IMDb > Sophie Scholl: The Final Days (2005)
Sophie Scholl - Die letzten Tage
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Sophie Scholl: The Final Days (2005) More at IMDbPro »Sophie Scholl - Die letzten Tage (original title)

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Sophie Scholl: The Final Days -- 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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Release Date:
24 February 2005 (Germany) See more »
In 1943, one young woman stood up to the Nazis, her courage made her a legend, this is her story . . . See more »
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. Full summary » | Full synopsis »
Plot Keywords:
Nominated for Oscar. Another 19 wins & 12 nominations See more »
User Reviews:
Heroism to respect and cherish See more (93 total) »


  (in credits order) (complete, awaiting verification)

Julia Jentsch ... Sophie Magdalena Scholl
Alexander Held ... Robert Mohr
Fabian Hinrichs ... Hans Scholl
Johanna Gastdorf ... Else Gebel
André Hennicke ... Richter Dr. Roland Freisler
Anne Clausen ... Traute Lafrenz (voice)
Florian Stetter ... Christoph Probst
Maximilian Brückner ... Willi Graf
Johannes Suhm ... Alexander Schmorell
Lilli Jung ... Gisela Schertling
Klaus Händl ... Lohner
Petra Kelling ... Magdalena Scholl
Jörg Hube ... Robert Scholl
Franz Staber ... Werner Scholl
Maria Hofstätter ... Wärterin
Wolfgang Pregler ... Hausmeister Jakob Schmid
Christian Hoening ... Reichsanwalt Weyersberg
Paul Herwig ... Rechtsanwalt August Klein
Walter Hess ... Pfarrer Dr. Alt
Norbert Heckner ... Rektor Prof. Dr. Wüst
Frederike Schinzler ... Anneliese Graf
Anton Figl ... Rechtsanwalt Ferdinand Seidl
Dorothea Senz ... Protokollführerin
Hagen Schnauss ... Gerichtsreferendar Samberger
Harald Geil ... Oberleutnant
Dieter Rupp ... Zellenwärter
Christian Wienhöfer ... Gestapobeamter 1
Hans Jörg Finselberg ... Gestapobeamter 2
Michael Esslinger ... Wachtmeister Anklagebank Links
Manfred Auer ... Wachtmeister Anklagebank Rechts
Johannes Herrschmann ... Scharfrichter
rest of cast listed alphabetically:
Joseph Goebbels ... Himself (voice) (archive footage) (uncredited)
Joachim Höppner ... Narrator (voice) (uncredited)
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Directed by
Marc Rothemund 
Writing credits
(in alphabetical order)
Fred Breinersdorfer 

