In 1943, Hans Scholl (Fabian Hinrichs) is the head of the student-based anti-war movement the ‘White Rose’ in Munich, Germany. In their quest to open the german populations’ eyes to the delusions of their blood-thirsty Führer with words, Hans decides to lay out a suitcase full of subversive pamphlets at their local Munich University, with the aide of his sister Sophie (Julia Jentsch). While lectures are being held inside, Hans and Sophie secretely distribute the copies at the pillars in the empty marble halls of the University. Waning themselves in success, they are caught by the caretaker who immediately informs the Gestapo. During the interrogations, Sophie tries to bluff her way out of her predicament, but she soon realizes that the evidence against them is condemning. And thus she stands by her principles and conscience, defying the Nazis even when she is sentenced to death for high treason in a mock trial.

Sophie Scholl - Die letzten Tage (the original title) by Marc Rothemund follows the true events surrounding the final days of Sophie Scholl, based on the newly uncovered interrogation protocolls from that February in 1943. The german film premiered over a year ago at the Berlin Film Festival and has been available on DVD in the german speaking parts of Europe for some time now. There are two reasons, however, why I feel this review is warranted at this particular time: Sophie Scholl - The Final Days is contending in the ‘Best Foreign Language Film’ category at this year’s Oscars (March 5) and has recently opened in New York (February 17) and Los Angeles/California (February 24). The film won the jury prize at the ‘Berlinale’ and received the audience vote at the European Film Awards, while lead actress Julia Jentsch won best actress at the German Film Awards for her compelling portrayal of Sophie Scholl.

In essence, Sophie Scholl is the story of the classic martyr, the tale of a person beset with the choice between death and replacing the own ideals with the regime’s ideology. Sophie believes in freedom over war, in moral and conscience over of Nazi law, and once it is obvious that she can no longer talk herself out of the conclusive evidence presented to her by her interrogator Robert Mohr (Gerald Alexander Held), she takes a stand, fully aware of the common punishments employed against ‘traitors to the state’: “(Admitting her guilt to the interrogator) Yes. And I’m proud of it.” When she is allowed to say goodbye to her parents, she assures them not to worry, that she would do exactly the same again. In a heartbreaking scene, her parents tell Sophie how proud they are of their children for taking a stand, and Sophie in turn thanks them for their bravery.

What makes Sophie’s story even more tragic is the fact that she never was that active in the ‘White Rose’; in spite of agreeing with the resistance’s principals and the writings of her brother, she was rarely ever involved in the distribution of the flyers or in the anti-Hitler smearings on the city walls. Sophie was in the wrong place at the wrong time, but when she is asked to name the other active members in the ‘White Rose’ (the only real reason why the Nazi’s even bothered to interrogate her and her bother in the first place), a contribution which could lower her own penalty, she deflects the entire blame onto herself and her brother (who already confessed). Sophie even asks to receive the same degree of punishment as her brother in spite of her gender, again a potential life-saving factor in the trial.

Julia Jentsch delivers a shatteringly authentic acting performance of a Sophie Scholl who is fighting each second against the urge to breakdown and scream in agony (Jentsch and director Rothemund depict this tension in the character’s hands - which she tries to hide from the interrogator’s view - the only part of her that might betray her bravery). The film’s highlights include the four mezmerizing interrogations in which Jentsch and Held rise to dramatic heights. The lengthy dialogue driven scenes follow the real interrogation transcripts and are each shown in single unedited shots. The performances serve as break-throughs for both Julia Jentsch (who previously starred in Die fetten Jahre sind vorbei [english title: The Edukators], also a film about prevailing youth ideas) and the impeccable Gerald Alexander Held (who was also seen in the two other recent german WWII films Der Untergang [Downfall] and Napola).

Credit must also go out to Marc Rothemund and his crew, their film’s thematic resonance is made all the stronger thanks to the perfect technical treatment of the film. The accurately harsh and cold set designs by Patrick Brandt and Jo N. Schäfer are moodily captured by cinematographer Martin Langer, the piano-score by Reinhold Heil and Johnny Klimek is emotionally gripping, and Rothemund’s sense for atmosphere and tension is exhillarating. You’ll feel agitated and strained throughout the film, despite knowing what’s inevitably coming in the end. The detachedness in that final scene (and I admit I had a sickening feelings in my stomach when I realized how the execution was going to take place) perfectly peaks an astounding and shocking film that is well deserved of audience interest outside of Germany.

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