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Purchase Downfall (2004) Movie Online and Download - Oliver Hirschbiegel 🎥
Italy, Germany, Austria
Drama, Biography, History, War
IMDB rating:
Oliver Hirschbiegel
Bruno Ganz as Adolf Hitler
Alexandra Maria Lara as Traudl Junge
Corinna Harfouch as Magda Goebbels
Ulrich Matthes as Joseph Goebbels
Juliane Köhler as Eva Braun
Heino Ferch as Albert Speer
Christian Berkel as Prof. Dr. Ernst-Günter Schenck
Matthias Habich as Prof. Dr. Werner Haase
Thomas Kretschmann as SS-Gruppenführer Hermann Fegelein
Michael Mendl as General der Artillerie Helmuth Weidling
André Hennicke as SS-Brigadeführer Wilhelm Mohnke
Ulrich Noethen as Reichsführer SS Heinrich Himmler
Birgit Minichmayr as Gerda Christian
Rolf Kanies as General der Infanterie Hans Krebs
Storyline: 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.
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720p 1280x720 px 9445 Mb h264 N/A mkv Purchase
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Excellent movie, it grasped to whole audience from beginning until the end. everybody was silence during and after the movie
What a brilliant movie. It showed just facts, that the Germans were not only bastards, but humans too. It grasped the audience in silence from the beginning until the end of the movie. It was overwhelming. Nodbody spoke or caught during the whole movie! that's unbelievable. It is definitely one of the best movies I have ever seen. It es even better than Das Boot and definitely better than the LOTR (that movie sucked!) Anyway, you MUST have seen this movie at least once, and probably the first time you see this movie, it will grasp you in silence too. How the movie is build up is excellent, how the actors set their characters is amazing, you will believe that it must has happened in this way. A lot of research must have be done to come to this product and all that research paid off. If somebody ever says that he did not liked this movie, he is either not telling the truth or he is British :P Fact is, like mentioned before. It is overwhelming
Compelling But With One Serious Flaw
Watching DER UNTERGANG is something of a unique experience for me . It's not often I'd go out of my way to watch a foreign film , far less one that is often talkative and where the outcome is in no doubt . Even more remarkable is the fact that I sometimes rewatch this movie from start to end unable to take my eyes off screen . The reason ? It's one of the few films where the acting is truly compelling

I heard a lot of controversy about DER UNTERGANG as soon as Bruno Ganz had been cast and together with director Oliver Hirschbiegel they both decided to make a film where every minor detail about Hitler's last days should be totally accurate . They succeeded and that's not only my opinion because every professional historian has remarked that Ganz interpretation is the only truly accurate portrayal of Adolph Hitler . You find yourself unable to take your eyes off screen every time Hitler appears . Also of worthy note is Ulrich Matthes as Joseph Goebbles . Note how often Matthes appears on screen where he doesn't have to say a word , his burning presence is enough to hold the audience attention and radiates great evil . It's almost as if the audience have jumped into a time machine and landed in Hitler's bunker in the spring of 1945 . It's so convincing it's almost enough to give you nightmares

I would have happily given DER UNTERGANG 10 out of 10 but it loses a couple of points because of a serious problem and that is the way it somehow tries to make out the people of Nazi Germany are also victims of the Nazi regime . Notice the speech by Goebbles where he sneers he's not interested in the suffering of the German civilian population because " They voted for us and now their throats will be slit ". If you have little knowledge of European history 1939-45 ( I'm afraid such people are becoming more and more numerous as the years pass ) then you'll find yourself asking why don't the Germans just surrender ? It's easily explained by the fact that the Nazi regime murdered million upon millions of people in Eastern Europe and it's payback time as the red army advances into the heart of the Nazi regime . It's also interesting to note that we never see Soviet soldiers raping German women in their thousands . Again if someone with no knowledge of the period would ask why are the Soviets doing that ? And again the answer is simple - Revenge against a country /regime that was responsible for the deaths of almost 15% of the Soviet population . Don't you get the feeling the film wants to avoid awkward questions ?

This type of controversy seems to be responsible for Ganz , Matthes , Hirschbiegel and the film itself being very under rewarded at international film festivals which while being slightly understandable does seem wrong . There is no doubt in my mind that Ganz deserved the Oscar for best actor that year since it's the best performance I've ever seen by a non English speaking actor in a movie . If no one discovers time travel then this will be the closest we'll find out what it was like in the days leading up to the death of history's most hated figure
Just to set the record straight
I feel the praise of this movie has been sung many times already on this site, so I will not go into all that it does right. However, after reading some of the reviews that are rightfully in the back pages here, I do think there is an issue that needs to be addressed here.