Produced by
Fred Breinersdorfer .... producer
Sven Burgemeister .... producer
Ulrich Herrmann .... co-producer: SWR (as Ulli Herrmann)
Jochen Kölsch .... co-producer: BR/Arte
Christoph Müller .... producer
Bettina Reitz .... co-producer: BR
Marc Rothemund .... producer
Andreas Schreitmüller .... co-producer: Arte
Hubert von Spreti .... co-producer: BR
Original Music by
Reinhold Heil 
Johnny Klimek 
Cinematography by
Martin Langer 
Film Editing by
Hans Funck 
Casting by
Nessie Nesslauer 
Production Design by
Jana Karen  (as Jana Karen-Brey)
Costume Design by
Natascha Curtius-Noss 
Makeup Department
Gregor Eckstein .... key makeup artist
Martine Flener .... makeup artist
Jeannette Latzelsberger .... assistant makeup artist
Elke Lebender .... makeup artist
Dorota Martyn .... assistant makeup artist
Tanja Straub .... assistant makeup artist
Production Management
Patrick Brandt .... production manager
Christine Jahn .... post-production supervisor
Joelle Saba Suys .... unit manager
Jo N. Schäfer .... production supervisor
Second Unit Director or Assistant Director
Hellmut Fulss .... first assistant director
Philip Haucke .... first assistant director (last three weeks)
Meryem Lehrer .... second assistant director
Art Department
Fritz Galla .... property master
Josef Jacob .... construction coordinator
Maximilian Lange .... assistant production designer
Sound Department
Peter Brückelmayer .... sound assistant (as Peter Brücklmair)
Tschangis Chahrokh .... sound re-recording mixer
Daniel Dietenberger .... sound designer
Monika Gussner .... adr editor
Magda Habernickel .... dialogue editor
Manuel Mayer .... additional foley editor
Henry Mayr .... sound project coordinator
Christian Neff .... assistant re-recording mixer
Pierre Peters-Arnolds .... dubbing director
Anna Rupp .... assistant sound mixer
Alexander Saal .... supervising sound editor/sound designer
Uwe Schiefer .... sound assistant
Philipp Sellier .... foley recordist
Roland Winke .... sound
Norbert Zich .... sound consultant: Dolby
Special Effects by
Thomas Bedenk .... matte paintings
Visual Effects by
Markus Drayss .... digital artist
Nico Feindt .... 3D artist: Arri Digital
Oliver Kirchhoff .... visual effects
Marion Klaussner .... 3D artist: Arri Digital
Sabine Laimer .... digital artist: ARRI Digital Film
David Laubsch .... digital compositor
Alexander Nowotny .... 3D artist: Arri Digital
Daniel Plappert .... digital film scanning
Abraham Schneider .... digital compositor
Steven Stueart .... digital film scanning (as Steve Stueart)
Dominik Trimborn .... visual effects supervisor: ARRI
Klaus Wuchta .... digital compositor
Camera and Electrical Department
Kai-Uwe Dargusch .... electrician (as Kai Dargusch)
Wolfgang Dell .... gaffer
Christian Dlusztus .... first assistant camera
Raphael Fink .... electrician
Thomas Frischhut .... Steadicam operator
Armin Golisano .... second assistant camera: "b" camera
Wolfgang Haendl .... electrician (as Wolfgang Händl)
Erika Hauri .... still photographer
Klaus Niemeier .... grip
Jürgen Olczyk .... still photographer
Harold Peter .... grip
Marcus Pohlus .... Steadicam operator
Blair Reid .... electrician
Christoph Schielein .... electrician
Nikolaus Schumacher .... second assistant camera: "b" camera
Stefan Sosna .... first assistant camera: "b" camera
Markus Thanner .... electrician
Laurent Trümper .... still photographer
Nathalie Wiedemann .... camera operator: second camera
Casting Department
Nina Marg .... casting assistant
Costume and Wardrobe Department
Claudia Börsch .... costumer
Fatou Fafana-Kniez .... wardrobe (as Fatou Fofana-Kniesz)
Kristine Franke .... wardrobe assistant
Nele Simon .... wardrobe assistant
Olivia Vossenkuhl .... wardrobe assistant
Karoline Weichmann .... wardrobe assistant
Editorial Department
Andschana Eschenbach .... assistant editor
Hans Horn .... trailer editor
Renate Siegl .... negative cutter
Andrea Voggenauer .... negative cutter
Music Department
Leah Curtis .... orchestrator
Peter Fuchs .... music recording engineer
Reinhold Heil .... music mixer
Bronwen Jones .... orchestrator
Johnny Klimek .... music mixer
Gabriel Isaac Mounsey .... additional music programmer
Gert Wilden Jr. .... composer: piano score
Bruce Winter .... music mixer
Other crew
Grit Belitz .... assistant location manager (as Grit Simbeck)
Ulrich Chaussy .... researcher
Ulrich Fuchs .... legal counsel (as Dr. Ulrich Fuchs)
Darius Ghanai .... title designer
Ruben Hanne .... location manager: second unit
Christian Hartmann .... researcher
Valerie Kitzinger .... assistant location manager
Julian Kähler .... set runner
Nina Kötter .... continuity
Monika Materna .... production accountant
Markus Müller .... researcher
Isolde Nkouanga .... production assistant
Tony Ramos .... production accountant
Daniel Rosness .... set runner (as Dany Rosness)
Imre Török .... researcher
Jonathan Van Hest .... set runner
Carolin von Fritsch .... set manager

Production CompaniesDistributorsSpecial EffectsOther Companies
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Additional Details

Also Known As:
"Sophie Scholl - Die letzten Tage" - Germany (original title)
"Sophie Scholl" - International (English title) (informal short title), UK
See more »
120 min | Argentina:117 min
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Filming Locations:

Did You Know?

This film's final afterword states: "Thanks to Helmut von Moltke, the 6th leaflet of the White Rose was taken to England vis Scandinavia. In mid-1943, millions of copies were dropped by Allied planes over Germany. They now bore the title: 'A German Leaflet, Manifesto of the Students of Munich'."See more »
Crew or equipment visible: When Sophie goes to the bathroom at the police station, a boom mic is reflected in the mirror above the wash basinSee more »
Robert Scholl:There is a higher justice!See more »
Movie Connections:
Mother And SonSee more »


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90 out of 100 people found the following review useful.
Heroism to respect and cherish, 1 February 2006
Author: ( from United Kingdom

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.


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