🎦 Downfall full movie HD download (Oliver Hirschbiegel) - Drama, Biography, History, War. 🎬
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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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
Probably the most accurate WW II movie I have ever seen
A lot of war movies have a sense of patriotism or commercialism, but Der Untergang feels like it is just giving you the cold hard facts of the last ten days of the Third Reich. I have to commend the filmmakers for not using black and white or filtering the color, like many other WW II movies today. It is becoming a cliché. The film is based on Traudl Junge's recollections of the last ten days she spent in Hitler's Bunker. It takes place entirely in the Bunker, which gives the film a very claustrophobic feel. As the outcome of the war becomes clearer, the Bunker becomes a cesspool of drunkenness, denial, and even death.

Hitler's secretary Traudl Junge has a strange relationship with him. She stays with him out of sympathy and loyalty, but she is often horrified by his cruelty and inhumanity. This might be difficult to understand but I believe this makes the movie all the more realistic. She can recognize cruelty when she sees it but Hitler is the Fuhrer, a man who is practically worshiped. Hitler is shown to have elements of humanity. He despises smoking, loves his dog Blondi, and genuinely seems to care for his secretaries and Dr. Goebbel's children. We can feel his sorrow as the Russians advance toward Berlin. His dream of a German Empire had been lost and it breaks his soul. One of my favorite shots in the film is that of Hitler staring silently at a picture of Frederick the Great, seemingly thinking about his failures.

This is not to say Der Untergang is pro Nazi. I believe that by portraying Hitler's humanity the film makes his crimes all the more terrible. If he was just a one dimensional monster that would be his excuse. The inhumanity of the Third Reich does emerge throughout the film. Hitler blames the German people for the defeat of the military, calling them cowards and saying they deserve their fate. Joseph Goebbels expresses similar sentiments. Magda Goebbels says she cannot live in a world without National Socialism, and poisons her children before committing suicide with her husband.

The film perfectly captures an aura of hopelessness and denial. Eva Braun throws a party in the middle of the Russian bombing, trying to get her mind off Germany's impending defeat. She does anything and everything to keep her mind off the war. Hitler orders his Generals to move Tank divisions that do not exist or are too crippled to be of any use. He blames his Generals for Germany's defeat and not himself, which he usually did in real life. People around Hitler are aware that the situation is hopeless and betray him to save their own skin.

In the midst of all the madness, some people have retained their sanity. Professor Schenck, a German Doctor, tries to help the wounded soldiers and civilians when his own government abandons them. Berlin is in ruins and people are left to fend for themselves. An old man tries to convince soldiers who are no more than thirteen that there is no point in fighting, but to no avail. Eva Braun's brother-in-law Fegelein tries to convince Braun to leave Berlin, but she cannot leave the Fuhrer. We sympathize with these people, and they only show how insane the Third Reich was. People commit suicide out of devotion to the Fuhrer.

Corinna Harfouch plays a chilling Magda Goebbels; the scene where she pleads with Hitler not to kill himself was outstanding. The star of this movie though, is Bruno Ganz. His performance as Hitler feels so authentic it is frightening. If I ever had to recommend a movie just to see one performance, this would be one of them. Hitler has been played by great actors like Anthony Hopkins and Alec Guinness, but Ganz has received the most praise. I will seek out more of Ganz's movies based on this performance.

At the end of the film, an excerpt from an interview with the real Traudl Junge is shown. She says that at the time of the Nuremberg trials she was shocked by what had happened in the Concentration Camps but did not consider herself responsible. Now she admits that she had no excuse. I would imagine this is how many Germans from her generation feel. I highly recommend Der Untergang to anyone who is interested in The Third Reich or anyone who appreciates good film making.
'Grim' Look At The Nazis' Final Hours
Wow, what a grim movie. How I stuck with this for 155 minutes, I don't know, but it's a fairly involving story once you get into it and you want to see how it's all played out.

A main reason I use the word "grim" is that there are more scenes with people committing suicide in this movie than all the movies (thousands) I've seen put together.

This German movie deals with the last days Of Hitler and the Nazis in Berlin in April of 1945. In the end, most of the people in the film either kill themselves, as mentioned, or execute their loved ones in order to avoid capture by the Russians, who overtook the city. This includes poisoning a group of young children.

While not overly gory, some of the scenes are shocking, ones I suspect would linger in anyone's memory..

Bruno Ganz as Adolph Hitler was intriguing, to say the least. As an American, I can recall very few, if any, films in which Hitler was shown to this degree with this much dialog. Being such a famous figure in history, it was one of the reasons, frankly, I stayed with the film. I never this man portrayed on film.

Alexandra Maria Lara as "Traudl Junge" was the bright spot in this dismal story, a beautiful and wholesome-looking woman with an expressive face. She was the only character in the film that I cared about. Everyone else is pretty cold. Junge "won" the job as a secretary for Hitler and is pictured as sweet and naive woman...and just one more of the millions of victims of World War II. Victims can be survivors, too, as the story concludes, if for nothing else, for suffering with a guilty conscience for decades.

This war movie definitely can be classified as "different" and memorable. I doubt if I'd ever watch this again, but it was worth the one viewing, that's for sure.
As brutally authentic as a film gets: there is no entertainment to be found here.
As Downfall begins, World War Two and Berlin are already hopelessly lost, but yet Hitler issues orders to imaginary armies, and his cadre of generals never does more than tactfully disagree as millions of civilian lives are deliberately jeopardised to no meaningful end. Downfall shines a hard light into Berlin's bunkers, and illuminates a politics both repugnant, and scary in its proximity to politics we know.