Apparently some people think we are all ignorant children, who need to be spoon-fed a message about how "inhuman" the Nazis were. I have even seen reviews that called this movie dangerous, because it sympathized with Hitler.

If you haven't seen this film yet, don't get fooled by these misguided comments. If this movie is dangerous, it is dangerous to people who wish to believe that Adolf Hitler was Satan incarnate, and that all who followed him were bloodthirsty demons who fed on baby corpses. I can hardly believe this fact offends people but: he wasn't, and they weren't. Both Hitler and his followers were human beings, who did things human beings do. They were friendly to each other, they cared for the people close to them, while at the same time plotting to kill millions of innocent people. They enjoyed cake and embraced their lovers, and then decided to send twelve year old boys to sacrifice their lives to keep off the Russian army for a couple of hours more.

This is what Der Untergang shows, and why it was hailed with so much praise. It actually moved beyond the cardboard cut-out cliché of movie Nazis. Just show a man utterly devoid of any humanity, a death machine, and stick him in a nazi uniform, and hey presto, an accurate depiction of a nazi. That has all been done thousands of times, and it makes us feel safe, because we can identify them as bad guys from a mile away, and we can then morally judge the idiots that fell for the whole nazi movement. We would never fall for anyone that evil. This movie chooses selfconsciously not to go for that approach, but instead show us the true insanity of the nazi-regime. That they actually believed that what they were doing was for the good of the German people.

If people see Der Untergang as a campaign to show the Nazis as the good guys, let them explain the scene in which Frau Goebbels killed her own children, the scene in which Hitler condemns the German people for being weaklings who deserve death, or the scene where Joseph Goebbels tells an army officer that the German people brought their destruction on themselves, with a smirk on his face, showing he enjoys this consequence of his decision (or, for that matter, one of the many other scenes which show the cruelty of the Nazis). Do you really believe this movie will make anyone believe the Nazis were just idealistic dreamers who should be sympathized with for not achieving their goals?
Fascinating and uncompromising look at the final days
(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon.)

It was agreeable to see Hitler reduced to a bent, defeated, raving madman, and there is no question that Bruno Ganz looked the part. The endearments he gave to the children and to his bunker mates contrasted horrifically with his plan for them and his "love" for the German people. In a sense the way the final days are presented in this film reminded me of what the victims of the Nazis suffered, and that was also apropos and agreeable. Still most people do not like to see human suffering even to those who may, by all that is right, have it coming; and so it was essentially a depressing experience to watch this film.

Alexandria Maria Lara, who played Hitler's last personal secretary, Traudl Junge, provided the only bright spot in this necessarily grim picture. She is a fine actress, but somehow she seemed too normal, too smart actually to be the sort of worshipful underling that she must have been. Incidentally, it is from the book by the real Traudl Junge, Biz sur letzten Stunde, and from Joachim Fest's Der Untergang that this movie was adapted. The fine screenplay was written by Bernd Eichinger. Junge appears at the beginning of the film from an interview in 2001, a year before her death, to say a few words and at the end where she explains that she is essentially not that naive young person she once was who should have looked further than the fuhrer's face to see what was really going on. But she was with Hitler for three years and knew his philosophy well. Truth is she was so pleased to be his secretary that she turned a deaf ear to the truth that was in front of her.

Of course she was hardly the only one. An entire nation was seduced and led down the path to genocide, humiliation, starvation, near-starvation, and ignominious defeat. One thing the film does to help us understand how this could have happened is to show the blind loyalty that even some of the highest ranking officers felt toward Hitler regardless of his bumbling, his stupidity and his blatant disregard for the feelings and lives of anyone who got in his way--his essential immorality. Some say there was something in the German character that accounts for this blind obedience to authority regardless of how corrupted and evil that authority might be. Maybe in a more pluralistic and multicultural society something like this could not happen. There might be something to that, but I doubt it. Too many monsters have grown in too many different soils and in so many different cultures, I am persuaded it could happen anywhere, but perhaps not as easily and as completely as it happened in Germany.

It is interesting that Oliver Hirshbiegel, who directed, did not show the Red Army atrocities as they stormed into Berlin. I don't think he wanted to dilute the sense of the moral culpability of the German people.

