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Directed by | |||
| Marc Rothemund | |||
Writing credits(in alphabetical order) | ||
| Fred Breinersdorfer | writer | |
Produced by | |||
| Fred Breinersdorfer | .... | producer | |
| Sven Burgemeister | .... | producer | |
| Ulrich Herrmann | .... | co-producer: SWR (as Ulli Herrmann) | |
| Jochen Kölsch | .... | co-producer: BR/Arte | |
| Christoph Müller | .... | producer | |
| Bettina Reitz | .... | co-producer: BR | |
| Marc Rothemund | .... | producer | |
| Andreas Schreitmüller | .... | co-producer: Arte | |
| Hubert von Spreti | .... | co-producer: BR | |
Original Music by | |||
| Reinhold Heil | |||
| Johnny Klimek | |||
Cinematography by | |||
| Martin Langer | |||
Film Editing by | |||
| Hans Funck | |||
Casting by | |||
| Nessie Nesslauer | |||
Production Design by | |||
| Jana Karen | (as Jana Karen-Brey) | ||
Costume Design by | |||
| Natascha Curtius-Noss | |||
Makeup Department | |||
| Gregor Eckstein | .... | key makeup artist | |
| Martine Flener | .... | makeup artist | |
| Jeannette Latzelsberger | .... | assistant makeup artist | |
| Elke Lebender | .... | makeup artist | |
| Dorota Martyn | .... | assistant makeup artist | |
| Tanja Straub | .... | assistant makeup artist | |
Production Management | |||
| Patrick Brandt | .... | production manager | |
| Christine Jahn | .... | post-production supervisor | |
| Joelle Saba Suys | .... | unit manager | |
| Jo N. Schäfer | .... | production supervisor | |
Second Unit Director or Assistant Director | |||
| Hellmut Fulss | .... | first assistant director | |
| Philip Haucke | .... | first assistant director (last three weeks) | |
| Meryem Lehrer | .... | second assistant director | |
Art Department | |||
| Fritz Galla | .... | property master | |
| Josef Jacob | .... | construction coordinator | |
| Maximilian Lange | .... | assistant production designer | |
Sound Department | |||
| Peter Brückelmayer | .... | sound assistant (as Peter Brücklmair) | |
| Tschangis Chahrokh | .... | sound re-recording mixer | |
| Daniel Dietenberger | .... | sound designer | |
| Monika Gussner | .... | adr editor | |
| Magda Habernickel | .... | dialogue editor | |
| Manuel Mayer | .... | additional foley editor | |
| Henry Mayr | .... | sound mixer | |
| Christian Neff | .... | assistant sound mixer | |
| Pierre Peters-Arnolds | .... | dubbing director | |
| Anna Rupp | .... | assistant sound mixer | |
| Alexander Saal | .... | sound designer (as Alex Saal) | |
| Uwe Schiefer | .... | sound assistant | |
| Philipp Sellier | .... | foley recordist | |
| Roland Winke | .... | sound | |
| Norbert Zich | .... | sound consultant: Dolby | |
Special Effects by | |||
| Thomas Bedenk | .... | matte paintings | |
Visual Effects by | |||
| Markus Drayss | .... | digital artist | |
| Nico Feindt | .... | 3D artist: Arri Digital | |
| Oliver Kirchhoff | .... | visual effects | |
| Marion Klaussner | .... | 3D artist: Arri Digital | |
| Sabine Laimer | .... | digital artist | |
| David Laubsch | .... | digital compositor | |
| Alexander Nowotny | .... | 3D artist: Arri Digital | |
| Daniel Plappert | .... | digital film scanning | |
| Abraham Schneider | .... | digital compositor | |
| Steven Stueart | .... | digital film scanning (as Steve Stueart) | |
| Dominik Trimborn | .... | visual effects supervisor: ARRI | |
| Klaus Wuchta | .... | digital compositor | |
Camera and Electrical Department | |||
| Kai-Uwe Dargusch | .... | electrician (as Kai Dargusch) | |
| Wolfgang Dell | .... | gaffer | |
| Christian Dlusztus | .... | first assistant camera | |
| Raphael Fink | .... | electrician | |
| Thomas Frischhut | .... | Steadicam operator | |
| Armin Golisano | .... | second assistant camera: "b" camera | |
| Wolfgang Haendl | .... | electrician (as Wolfgang Händl) | |
| Erika Hauri | .... | still photographer | |
| Klaus Niemeier | .... | grip | |
| Jürgen Olczyk | .... | still photographer | |
| Harold Peter | .... | grip | |
| Marcus Pohlus | .... | Steadicam operator | |
| Blair Reid | .... | electrician | |
| Christoph Schielein | .... | electrician | |
| Nikolaus Schumacher | .... | second assistant camera: "b" camera | |
| Stefan Sosna | .... | first assistant camera: "b" camera | |
| Markus Thanner | .... | electrician | |
| Laurent Trümper | .... | still photographer | |
| Nathalie Wiedemann | .... | camera operator: second camera | |
Casting Department | |||
| Nina Marg | .... | casting assistant | |
Costume and Wardrobe Department | |||
| Claudia Börsch | .... | costumer | |
| Fatou Fafana-Kniez | .... | wardrobe (as Fatou Fofana-Kniesz) | |
| Kristine Franke | .... | wardrobe assistant | |
