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Dom över död man (2012)

Unrated | | Biography, Drama | 20 June 2014 (USA)
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A story based on the life of journalist Torgny Segerstedt, who alerted the Swedish public to the threat of Fascism in the 1930s.



(book), (screenplay) | 1 more credit »
3 wins & 6 nominations. See more awards »



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Cast overview, first billed only:
Puste Segerstedt
Axel Forssman
Kenneth Milldoff ...
Per Albin Hansson
Marcus Wallenberg
Christian Günther
Birte Heribertson ...
Estrid Ancker
Anita Levisson
Ingrid Segerstedt
Åsa-Lena Hjelm ...
Marina Nyström ...
Hanna Holmqvist ...
Eva Segerstedt
Pasi Ilvesviita ...
Tojje Segerstedt


Torgny Segerstedt was one of the leading journalists in Sweden in the 20th century. He fought a one man battle against Hitler and the Nazi regime until his death in 1945 and during these tumultuous times his private life was marked by a world in chaos, as he falls in love with his friend's wife while married himself. THE LAST SENTENCE weaves together the story of a psychological love story with a portrayal of the political situation Sweden found itself in during the Second World War. A gripping, dramatic and poetic tale about a man, who could not be silenced. Written by Filmlance International

Plot Summary | Plot Synopsis


On the man who challenged the Third Reich. See more »


Biography | Drama


Unrated | See all certifications »

Parents Guide:






Release Date:

20 June 2014 (USA)  »

Also Known As:

The Last Sentence  »


Box Office

Opening Weekend USA:

$9,971, 27 June 2014, Limited Release

Gross USA:

$62,297, 29 August 2014
See more on IMDbPro »

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Did You Know?


The craftsmen briefly appearing at the editorial office, Eddie Axberg and Pierre Lindstedt have both more or less leading roles in an other Jan Troell film, The Emigrants (Utvandrarna). See more »


In the movie at a party which is supposed to take place 1938 the swedish song "Hur har du det med kärleken idag?" is played and also sung by the character Maja Forssman. This song is from 1945 and was then made popular by the famous swedish artist Ulla Billquist. See more »

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User Reviews

An Imperfect Free Speech Hero
27 January 2015 | by See all my reviews

It was troubling to view Swedish director Jan Troell's 2012 film based on the experience of crusading journalist Torgny Segerstedt, so soon after the recent tragic assassinations at Charlie Hebdo in Paris. Segerstedt was editor-in-chief of one of Sweden's leading newspapers, and between 1933 when Hitler came to power and his own death in 1945, Segerstedt was a fierce opponent of Naziism, even though much of Sweden's leadership, including the king, was determined to remain neutral and out of the war. The struggle for journalists' right—some would say duty—to speak out despite risks to themselves and others has not ended. Beautifully played by Jesper Christensen, Segerstedt left himself open to criticism and to the devaluing of his motivations by his long affair with a Jewish woman, wife of his publisher. Hollywood's crusading journalists are noble and flawless (think All the President's Men), their presumed moral authority overshadowing any rough spots in their personalities, whereas Segerstedt's uncompromising character is pompous at times and unpleasant at others, he basks in his celebrity, and he's downright cruel to his wife. "Easy to admire, but very hard to like," said RogerEbert.com reviewer Glenn Kenny. Truth told, he loves his dogs best. Producing this film in black and white may have symbolic significance or may be just the preferred Scandinavian style—the film is Swedish, after all. In another Bergman-like touch, Segerstedt sees and converses with the black-clad ghosts of his mother and other women. Slow-moving, like the clear stream (of words?) against which the opening and closing credits appear, there is only a fleeting soundtrack to support the action. The film left me with a lot of unanswered questions. What happened with his writing? When the authorities demanded that a particular edition not be distributed because of its anti-Nazi editorial (which suggests they had imposed some censorship regime), Segerstedt printed it with a big white space where the editorial would have been. Nice. But we never learn whether he was allowed to continue writing after that (or how he was stopped) until a scene that takes place years later. How did the war affect the Swedish people? There's little hint of that, beyond putting up blackout curtains. It seems they had electricity, they had food, petrol, champagne at New Year's. It's primarily the awareness of Nazi behavior that the viewer brings to the film that explains and justifies both Segerstedt's simmering outrage and his country's policy of appeasement. He and his mistress both have suicide plans, if it came to that, but in the absence of any tangible, on-screen threat, their preparations seem self-dramatizing and almost childish. Segerstedt in a sense provides his own epitaph, which is also the Swedish title of the movie—"Judgment on the Dead"— based on a line from a famous Old Norse poem, which says the judgment on the dead is everlasting. History's judgment on Segerstedt would be that he was of course right about the Nazis. And if, as the King believed, it would have been his fault if the Germans invaded the country, he would have been among the first to die. NPR's Ella Taylor called the film "A richly detailed portrait of a great man riddled with flaws and undone by adulation."

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