Downfall (2004)
Der Untergang (original title)
Traudl Junge, the final secretary for Adolf Hitler,
tells of the Nazi dictator's final days in his Berlin bunker at the end
of WWII.
Director:
Oliver HirschbiegelStars:
In April of 1945, Germany stands at the brink of defeat with the Soviet
Armies closing in from the west and south. In Berlin, capital of the
Third Reich, Adolf Hitler proclaims that Germany will still achieve
victory and orders his Generals and advisers to fight to the last man.
"Downfall" explores these final days of the Reich, where senior German
leaders (such as Himmler and Goring) began defecting from their beloved
Fuhrer, in an effort to save their own lives, while still others (Joseph
Goebbels) pledge to die with Hitler. Hitler, himself, degenerates into a
paranoid shell of a man, full of optimism one moment and suicidal
depression the next. When the end finally does comes, and Hitler lies
dead by his own hand, what is left of his military must find a way to
end the killing that is the Battle of Berlin, and lay down their arms in
surrender.
Release Date:
8 April 2005 (USA) See more »Also Known As:
Downfall See more »Box Office
Budget:
€13,500,000 (estimated)Opening Weekend:
$210,232 (Austria) (17 September 2004)Gross:
$5,509,040 (USA) (2 November 2013)
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Company Credits
Technical Specs
Runtime:
| (extended)Color:
ColorAspect Ratio:
1.85 : 1Did You Know?
Trivia
Bruno Ganz practiced Adolf Hitler's distinct Austrian accent with the help of a young actor from Hitler's area in Upper Austria. See more »Goofs
When the teletype prints the incoming message from Göring, his name and title appear at bottom left; but when the operator tears off the sheet, it appears at bottom right. See more »Quotes
[first lines]Traudl Junge: I've got the feeling that I should be angry with this child, this young and oblivious girl. Or that I'm not allowed to forgive her for not seeing the nature of that monster. That she didn't realise what she was doing. And mostly because I've gone so obliviously. Because I wasn't a fanatic Nazi. I could have said in Berlin, "No, I'm not doing that. I don't want to go the Führer's headquarters." But I didn't do that. I was too curious. I didn't realise that fate would lead me ...
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Crazy Credits
After the final credits there is a statement by the real Traudl Jung about her feelings of guilt and responsibility. In the British Cinema release, this is moved to before the credits. See more »Soundtracks
Blutrote Rosen
(Hermann Hünemeyer / Alfred Krönkemeier)
Performed by Marek Weber and Orchestra
Courtesy of Musikverlag Ruthe
(Hermann Hünemeyer / Alfred Krönkemeier)
Performed by Marek Weber and Orchestra
Courtesy of Musikverlag Ruthe
"Downfall" takes place almost entirely inside the bunker beneath
Berlin where Adolf Hitler and his inner circle spent their final days,
and died. It ventures outside only to show the collapse of the Nazi
defense of Berlin, the misery of the civilian population and the burning
of the bodies of Hitler, Eva Braun, and Joseph and Magda Goebbels. For
the rest, it occupies a labyrinth of concrete corridors, harshly
lighted, with a constant passage back and forth of aides, servants,
guards, family members and Hitler's dog, Blondi. I was reminded, oddly,
of the claustrophobic sets built for "Das Boot," which took place mostly inside a Nazi submarine.
Our entry to this sealed world is Traudl Junge (Alexandra Maria Lara),
hired by Hitler as a secretary in 1942 and eyewitness to Hitler's decay
in body and mind. She wrote a memoir about her experiences, which is
one of the sources of this film, and "Blind Spot" (2002) was a
documentary about her memories. In a clip at the end of "Downfall,"
filmed shortly before her death, she says she now feels she should have
known more than she did about the crimes of the Nazis. But like many
secretaries the world over, she was awed by the power of her employer
and not included in the information loop. Yet she could see, as anyone
could see, that Hitler was a lunatic. Sometimes kind, sometimes
considerate, sometimes screaming in fits of rage, but certainly cut
loose from reality.
Against the overarching facts of his personal
magnetism and the blind loyalty of his lieutenants, the movie observes
the workings of the world within the bunker. All power flowed from
Hitler. He was evil, mad, ill, but long after Hitler's war was lost he
continued to wage it in fantasy. Pounding on maps, screaming ultimatums,
he moved troops that no longer existed, issued orders to commanders who
were dead, counted on rescue from imaginary armies.