I was also struck by Hitler's obsession with loyalty. This is how all dictators, warlords and, unfortunately, some respected heads of state operate: they demand unquestioned loyalty, and they ruthlessly eliminate anyone they suspect of anything but that unquestioned loyalty while rewarding the loyal. And so in such governments the head of state becomes surrounded by sycophants and toadies who tell him what he wants to hear and who live in fear of their own lives should they somehow be seen as disloyal. Indeed they sneak around trying to undermine others in other to protect themselves. They live in secrecy amid lies, intrigue and murder.

The film is long, 155 minutes, the bunker is dreary and most of the characters are sickies of the worse sort. We as an audience are reduced to those who see inside a cave, the floor covered with bat guano crawling with despicable creatures who feed off of one another. The stench is overwhelming. We watch transfixed for a while at the ugly, unsavory spectacle and then we turn away.

Can it happen again? Can it happen here? Let's hope not, but that freedom that the right assures us is not free requires more than loyalty. It requires vigilance and a willingness to speak out, the kind of vigilance that can see the danger when the government begins to deal almost exclusively in lies and misinformation, that invades other countries for dubious gain, deals in propaganda and points fingers at perceived enemies and promotes only those loyal to the leader instead of those most qualified.

(I said I would write this review without mentioning a certain personage, and I did, but the allusions are probably more than obvious.) See this for veteran Swiss-German actor Bruno Ganz who gave a fine performance as Hitler.
Distanced and sober view of Hitler's last days
The first 15 minutes made me doubt the qualities of this movie. The situations were a bit forced and the cuts were strange. But after the uncomfortable beginning the movie took momentum and kept it until the end.

I think the choice of depicting Hitler as a human being with a dispassionate and modest direction was excellent. The film never tries to force viewers into an opinion. Everybody can form his own opinion. Too often the horrors of WWII led writers and directors to depict Nazis as monsters. Perfectly normal human beings can be cruel and merciless if they are blinded (by hate for example), which should never be forgotten.

In a way, a human Hitler to me is more guilty than a raving monster. He had the choice and he chose to do wrong. He could choose life and he chose murder and destruction. A human being lost respect for the life of other human beings and led a country into genocide. Ultimately he loses respect for all life and starts sacrificing his own soldiers at random. This is what I value this film for, making the idea of a human Hitler tangible.

It was very brave to make this film, given that controversy was almost certain to arise. One of the highlights of this year, to be sure.
Menschlich, Allzu Menschlich
It has sometimes been said that because men no longer believed in the Devil, God created Adolf Hitler to serve as a symbol of absolute evil. This film, which tells the story of the last few days of World War II in Europe, largely seen from the perspective of Hitler and members of his inner circle as the victorious Russian army approaches the gates of Berlin, avoids that concept and tries to show us Hitler the man rather than Hitler the devil. It has been criticised in some circles for that approach, but in my opinion the criticism is not a valid one. Hitler was precisely that- a man, no less human for also being evil. We will never succeed in understanding the crimes of the Nazis if we persist in trying to see Hitler as the spawn of Satan or as some bizarre, inhuman alien being. He was, in Nietzsche's words, menschlich, allzu menschlich. (Human, all too human).

To make someone seem human is not necessarily to make them seem sympathetic, but we must remember that Hitler had succeeded in obtaining more than 40% of the vote in free elections, had won the fanatical loyalty of millions of Germans and had succeeded in retaining the loyalty of many of them even when it seemed obvious that his cause was lost. (We see some of that loyalty reflected in the film, especially among the fanatical young soldiers prepared to fight to the death). If he had been an obviously evil psychopath he would never have done any of those things, but would have remained the leader of a tiny movement on the lunatic fringe of German politics, winning the loyalty of only a small fraternity of kindred spirits. He could not have succeeded without possessing immense reserves of charm and charisma.

This film tries to show some of the characteristics which helped Hitler in his rise to power. We see him being kind to his secretary, Traudl Junge, on whose memoirs the film was partly based, affable and friendly to the young soldiers he decorates for their desperate acts of bravery, affectionate to his dog Blondi and loving to his mistress Eva Braun. (We like to think that, sexually, Hitler must have been either abnormally perverted or abnormally repressed because we do not like the idea that so monstrous an individual had a fairly mundane sex life, a monogamous heterosexual relationship with an attractive blonde girlfriend).

