with the power of life or death over his prisoners. Mohr looks more like a stern Bank Manager unconvinced by a cash-flow projection than a leering, jack-booted man in black with silver lightning flashes. A father himself, he clearly finds Sophie's moral conviction and stubborn resistance disturbing. He can relate to her intelligence, her attractiveness, determination and self-destructive honesty. Everything except her moral condemnation of Hitler and the Reich. Mohr is like someone who knows the emperor is naked but is shocked when someone says it out loud. The acting in these scenes is simply superb, we see Sophie's sheer naked courage and idealistic conviction shake Mohr's blind unquestioning conformity. Only to be retrenched behind blank, dead, unthinking eyes.

The excellent Julia Jentsch (The Edukators and Downfall) plays brilliantly the intelligent, idealistic Sophie with her absolute commitment to justice and freedom. She moves towards her death through a system reminiscent of a strictly run, aseptic hospital. And at every step of the way, we see ordinary people, trapped in a nightmare they can see but not change. Each finds a way to show Sophie their empathy; from the communist prisoner staying alive by working for her jailors to the warderess who bends the rules to allow the three condemned young people a final cigarette and hug of comfort before their execution.

A great strength of the movie is that Sophie's religious faith is shown but left entirely personal. Both in her interrogation and sham trial, she appeals to moral principle and humanity not religious belief, in her defence of freedom and her refusal to be silent in the face of injustice.

This film is as unsettling as it is moving. It makes one ask - how many of us in similar circumstances, would have the courage to stand against the sheer weight of social conformity reinforced by an atmosphere of fear and an implacable application of lethal power? Heroism indeed, serving a belief in the ultimate right to personal conscience and the indestructibility of the idea of freedom in justice. The intensely moving photographs of the real Sophie Scholl and White Rose group that close the film give them a final victory over their oppressors. Sixty years after their deaths, their story is told and their memory cherished. It is fitting that such heroism be recognised. If you can seek this one out don't miss it. Inspirational.

zettel


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