| Nele Simon | .... | wardrobe assistant | |
| Olivia Vossenkuhl | .... | wardrobe assistant | |
| Karoline Weichmann | .... | wardrobe assistant | |
Editorial Department | |||
| Andschana Eschenbach | .... | assistant editor | |
| Hans Horn | .... | trailer editor | |
| Renate Siegl | .... | negative cutter | |
| Andrea Voggenauer | .... | negative cutter | |
Music Department | |||
| Leah Curtis | .... | orchestrator | |
| Peter Fuchs | .... | music recording engineer | |
| Reinhold Heil | .... | music mixer | |
| Bronwen Jones | .... | orchestrator | |
| Johnny Klimek | .... | music mixer | |
| Gabriel Isaac Mounsey | .... | additional music programmer | |
| Gert Wilden Jr. | .... | composer: piano score | |
| Bruce Winter | .... | music mixer | |
Other crew | |||
| Ulrich Chaussy | .... | researcher | |
| Darius Ghanai | .... | title designer | |
| Ruben Hanne | .... | location manager: second unit | |
| Christian Hartmann | .... | researcher | |
| Julian Kähler | .... | set runner | |
| Valerie Kitzinger | .... | assistant location manager | |
| Nina Kötter | .... | continuity | |
| Monika Materna | .... | production accountant | |
| Markus Müller | .... | researcher | |
| Isolde Nkouanga | .... | production assistant | |
| Tony Ramos | .... | production accountant | |
| Daniel Rosness | .... | set runner (as Dany Rosness) | |
| Grit Simbeck | .... | assistant location manager | |
| Imre Török | .... | researcher | |
| Jonathan Van Hest | .... | set runner | |
| Carolin von Fritsch | .... | set manager | |
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As this is more of a history film, I will write this review based on the historical aspect of the film and not so much about the acting. However it goes without saying that the acting and handling of the camera was nothing less than superlative! By watching the film you really have the impression of being there at that time.
This film details the last six days of the primary members of a resistance group called the White Rose. The White Rose was an organization of students, mainly around Munich, during the years 1942-1943, though there were fringe elements that eluded capture by the authorities that survived until the end of the war. Many of those survivors contribute to this story.
There are two other films about the group. The main one was a film called "The White Rose". It can be found described here in IMDb. It recounts the complete story of the group. The other was Fünf Letzte Tage (The five last days), which deals with Sophie's last five days. Both of these movies were released in 1982 and the same actress (Lena Stolze) plays Sophie Scholl.
This current film is an amalgamation of the two films with some expansion to the story. More information since the original two films, released in 1982, was subsequently available.
I have studied the story of this group at some length and find the historical aspects of this film track very well with a few notable exceptions. First, at one point when Sophie learns that Christoph Probst was also implicated (she and Hans tried to take all the blame to avoid others from being drawn in) historical accounts say she was shaken to her core and she screams. In the movie however it hardly phases her, she only screams later after the meeting with her parents. I suppose this was done to increase the theatrical value by the placement.
The other is that Police Commissioner Mohr is painted slightly darker than in real life. According to Else Gebel he came back from the prison "white as chalk". She asks if they will die and he only nods shaken from the experience. Else asks how she took it. He replies that she was very brave." He then said, "Keep her in your thoughts in the next half an hour. By that time she will reach the end of her suffering.".
However despite this I thought it was a fantastic film, and probable to date the best one on the subject. There have been a recent wave of films coming from the Bavaria Film Studios, "Der Untergang", "Napola" and this film, coinciding with the 60th anniversary of the end of the war. It has been suggested in some circles that this is an attempt to whitewash, I disagree. Until 1994 when I made a visit to Tuebingen and saw some graffiti, I never heard of the White Rose (I am an American). In fact I didn't even know there WAS a German resistance. So I think this about time that this is also given it's place in history along side of the other aspects. In every age there is always a resistance element -- even in our own day. So why should this be such a surprise?
I hope that those who see this film enjoy it as I have. I give it nine stars!