Uma Mulher Contra Hitler

In 1943, in Munich, the siblings Sophie Magdalena Scholl (Julia Jentsch) and Hans Scholl (Fabian Hinrichs) distribute anti-Nazi pamphlets in the University of Munich. However, they are arrested by the Gestapo and Sophie is interrogated by Robert Mohr (Alexander Held).

Sophie becomes loyal to her ideal and to her comrades of The White Rose resistance group and pleads guilty of all charges to save them. In a couple of days, she is judged by a Nazi court with her brother Hans and their friend Christoph Probst (Florian Stetter ) and they are sentenced to death and beheaded.

"Sophie Scholl - Die Letzten Tage" recreates the last days of the twenty-one year-old Sophie Magdalena Scholl, who was a student of the University of Munich and leader of the Anti-Nazi resistance group The White Rose. This awarded film has great performances and direction, and the dialogs are awesome, specially the ideological discussion between Sophie and Mohr during the interrogation.

I am a big fan of German movies and for those who liked "Sophie Scholl - Die Letzten Tage", there is another good film about this resistance group named "Die Weiße Rose" (1982). My vote is eight.

Title (Brazil): "Uma Mulher Contra Hitler" ("A Woman against Hitler")

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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As a person who spent many years 'making art', I could not be more amazed reading some of the comments. I've just been to a preview of Sophie Scholl in Manchester, England; and I am not only glad that this movie has been made, but also that it is done at the time when young people are happier to do 'whatever' rather than have any principles.

There is no point debating historical accuracy. As it followed from the Q&A session with Marc Rothemund following the preview, not only the filming took place at the original locations that are still there, but the crew went at great length doing things 'right', including getting the weather reports for February 1943. Yes, there is this strange feeling of looking at the film's title, which sounds like the title for a documentary. But then I didn't gather the impression that Rothemund's goal was to poeticise the story of Sophie Scholl. I think it is quite enough that in Germany she is perceived as a martyr. What Sophie Scholl - Die Letzten Tage does successfully is it shows a person behind the image, a young girl (younger than myself), who was prepared to die for her idea, but desperately loved life.

I read critical comments, and mine was in part sparked by them. Far from trying to debate their correctness, I'll do exactly what I always do on these occasions. Guys, those of you who decide to write next dismissive drag, instead tell us how you would direct in Rothemund's place. Or how would you act in place of Julia Jentsch? If you have really valid suggestions, we'll all be happy to hear.

I saw this film on February 14th, 2006 in Indianapolis. I am one of the judges for the Heartland Film Festival that screens films for their Truly Moving Picture Award. A Truly Moving Picture "…explores the human journey by artistically expressing hope and respect for the positive values of life." Heartland gave that award to this film.

The place and time are Nazi Germany of 1942-43. Germany is starting to have serious war setbacks like their huge loss and immense casualties at Stalingrad, and the allies, consisting of England, the United States, and Russia, are united in the destruction of the Third Reich. Within Germany, the opposition to Hitler, the Gestapo, and fascism is laughably small. Students with mimeograph machines try to educate and motivate other students to rally and protest. These students have to do this clandestinely because their activities are considered high treason and there is no freedom of speech or assembly.

Sophie Scholl and her older brother Hans are caught distributing subversive, anti-Hitler literature. The film focuses on the 21 year old Sophie, and she is NOT the weaker sex. She is interrogated for days and she is a spectrum of people far beyond her years; i.e., young, afraid, conniving, brave, docile, belligerent, religious, tough, tender, mature, etc.

The film is shot in color, but the color is heavily muted and it looks almost black and white. That is appropriate because the film plays as much as a documentary and as it does as a fictional drama. In fact, this story is based on a true story.

We live in a time when the head of Iran thinks the Holocaust didn't happen. It is moving to see that at least some young people in Germany during World War II were ashamed and disgusted by their country's murder of Jews, the mentally ill, gypsies, and women and children of occupied countries.

Sophie's religious beliefs were inspiring. She did not blame her God and she did not feel forsaken. God was simply her strength that she humbly called upon when she needed it most.

This film appears to have been made with a low budget. But, the impact is as powerful as large-budgeted films with similar themes like "Schindler's List" and "A Man For All Seasons." It has been nominated for an Oscar as Best Foreign Picture this year. And…it deserves the nomination.

FYI – There is a Truly Moving Pictures web site where there is a listing of past Truly Moving Picture Award winners that are now either at the theater or available on video.

This film is not about the „Weisse Rose" (White Rose) resistance group, nor is it about Sophie Scholl. It sticks very closely to its title, and only deals with the last days of Sophie Scholl. Having staked out such a narrow subject, Marc Rothemund is able to narrate the story in great detail. This allows the use of pauses in the dialogue which add to the credibility and drama. I read the official version of the interrogation before seeing the film, and felt that a very good effort had been made to reconstruct what may have actually happened. I also felt that the atmosphere which the film conveyed to be entirely plausible for that time, which I am not old enough to have lived through. For instance, the characters always seemed to be holding back, and not opening their feelings to each other.

Because the official version of the interrogation was dictated by Robert Mohr, it is certain to contain many gaps, such as the lines of questioning before reaching Sophie Scholl's quoted replies. The film may have tended to be too dramatic in filling those gaps. It was surely too dramatic in showing so many chance encounters in the various corridors. Perhaps this tendency to over-dramatise was necessary to present the otherwise rather dry historical events. At least the final result was almost believable, in contrast to many films about the past, and it was an improvement on earlier films covering the White Rose, simply because so much more has come to light since they were made.

This is one of the best dramatic reconstructions of historical events that I have seen.