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November Days (1991)

Marcel Ophüls, a frankfurt-born jew who emigrated to England, draws a genuine picture of the leadership and people in the GDR. Pitting the heads of the GRD leadership against each other by ... See full summary »


Marcel Ophüls
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"Love at Twenty" unites five directors from around the world to present their different perspectives on what love really is at the age of 20. The episodes are united with the score of ... See full summary »

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Cast overview, first billed only:
Anne Blaurock Anne Blaurock ... Herself
Bärbel Bohley Bärbel Bohley ... Herself
Barbara Berg Barbara Berg ... Herself (as Barbara Brecht-Schall)
Familie Felgner Familie Felgner ... Themselves
Susi Fischer Susi Fischer ... Herself
Werner Fischer Werner Fischer ... Himself
Hans Golle Hans Golle ... Himself
Lieselotte Golle Lieselotte Golle ... Herself
Stephan Hermlin Stephan Hermlin ... Himself
Uwe Holmer Uwe Holmer ... Himself
Curt Jung Curt Jung ... Himself
Bernd Kleneberg Bernd Kleneberg ... Himself
Mario Kölkhe Mario Kölkhe ... Himself
Klaus Dieter Kubat Klaus Dieter Kubat ... Himself
Manfred Kühnen Manfred Kühnen ... Himself


Marcel Ophüls, a frankfurt-born jew who emigrated to England, draws a genuine picture of the leadership and people in the GDR. Pitting the heads of the GRD leadership against each other by relentlessly entangling them in their own lies and inconsistencies, he reveals the true face of the practical socialism - its mediocrity, its narrow-mindedness, its lack of taste and its lack of character.

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Germany | UK


German | English | French

Release Date:

8 May 1992 (USA) See more »

Also Known As:

Marraskuun päivät See more »

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Featured in Zomergasten: Episode #6.2 (1993) See more »

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User Reviews

Ophüls at his worst
9 June 2011 | by motorinoSee all my reviews

Ophüls' worst moment as a director. Makes Michael Moore look shy and modest in comparison. Interviews are an annoying, uneven mix of shameless ass-kissing, objective questioning, and slimy backstabbing, often painful to watch. Director seems overwhelmed by the complexity of the problems. More than once he creates embarrassing moments through his lack of insight and preparation by pushing ridiculous, unrelated agendas. His silly outbreaks and dumb remarks leave viewer stunned; probably wants to parade his Jewish playfulness to set himself apart from stiff Germans who try to discuss their history in earnest. Far from being a masterpiece or even a decent effort. Film creates some strong, true moments but is altogether pathetic and annoying for its shocking lack of historical perspective, political understanding, and questioning skills. Heiner Müller, one of East Germany's greatest minds, does not look good kissing up to Ophüls. Hats off to Kurt Masur (and to Ophüls for putting it in the movie).

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