We do, of course, see far more of the opposite side of his character. By the end of the war Hitler had lost all contact with reality, and when we first see him he is unrealistically optimistic, believing that the German army will still succeed in driving the Allies back, issuing commands to non-existent fighting units and even congratulating himself on his strategic skill which has led the enemy into a trap. Later, when even he cannot deny the imminence of defeat, he falls into self-pity, raging against the cruelty of fate or against the German people who have proved unworthy of him. We see that he was not only brutal towards his own enemies but also completely callous towards his own people, refusing to surrender and not caring how many more lives might be lost. The role of Hitler must be one of the most difficult that any actor could be called on to play, but Bruno Ganz meets the challenge magnificently. He meets the physical demands of the role, bringing out Hitler's strong Austrian accent and the paralysed arm tucked behind his back. (Hitler had been injured in a failed assassination attempt the previous year). More importantly, he also rises to its emotional demands, showing the mixture of reckless optimism and despair, impotent rage, hatred and and self-pity which characterised the Fuehrer in his last days. The one thing, however, that Hitler never does is to express any sort of contrition for his crimes, which means that although he is human he is never pitiable.

We also see the moral blindness of the rest of Hitler's circle. The most chilling is Corinna Harfouch's portrayal of Magda Goebbels, wife of the infamous propaganda minister, who calmly poisons her own children because she does not want them to grow up in a world without National Socialism. Himmler, as deluded as his leader, vainly hopes that he can negotiate a separate peace with the Western powers that will leave him in power. Albert Speer, more realistic, sees that the war is lost and tries in vain to persuade Hitler to surrender, but he too fails to realise that it is the crimes of the Nazis, in which he played his part, that have brought this disaster upon Germany. Some relief is provided by Alexandra Maria Lara as the naive young Traudl; we also see excerpts from interviews with the real Traudl Junge towards the end of her life, when she confesses that neither her youth nor her naivety can excuse her failure to realise the true nature of the regime she served.

This is a bleak, grim film, set against scenes of a ruined city, with an ever-present sense of death and destruction. It is, however, a brave and powerful film which should be seen not only by anyone with an interest in the history of the Second World War but also by anyone who wants to understand the roots of human evil. No-one who has really watched it could make the mistake of considering it pro-Nazi. Oliver Hirschbiegel is to be congratulated for confronting this dark chapter in his nation's history with such courage and honesty. Congratulations are also due to Channel 4 for flying in the face of the British public's normal disdain for foreign-language films when they recently showed this important film at peak evening viewing time. 9/10
Important, Provocative, Should be required for every High School Student
Much will be written about the performances and historians will no doubt quibble about minor details. They have nothing better to do. But you should see this movie. Everyone should see this movie.

The debate over whether or not it paints Adolf Hitler in too human a light is specious. The problem with high ranking members of the Third Reich, Hitler included, is not that they were inhuman. The problem is that they were quite human, and thus they show us what all human beings, ourselves included, are capable of being when devotion to a twisted ideology is carried to the right-wing extremes of fascism. To dismiss these people as easily recognizable monsters is to absolve ourselves from the duty of watching out for them in our midst.

The movie reminds us that Hitler didn't come to power as a result of some coup d'etat, nor did he fall from the sky. His party was elected and legally enacted the laws that led to their rise to power. Little by little the German people sacrificed their freedoms in the name of their "national security" and grandiose visions of their imagined global destiny, until the state had so much power, no one could speak up against it for fear of marginalization, imprisonment and, ultimately death. Do you see where I'm going? And silence in the face of growing horrors during time of war was considered patriotic, - then just as it is now.

Everything about the movie is first rate, the performances and direction are nothing short of stellar, and one can't help but feel better for having seen it. Pay particularly attention to the epilogues, which include a caveat from Traudl Junge herself, taped shortly before her death last decade. She reminds us that our naivete is no excuse.

The price of freedom is eternal vigilance. See this fine movie and never forget.

