Sophie Scholl: The Final Days

I like the movie, it's the kind of movie that you can feel with your skin and bones. And the film has been a great success in international festivals. The movie is mostly shot indoors and has a good direction, and you can't ignore the acting of Sophie, she is wonderful.

A remarkable film that strives for authenticity and credibility. I saw this film recently, very much under the influence of my girlfriend, who is a distant relative of Sophie Scholl. I had heard of this historical character but I confess that I deepened my knowledge of it. It was worth watching this film and rediscovering this figure, remarkable for the **** resistance. The film is heavily based on historical documents and reports from people who lived with Sophie Scholl. This is enough to give this film a credible basis for greater realism, which has been fully achieved. The film never sounded false, imaginative or invented. The whole plot is centered on the arrest of Sophie Scholl and her brother Hans, and on the process, interrogation and trial of the two, to which a third conspirator joins. The film is not brutal and they are not subjected to torture or anything ... but the interrogations are harsh and do not spare the young woman questions in which she ends up contradicting herself and confessing. A precious moment in the film happens when Sophie debates with the police officer who interrogates her. The ideological debate between the two characters shows the ambiguity and fragility of the logic of the **** doctrine, and attests to the firm conviction of the young prisoner. The trial scene, in turn, reveals the way in which justice was applied: no matter the truth, the sentence was decided, it is important to give a show and make the three students an example so that other young people, who want to think for themselves, know what can happen to them. I am not a specialist in German cinema, so it is not surprising that I do not know any of the actors involved. Julia Jentsch seemed to me to be a good choice for her physical resemblance to the real Sophie Scholl and it seems to me that she did a good job overall. Alexander Held was very good in that he gave the interrogator an unexpected humanity for someone so faithful to **** doctrine. His character, more than once, reveals feeling compassion for the young Sophie, even though she dislikes her idais. Perhaps this is an interesting fact for us: even among the most faithful **** there would be, as it is likely, good-natured people who only later realized the size of their mistake. Fabian Hinrichs and Florian Stetter were competent like Hans and Probst, but both had little to do and little time on the scene. André Hennicke was truly the face of **** cruelty and hypocrisy. Jörg Hube and Petra Kelling were good additions. Technically, I don't see any major flaws. I tend to be very attentive to issues of historical correctness in period films, but I didn't see much that could possibly be incorrect. Only, perhaps, the choice of American jazz to be played on the radio in the opening scenes ... I don't know if the **** would allow this type of music, even the most popular, to be played on the radio, with the III Reich at war with the USA. But that was just a note and does not interfere with the credibility of the film. I also observed some caution and restraint in using the word "Fuhrer" and ostensibly **** symbols, such as the flag, but I do not know if this is an influence of current politics in Germany, which condemns its public appearance. Other than that, the film has good sets and costumes, it is very restrained in the effects, it seems to me that it has been very well edited and edited, and it has a very interesting soundtrack, dominated by jazz. Nominated for the Oscar for Best Foreign Language Film, it is undoubtedly an interesting film and to some extent even educational, as it presents a relevant historical figure, in a relatively mild film in terms of brutality. It is not a film for children but I think that teenagers and young people can see it without problems.