That he was
unhinged did not much affect the decisions of acolytes like Joseph and
Magda Goebbels, who decided to stay with him, and commit suicide as he
would. "I do not want to live in a world without National Socialism,"
says Frau Goebbels, and she doesn't want her six children to live in
one, either. In a sad, sickening scene, she gives them all a sleeping
potion and then, one by one, inserts a cyanide capsule in their mouths
and forces their jaws closed with a soft but audible crunch. Her oldest
daughter, Helga, senses there is something wrong; senses, possibly, she
is being murdered. Then Magda sits down to a game of solitaire before
she and Joseph kill themselves. (By contrast, Heinrich Himmler wonders
aloud, "When I meet Eisenhower, should I give the Nazi salute, or shake
his hand?")
Hitler is played by Bruno Ganz, the gentle soul of "Wings of Desire,"
the sad-eyed romantic or weary idealist of many roles over 30 years.
Here we do not recognize him at first, hunched over, shrunken, his
injured left hand fluttering behind his back like a trapped bird. If it
were not for the 1942 scenes in which he hires Frau Junge as a
secretary, we would not be able to picture him standing upright. He uses
his hands as claws that crawl over battlefield maps, as he assures his
generals that this or that impossible event will save them. And if not,
well: "If the war is lost, it is immaterial if the German people
survive. I will shed not one tear for them." It was his war, and they
had let him down, he screams: betrayed him, lied to him, turned traitor.
Frau Junge and two other secretaries bunk in a small concrete room,
and sneak away to smoke cigarettes, which Hitler cannot abide. Acting as
a hostess to the death watch, his mistress Eva Braun (Juliane Kohler)
presides over meals set with fine china and crystal. She hardly seems
to engage Hitler except as a social companion. Although we have heard
his rants and ravings about the Jews, the Russians, his own treacherous
generals and his paranoid delusions, Braun is actually able to confide
to Junge, toward the end: "He only talks about dogs and vegetarian
meals. He doesn't want anyone to see deep inside of him." Seeing inside
of him is no trick at all: He is flayed bare by his own rage.
"Downfall"
premiered at Toronto 2004, and was one of this year's Oscar nominees
for best foreign film. It has inspired much debate about the nature of
the Hitler it presents. Is it a mistake to see him, after all, not as a
monster standing outside the human race, but as just another human
being?
David Denby, The New Yorker: "Considered as biography, the
achievement (if that's the right word) of 'Downfall' is to insist that
the monster was not invariably monstrous -- that he was kind to his cook
and his young female secretaries, loved his German shepherd, Blondi,
and was surrounded by loyal subordinates. We get the point: Hitler was
not a supernatural being; he was common clay raised to power by the
desire of his followers. But is this observation a sufficient response
to what Hitler actually did?"
Stanley Kauffman, The New Republic:
"Ever since World War II, it has been clear that a fiction film could
deal with the finish of Hitler and his group in one of two ways: either
as ravening beasts finally getting the fate they deserved or as
consecrated idealists who believed in what they had done and were
willing to pay with their lives for their actions. The historical
evidence of the behavior in the bunker supports the latter view. ...
'Downfall,' apparently faithful to the facts, evokes -- torments us with
-- a discomfiting species of sympathy or admiration."
Admiration I did not feel. Sympathy I felt in the sense that I would
feel it for a rabid dog, while accepting that it must be destroyed. I do
not feel the film provides "a sufficient response to what Hitler
actually did," because I feel no film can, and no response would be
sufficient. All we can learn from a film like this is that millions of
people can be led, and millions more killed, by madness leashed to
racism and the barbaric instincts of tribalism.
What I also felt,
however, was the reality of the Nazi sickness, which has been distanced
and diluted by so many movies with so many Nazi villains that it has
become more like a plot device than a reality. As we regard this broken
and pathetic Hitler, we realize that he did not alone create the Third
Reich, but was the focus for a spontaneous uprising by many of the
German people, fueled by racism, xenophobia, grandiosity and fear. He
was skilled in the ways he exploited that feeling, and surrounded
himself by gifted strategists and propagandists, but he was not a great
man, simply one armed by fate to unleash unimaginable evil. It is useful
to reflect that racism, xenophobia, grandiosity and fear are still with
us, and the defeat of one of their manifestations does not inoculate us
against others.
Final rating: 8.5/10 for the genre and 8/10 overall, a history drama, which shows a downfall of the Nazi-regime and also which shows the bad and cold sides of being of member of this terrible movement in Germany. Tragedy and poor horror of German history wrapped into a movie which shows the last hours of the leader and I seriously hope that this will never ever happen again.
Thanks for reading and have fun watching movies.
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