Berlin, été 42

Who would expect a film set in 1942 Nazi Germany about a group of resistance fighters to be cheerful? But this film, based on true events, is compelling if at times confronting. Hilde is a young, pregnant woman who with her husband is caught with an illegal radio transmitter and is eventually sentenced to death. Through flashbacks the film tells the story of the couple meeting and the attempts at resistance they and their friends undertake. Oddly, these flashbacks do move around in time, mostly but not always moving further back, but it's always clear where the viewer is. Once caught, Hilde's prison experience is at times confronting, but I really appreciated that most of the prison staff are not presented one dimensionally but with touches of humanity as well. As noted in the details in IMDB, the film concludes with a few words from her son, born in prison and now 80. Overall, the acting, the cinematography and the editing are properly subservient to the storytelling so that only in retrospect does one realise how effective they are.

Movie based on true events of how Hilde Coppi got involved in the german resistance group named "Rote Kapelle" ("Red Orchestra"). This resistance group was thereby focussed mainly on contacts with Russia. The movie thereby has a main focus on the arrest and imprisonment that took place around 1942-43, whilst Hilde Coppis involvement in the Rote Kapelle is shown through many flashbacks.

At first sight, this movie makes you think about the 2005 movie which is about "Sophie Scholl", whom was a member of the Munich resistance group "Weisse Rose". I personally think though that the two movies could not be more different. The movie about Hilde Coppi is way more slowgoing - and at times even a depressing watch - than the movie about Sophie Scholl. A lot of it has of course to do with what the director of the movie wanted to show: (1) a fast paced life with high risk resistance work in the movie about Sophie Scholl, versus (2) love and suffering in the movie about Hilde Coppi.

The acting and scenes are all very attractive to watch. Apart from some minor mistakes - including the often made mistake of using glasses with modern lenses having a green/purple anti glare coating - this movie looks pretty period-authentic. I personally think though that this movie could benefit significantly if it would be shortened to 90 minutes (instead of its current 125 minutes). It also could benefit from adding good music since it is pretty "silent" on that point.

Overall, I score this movie 5.6/10, resulting in a 6-star IMDb rating. Due to the relevance of the Rote Kapelle resistance group, this movie is an interesting watch for anyone who wants to learn more about how german people themselves tried to pose some resistance against the Nazi regime.

BERLINALE 2024: Nomination for the Golden Bear

A calmly told film about Hilde Coppi (1909 - 1943), who was sentenced to death by the National Socialists as a member of the communist resistance group ROTE KAPELLE. Liv Lisa FRIES, the superstar from the German quality series BABYLON BERLIN, plays this extraordinary role with calm precision.

The German director Andreas DRESEN has been making very successful films that deal with Germany's past and present for 25 years. DRESEN has already been nominated twice for the EUROPEAN FILM AWARD (2002 for HALBE TREPPE / 2008 for WOLKE NEUN).

Partly in flashbacks (with wonderful images of the Müggelsee in summer), the story of the married couple Hans (Johannes HEGEMANN) and Hilde Coppi, who offered modest resistance to the Nazi regime through a communist-minded circle of friends, is impressively told. Both were sentenced to death in the merciless dictatorship. Their son Hans Coppi Junior was born while they were still in prison, and his voice can be heard at the end of the film as an 80-year-old man.

This film is a monument to the Coppis and their circle of friends that is worth seeing. Other roles include wonderful German actors such as Lisa WAGNER as a prison guard who is gradually becoming capable of compassion, Alexander SCHEER (EUROPEAN FILM AWARD 2019: nomination for GUNDERMANN) as a sensitive priest and Florian LUKAS (known from the German quality series WEISSENSEE) as a nasty prison doctor.

Well worth seeing!

This is a movie to love but, at the same time, it's one that's very hard for any reasonably sensitive person to watch. I thought that Liv Lisa Fries in the lead role as Hilde Coppi was really quite excellent. I hadn't seen her in any other productions before this one and I was prompted to look at other work she's done and which I might also value.

"From Hilde, With Love", original German title "In Liebe, Eure Hilde" reminded me very much of another German movie "Sophie Scholl: The Final Days" which starred another remarkably good German actress named Julia Jentsch. Obviously the theme of both movies is very similar and the denouement identical. I'm sure I was not alone in thinking and hoping that the resolution of Hilde's case might have been different to Sophie's. Alas, no.

This movie, like Sophie Scholl, reinforces, if that were necessary, just how terrifying life must have been under the rule of the Nazis, where any action at all that might be construed as harmful to "the State" could lead to suffering and worse.

"From Hilde, With Love" is a quite excellent movie and one which I might try to watch again at some time although that will be difficult for me.

8 out of 10 from me.

JMV.

I found this a really riving watch. I have a history with radical movements, and I found a lot of similarities in terms of the way the group dynamics played out with the resistance members. What was really surprising is the tactful way that the 'ordinary life' of many of the average or upper-middle class Germans faced, with the exception of the war hanging over everybody's head.

The portrayal of some of the more sympathetic members of the German state apparatus was really well done as well. They respected a number of her wishes (despite initially bleating out that things were just 'the rules'), and responded well to the perfectly reasonable requests of the characters.

The ending was jarring in a good way, and left me sat in my seat in the cinema even after the credits had finished. Very moving and inspiring, despite being considered 'not a date night film' by the people sat behind me.