“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.

A Room with a View

"A Room with a View" focuses around the relatioship of George and Lucy. The two characters live in different worlds, but George intends to show Lucy a view beyond her own. The film revolves around the idea of leaving your view and experiencing another; therefore, allowing you to establish your own and not keep the one that your social class gave you. The film beautifully portrays the freedom of individuals and their ability step beyond their social station. Ivory's film illustrates the idea that a woman can be more than an ornament, she can be a companion and that in life we must search for relationships that encourage equality, exploration, and love.

The Draughtsman's Contract

Peter Greenway's period film takes place in 17th century Britain. "The Draughtsman's Contract" demonstrates the vulgarity and decadence of the time through the character's interactions; however, Greenway unravels the film's plot not in a traditional cinematic style, but he fashions the film more like a painting. All the characters struggle for power and prestige which seems to be the theme. They are less concerned with their actions' effects and more concerned with the overall outcome for themselves. Greenway's characters depict the horrifying capabilties of humans and their ability to go on without concern.

Wings of Desire

"Wings of Desire" serves as a meditative film which reaches the condition of literature.  The film focuses as behavioral study of angels, humans, and animals. Angels are spiritual observers and animals act out their physical and material desires. Humans fall in between angels and animals. Angels can be philisophical but they cannot act. The world continues without them. The opposition bewteen angel and animal constitutes the film. Damien desires to be human. He wants to feel and to doubt. Without mystery, life is boring. As a human, Damien must struggle toward meaning. At the end of the film. Damien finds his connection. Two mechanisms within the film promote the human struggle. The circus conveys life as a spectacle and the old man serves as a story teller. The stories and the circus reflect human existence.

Chinatown

"Chinatown," the neo-noir film by Roman Polanski focuses the relationship between Jake and Evelyn during the California land and water dispute of the 1920s. Evelyn serves as the femme fatale, who often plays a major role in film noir such as "Out of the Past." The alluring Evelyn leads Jake into dangerous and deadly situations. This deadly woman may appear to be the victim and sometimes even is, but she uses her charm and seduction to obtain her desires. Also, she may be seen as an independent woman who resists tradtional gender roles. Evelyn embodies all of these aspects. She coaxes Jake into acting as she wishes, lives independently, and ulimately becomes the victim in Chinatown. In the end Jake is advised to "forget it," but the film serves as an example of the depth of human mystery, deception, capability to harm.

Aguirre, Wrath of God

"Aguirre, Wrath of God" stands perhaps as the weirdest film that I watched or will watch all semester in this class. Klaus Kinski's cult favorite portarys the battle between man and nature. Kinski's film demonstrates the paradox of nature through its beauty and destruction. The character of Aguirre may been seen as a study of the journey into madness. He slowly moves towards insanity throughout the film. Aquirre functions as an example of obession, human delusion, and irrationality. Kinski uses minimalist dialogue and allows the powerful setting and movements of the characters to tell the story. 

The Graduate

"The Graduate" remains a personal favorite. Mike Nichols cinematic masterpiece conveys the generational conflict of the time. The film contains little to no reference to the Vietnam War. Instead of focusing on political and military controversy, Nichols demonstrates the cultural isolation felt by the youth of 1960s. Nichols utilizes the camera angles to intensify the claustrophobia experiences by Ben. Ben remains a detached individual even though people constantly surround him. The film illustrates the a cutural disbelief and disconnect. The use of water emphasizes the youths function as objects. Finally, the film ends in ambiguity, a lack of moral rightness, and the realization that our hero knows not what he wants, which acts as a metaphor for the current and future generations. 

Dr. Strangelove represents a satirical black comedy. Stanley Kubrick directs a fantastically humorous film about military and political relationships. Kubrick portrays the “vanity of human wishes,” human frailty, fallibility, error, and hubris. The film suits the sensibility of the early 1960s.  One main theme is the satirizing of the Cold War through its focus on MAD.  It mocks the attitudes of American and Russian leaders. Certain leaders pushed for war but did not understand the implications regardless of who “won.” Winning would only end in mutual destruction. The detached and exuberant characteristics of the film effectively portray communication of military and political leaders during the Cold War.

