“Sophie Scholl: The Final Days:” Imagine the Realistic

Imagine being a young woman in Nazi Germany. Then imagine being a young woman who disagreed with the totalitarian regime and publicly denounced it. Finally, imagine being that woman for the final six days of her life. The film “Sophie Scholl: The Final Days” conveys the reality of being this woman in 120 minutes. Director Marc Rothemond uncovers the story of Sophie Scholl and her brother Hans who lead The White Rose resistance group at Munich University. The film demonstrates the unwavering spirit of two youths who refused to abandon their personal beliefs.

Politics and rebellion characterize the heroic Sophie Scholl played by Julia Jenstch. Jenstch’s remarkable portrayal of Sophie Scholl illuminates the screen. Jenstch exudes the courage and heroism of Sophie Scholl with accuracy. The semi-documentary offers the factual evidence surrounding the participation of The White Rose resistance group in Munich and the trial of Sophie and Hans. However, the film does not concern itself with the trivial details of the past and avoids over-romanticizing the story.

Director Marc Rothemond’s perspective for the film provides precise chronological portrayal of Sophie Scholl’s final six days. He eludes the viewer into a world so foreign to his or her own in order to leave he or she with some perspective of abandonment and loss. I believe Rothemand’s goal is to grip the viewer in the cinematic portrayal and grant him or her a sense of understanding. This understanding encompasses the emotion associated with a loss of civil liberties and heroism that refuses to surrender. Rothemand poignantly achieves this without shoving the sorrows of Sophie Scholl and Han onto the viewer.

The film questions the viewer’s own security of his or her beliefs. Would you have the strength to endure the unforgiving punishment by the Nazis? “Sophie Scholl: The Final Days” challenges the viewer to admit their potential weaknesses if he or she were to experience a crushing dictatorship. With every hardship Sophie endures, you wonder about your reaction to that exact situation. The film incorporates the viewer, but does not overly involve he or she.

Ultimately, the movie provokes a sense of awe and wonder in the viewer. You cannot walk away from the film without feeling respect for Sophie and Hans, nor can you avoid questioning your actions. “Sophie Scholl: The Final Days” provides the viewer with the chance to witness the heroism of a young woman and to dare to never lose one’s beliefs in the face of danger.

“Everything is Illuminated:” A Lesson from the Past

“Everything is Illuminated” illustrates the journey of Jonathan Safran Foer’s search for the woman who saved his grandfather. The film portrays the humorous, but moving tale of discovery and illumination in approximately 106 minutes. The rating of the film is PG13, so the violence, language, and sexual content are moderate, but some scenes may disturb the viewer. For example, there is a discomforting scene of execution in which the film places the viewer as the victim.  The juxtaposition of the comical tone in the beginning to the realization of a wrenching end adds a unique sense to the film.            

            Previous critics of the film offer raving reviews. Claudia Puig of USA Today remarks, “A movie with wit, warmth, and unabashed emotion” (Everything).  Ebert and Roeper offer an equally positive review of the “Everything is Illuminated.” I agree whole-heartedly with the previous reviews of the critics. “Everything is Illuminated” embodies a film with such unique perspective and emotional triumph. Only after watching the film, can one honestly evaluate because “Everything is Illuminated” provides a personal experience for the viewer that is unlike any film associated with the Holocaust.

            “Everything is Illuminated” takes place in Ukraine whose culture provides a contrast to the Jewish culture represented by Foer. The film represents Live Schreiber’s first cinematic debut as a director. However, it is important to note that the Jonathan Safran Foer’s novel is the base for the movie. The film may not include every chapter of the novel, but it provides the same overwhelming sensations experienced by the reader in the novel. Schreiber’s representation does not stain the artistic portrayal of Jonathan Safran Foer.

            The film chronicles the journey of Jonathan Safran Foer, Alex Perchov, Alex’s grandfather, and Sammy Davis Jr. Jr., the officious seeing-eye bitch through the Ukraine countryside to find the shtetl of Trachimbrod. The story lures the viewer into the extraordinary lives of two unlikely companions who discover who they are in the search of the woman who saved Foer’s grandfather. The cast includes the inspiring Elijah Wood and Eugene Hutz who capture the tenacity and eloquence of their characters. Hutz’s spot-on portrayal of Alex Perchov leaves the viewer in fits of laughter throughout most of the film. Wood’s character Jonathan Safran Foyer represents the earnestness and decency of the human spirit.  A certainty in the actors’ representations of the characters exists. As the movie progresses the actors immerse themselves into full character, and the viewer forgets that they are only representations, not the actual people.

            Schreiber’s directorial debut stuns the viewers with the poignancy and honesty of the film. The imagery presented in the film is filled with the vibrancy of life, which appears to be a main theme. Also, a lot of the movie contains subtitles that lend itself to a more accurate film. The film ends with a remarkable realization about a truth of life and a realization that every individual contains a characteristic of someone else.

I've Loved You for So Long and The Diving Bell and the Butterfly

French films such as I’ve Loved You for so Long and The Diving Bell and the Butterfly retain the auteur theory. These films reveal the reality of life and the endings illustrate the inconclusiveness of life. I’ve Loved You for so Long depicts the challenges of love and family and questions morality. The film deals with the issue of euthanasia in an unique way through the implementation of it by a mother. The viewer sympathizes with the mother and learns to accept the fragility of life through her and her son’s relationship. The Diving Bell and the Butterfly tells the story of the editor of Elle and his confinement and eventual release from locked-in syndrome. The film realistically portrays his ultimate death, a characteristic, which American cinema would not portray most likely. French cinema does not cloud the truth but calls attention to it.

Ghostdog

"Ghostdog, The Way of the Samurai" incorporates aspects of gangster and samurai film in order to produce a beautifully constructed film. The film represents postmodern thought and tehe multicultural world we live in. Although the film contains moments of hilarity, the film ultimately discusses the way by which an individual lives. The film serves as an reminder what we must choose a way and this way defines who we are. 

All About My Mother

"All About My Mother" represents a wonderfully humorous  and serious film. The colors utilized in the film reflect its tone and mood. Although the film deals with serious subjects such as AIDS and sexuality, the film finds humor and happiness in hardship. The film does not cover up reality, but exposes it. "All About My Mother" is a beautiful represenation of life's hardships and triumphs but maintains a reality that American cinema often loses.

Before the Rain

“Time never dies. The circle is not round.”  These two brief sentences fluently describe the plot of Before the Rain and in many ways reality. The three-part structure of the film suits the films broken chronology. The stories intertwine with each other, demonstrate the connected nature of humans, and reject an isolationist principle. The main effort of the film is to convey the connectedness of humans and depicts that in some capacity world affairs affect each individual.

To Live

"To Live" focuses on a family's struggle to adapt and accept the new Chinese communist regime. The family serves as a metaphor for the sacrifices made during and after the Cultural Revolution. The film criticizes the communist regime but demonstrates the willingness of the Chinese to adhere to the goverment's restrictions. "To Live" relastically portrays the hardships endured by many during the regime, but does not completely reveal the audacities of the government. The desire of a quiet runs throughout the film and the director understand the desires of ordinary people. His story reveals the strife and triumph of one family but represents many Chinese families.