评Sophie Scholl: The Final Days
“Sophie Scholl” is a well made, well acted, but too liberally fictionalized depiction of the last days of one of the members of “White Rose,” who protested against the Nazi regime in Munich in 1943. Selective use of archival materials from the GDR has made for an account consisting of details correct in themselves, but leaving a rather misleading overall impression. The interrogation of Sophie displaces the rest of the story. It’s “White Rose” meets “Darkness at Noon.” This film seems to be the culmination of the persistent efforts of surviving members of the Scholl family—no anti-Nazis themselves—to build up the mystique of Sophie and Hans at the expense of the other members of “White Rose,” and to portray them as more Christian and less bohemian than they actually were. This film represents steps in the wrong direction from Michael Verhoeven’s 1982 counterpart, “The White Rose.” Although not as cinematic, that film’s period look and feel were more authentic than the present film. It told much more of the story. For some reason, at its climax the present film heavily downplays the gruesomeness and squalor of execution by guillotine in Nazi Germany. Germans can point to banefully few Nazi-era examples of valor like that of the members of “White Rose.” Somehow, this fevered attempt to reinvent Sophie Scholl as a preternaturally heroic, latter-day Joan of Arc does not seem particularly helpful. She was flesh and blood like the rest of us.