Kurosawa’s “Yojimbo” illustrates the story of a masterless Samurai who strives to achieve peace in a town corrupt and violent from the influx of gambling. The film parallels the American western through characterization, plot and theme. The helpless people of the village depend on the heroic loner to reinstate peace and order. Sanjuro, the ronin, has no moral code except discipline. He isolates himself, distorts society’s values to achieve his goal, and plays with the greed of the people.  He lives as a Robin Hood esque character and establishes order out of chaos. “Yojimbo” effortlessly depicts the classic American Western in a novel and captivating way.

“Shoot the Pianist” focuses on existentialism. The film maintains the belief that life is meaningless unless the individual finds meaning.  Tuffaut’s film demonstrates the French New Wave cinema while paying tribute to classic American film noir cinema. The main character Charlie struggles with his life after the suicide of his wife. He continues on only by playing the piano, the one thing he knows how to do.  His live remains simple until he becomes involved with his brother who gets into trouble with gangsters. Charlie returns to life he once left and chaos ensues leading him to repeat the same mistakes as before. Ultimately, Charlie must find meaning in his life to continue.

Fellini’s  neorealist film “La Strada” symbolizes the individual’s struggle to find one’s person.  Gelsomina, Zampano, and the Fool react differently in their search for a purpose.  Gelsomina desires to be loved and to have a certain purpose in her life. Zampano’s emotional isolation ultimately determines his failure, which is recognized at the end. “La Strada” may be viewed as a study of human failure. Each character to means to achieve a certain goal, but the only one that comes close is the Fool. The Fool lives his life by his own terms and happily. He eventually teaches Gelsomina, who lives as child, that more to life exists then serving Zampano. Gelsomina struggles with separating from Zampano because he gives her a purpose; however, ultimately, Gelsomina realizes Zampano’s brutality when he kills the Fool.  The film functions as a study of these characters and their actions during and reactions to their lives.

The juxtaposition between “The Searchers” and “Big Jim McClaine” offers another perspective to cultural issues in America. The film is anti-communist and anti-racist. The focus on the evil of communism serves as the central issue of the film. The Commies represent control and evil whereas the Americans represent freedom and decency. The film demonstrates that communism sacrifices the individual for the bigger picture. Although the “Big Jim McClaine” functioned more as a vacation film for John Wayne and contains some silly moments, the film does realistically portray many Americans’ notions and fears about communism. 

“The Searchers” demonstrate America’s desire to reinstate gender roles after World War II. Post-war issues plagued the American psyche and John Ford’s film wrestles with question of masculinity. Through the portrayal of characters, Ford establishes a film to which Americans related. John Wayne’s character Ethan struggles between the domesticated space and the unruly terrain. He stands outside society and the law; therefore, he represents the unassimilated man. Ethan signifies the American hero. Ford presents another social issue of the era. He depicts an intense racism between Ethan and Scar. This relationship mirrors the racism reverberating throughout America in the 1950s. A final theme that Ford introduces is community. Ford believed in a strong sense of communal spirit. The film illustrates the importance communal rituals and strength; however, Ford also gives us the antithesis of community in the character in of Ethan. “The Searchers” embodies a timeless film whose Western genre does not hinder its social and cultural significance

“Singin’ in the Rain” represents a self-reflexive film, which mirrors the society that Hollywood produces. The film encourages the free will and evolution of its characters and appeals to the romantic, positive side of its viewers. A major focus of the film is gender roles. Gene Kelly asserts his masculinity through energetic dance. Kelly’s characters faces difficulties throughout the film, but he always triumphs. His perseverant masculine spirit guides the other characters, produces security, and reinstates the traditional roles of male and female. Ultimately the film reveals the illusory nature of Hollywood, but articulates authenticity and truth through the relationships formed in the film. 

Out of the Past

"Out of the Past" demonsrates the genre of film noir. Although film noir appears to oppose all the of the tenants of classic Hollywood cinema, the ending offers triumph, decency, and renunciation. The film reveals the complexity of human beings and all their horrible and kind actions. It shows the heros are not always one-sided characters but may have depth to their personality. "Out of the Past" influenced other films such as "Chinatown."

Casablanca

"Casablanca" demonstrates all the tenants of classic Hollywood film. The film appeals to the viewer's romantic and hopeful side. The film serves as metaphor of sacrifice and love. Rick's gives up his personal desires in an effort not to taint goodness. This theme of sacrifice appealed to the wartime audience who needed to view the positive outcomes of sacrifice. The bettering of humanity functions as the major theme within the film and the film poignantly illustrates realtionships as an example of sacrifice.