'Saving Private Ryan' without the schmaltzy overtones.
You couldn't really expect to make a 'typical' movie out of the story of last days of the archetypal fascist dictator. 'Untergang' seeks to illustrate the situation of 'sane' people under the control of a madman; that and the impending arrival of the Red Army is the only dramatic jeopardy available - no romantic interlude, nothing to achieve, no sentimental buddy rescue shtick. We witness the reactions of people like you and me (and don't be silly enough to imagine I include Goebbels, etc. - I mean people doing their jobs under impending calamity) who happened to be in the wrongest place at the wrongest time. If this dilemma doesn't absorb you, it's a fault of your imagination, not of the utterly brilliant recreation of something very few people survived to bear witness to. 'Untergang' doesn't seek to make a judgment of Hitler because it doesn't need to: all you need to appreciate is his increasing detachment from reality and the way that this divides the people stuck with him. If there's any sort of judgment, it's of the herd mentality of people as a whole. The film becomes a series of stunning docu-vignettes of the various levels of humanity involved, each one posing the question 'What would YOU have done?'. This film is thought-provoking, and that naturally makes many denizens of the internet uncomfortable.
The End
Now here is a novel idea, making a movie from the "enemy's" point of view, attaching a human face to probably the most notorious institute of evil in human history. Before watching this film, I had reservations over how much I would enjoy it and what I might gain from it. I was concerned that the film may be an attempt to show the human side of the Nazi party, to make us sympathetic not to their cause, but to their human nature. I had to think to myself, do I really want to attach a human element to people who history has painted as monsters? The film begins with Hitler recruiting Traudl Junge as a new secretary in 1942, from this point onwards the film is predominantly (but not entirely) seen through her eyes. This key scene at the beginning of the film shows how people reacted to their leader with fanatical loyalty, holding him high in reverence. This gives us a brief insight into the belief of his followers that what they were doing would lead them to a golden utopia, a better world. All to often in films concerning Nazi's, they are portrayed as evil personified, killing for killing's sake, being evil for the sake of being evil. What we get throughout this film is a more realistic viewpoint of people's attitudes. The people who followed Hitler may have no entirely agreed with everything he said, may have not hung on his every word, but believed that he would lead them to a greater future, as such they followed.

Bruno Ganz, does a magnificent job of playing one of history's most notorious and documented individuals. He plays the role as, what I feel, accurately and realistically as possible. He resists the temptation to play Hitler as an uber-evil super-villain, disregarding all life who opposes him and wiping out humans at a whim. He plays the roles as an ageing leader, loosing grip on his health, his sanity and his conquest. A man who was kind, considerate and caring to children, his dog and his civilian staff, but who also attempted to wipe out an entire race of people and was proud of himself for doing it. It shows a man willing to send young children into the street to resist enemy advancement, it shows a man who believes that the civilian population would not be evacuated, as it was their chance to rise up (women and children, the old and sick, un armed) and prove they deserved victory. This film raises the question, was Hitler an evil man who practised evil deeds through his beliefs? or were his evil deeds a result of his absolute pursuit of his beliefs? Watching Ganz's performance, you get the feeling all Hitler had left before he took his life, was his ideals (not that this is anything to be proud of). He had lost the war, he had lost the respect of several of his commanding officers and he had lost his grip on reality.

The film also shows Hitler's closest officers and staff, it shows how they react to the downfall. Some have blind and fanatical faith that Hitler will act as their saviour and devise a scheme to turn the battle around. Some accept that their leader has lost his grip, but follow with blind devotion anyway. Some are not so sure and see the cracks in the beliefs they were fighting for. The film shows these often horrifying moments and realisations in all to realistic detail.

Ultimately, Downfall shows the human and personal element of the end of the war for Hitler and the Nazis. It shows how real people, people who tell jokes, drink, socialise, listen to songs and dance, also followed national socialism with a devotion that drove them to do the terrible things they did. It shows how they did not believe what they were doing was wrong, in their minds they were paving the way for their glorious future. It also shows their fanatical devotion and blind faith in their goal, led to their downfall, both as a movement and as human beings.

Downfall is an amazing and powerful film, documenting an unseen side of a major historical event. The film ends with video footage of the real Traudl Junge talking about her feelings towards the war and he involvement with the Nazis. She says that when she first became involved with the Nazis, she was in awe of their power and beliefs, she may have not agreed with everything they did, but what difference would her being involved or not make? She was ignorant to their deeds and as such held a clean conscience. Then she says has realised over time she had the power not to be ignorant to their deeds, that she should have stayed away from them, realising them for the evil that they were. I felt she was warning what ignorance can lead to, that no matter how tiny one person is in the scheme of things, it is no excuse to contribute towards the wrong cause.

Excellent historical film, highly recommended.
Amazing realism
Der Untergang makes you live the horrors and craziness of war. Bruno Ganz's interpretation of Adolf Hitler is worthy of an Oscar. He is completely believable. Also the rest of the cast performs admirably. You feel transported to Berlin as it was bombarded by the Russians. You get a very clear insight (or an impression?) in how the military decisions were taken during those final days of the war. The movie balances well between large-scale effects of bombs exploding in ruined streets and depictions of different persons going though the experience – from Hitler and his staff in the well-protected bunkers to the principal military commanders torn between reason and loyalty and German civilians trapped in an inferno. The movie is neither pro-Nazi nor does it depict all Nazis as mindless monsters. It gives an impression of utter realism. Go see it in a good cinema – your seat will tremble as the bombs explode. A nine out of ten.
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