The film follows one of Hitler's secretaries, a high-ranking army doctor, Goebbel's wife, a twelve-year old panzer killer, a general encouraging withdrawal from Berlin, and the general defending it. Their stories play out in Berlin's command bunker and through what is left of its streets and buildings. When all of their doings and meetings are put together, one arrives at a rich picture of Berlin's lasts gasps.

We see snatches of the ordinary Berliner's war, of the embattled soldier's war, but mostly we look in upon the actions of Hitler's officers, companions, and civilian attachés. We see them execute erratic orders; variously urge or resist a withdrawal from Berlin; prepare to slip away themselves; write last testaments; sit listless; whore; drink and carouse; labour with the wounded; or prepare for their suicide, and perhaps the murder of their family. What emerges is a compelling interrogation of fanaticism.

The mind boggles at the naïvety of some of the film's acquaintances, but is most disturbed by the actions of its officer class, who know Hitler's behaviour to be entirely irrational yet observe his orders all the same. Many of his generals value their duty to a madman resolved upon death above the lives of millions; the overwhelming concern of others is self-preservation. Why was their no coup in these last days? That is the question which this film will have your mind screaming.

Downfall feels like a fly-on-the-wall documentary, the shots are too well composed and the crew too invisible, but it feels that authentic. The dull grey-green film stock familiar from Saving Private Ryan et. al. helps, but it is the film's remarkable performances, production design, and effects, which really carry the day.

In appearance the film is every bit as convincing as Private Ryan, but it is made still more verisimilar by the absence of any sentimental narrative concessions. Downfall doggedly, dispassionately shows the callousness of the war and its key prosecutors. In the bunker one encounters a menagerie of moralities just as distorted as Hitler's. A few of Downfall's scenes are of the most disturbing nature.

Hitler is not amongst the characters that the camera loosely follows through the film. His centrality to the action probably wins him the most screen time, but our experience of him includes waiting in anterooms and peering down corridors. Thus, cunningly, the power relations around him are revealed; and we get to listen in to both back room and front room politics.

Bruno Ganz's performance is excellent; his Hitler is delusional, tyrannical, and monumentally immoral, but still he conjures some of the charisma and personal kindness that must have seduced those around him. Incredibly, when released in Oz, film critics talked about Downfall's sympathetic portrayal of Hitler: they must have been watching a different film! Ganz is truly repellent; to take his character further would only make it a caricature. His moments of humanity, and his tired physique, only make the whole man more terrible. His portrayal rings true because we can perceive something of how he came to power.

Juliane Köhler also makes a powerful impression as a flighty, selfish, unhinged Eva Braun. You might just hate fanatical ice woman Magda Goebbels (Corinna Harfouch) more than her husband before the film's end. But her fanaticism is no more amazing than the determined naivety of secretary Traudl Junge (Alexandra Maria Lara); a snippet of the real person talking in interview caps the film. What she says is what most German war survivors now say about their culpability; however, after what you've just seen, one's disbelief at such systematic ignorance is more acute than ever.

Downfall is flawlessly executed; the feelings it elicits are intense. It is well deserving of a ten, but one would never call this film entertainment.
very involving and seemingly authentic
First of all, I am not commenting on the morality or immorality of the depicted contents. I am commenting on the film as such. And that film was really catching. Hitler was portrayed in an extremely believable way. His private moments revealed the cracks in his confidence, yet, they stressed his stubbornness. All of the used décor seemed original. The military language and acting -even that of the extras- was precisely investigated and seemed believable. At no point, I had the feeling "oh, this is just dumb dramaturgy". I could feel the imminent collapse of a once so powerful oppression system. Still, in this apocalypse, the myrmidons lost their countenance only slowly. This film has let me live through all of this. Very well made!
Piece of catharsis
A important film for discover the image of a time without shadows of propaganda or preconceptions.

A important film for see Hitler not like supreme monster but like small man at end of ambition.

A important film for explore of different faces of reality, for understand the personal truth like ordinary form of self-protection.

A film about the corpse of an ambiguous era, about the shards of a lie, about death and duty, about closed worlds and anatomy of fear, about fake myths and foolish hope, about sense of life and signification of final gestures.

It is a movie, a splendid movie about fall of Nazi regime. In same measure, it is touching description of any dictator crush, about dissolution of a powerful image and Utopian project.

The presence of Alexandra Maria Lara is more than a brilliant acting example. The sensitivity, the look, the relation with a twilight universe are amazing.

And Bruno Ganz... . After memorialistic literature, documentaries and commentaries, after testimonies and description, for first time I saw the image behind the masks and verdicts.

Hitler as victim, Hitler between worlds, Hitler like "pater familias", Hitler like shadow of a strange powerful myth.

After the end of film must read the testimony of Traudl Junge. The colors of honest confession, the images and the characters transforms "Der Untergang" not in a war story but in a special form of catharsis.
Yes, You *Should* See "Downfall"
You may have reservations about seeing this movie.

Maybe, as some critics have implied, the movie "humanizes" Hitler and Nazis.

Maybe it would be creepy to watch a movie where most of the action takes place in an underground bunker.

Maybe you just don't want to go to a foreign language film.

Forget your reservations. You need to see this movie, on a big screen, with an audience. It is a masterpiece. I'd rank it with "Gone with the Wind," "Lawrence of Arabia," and "Saving Private Ryan." "Downfall" depicts events of world historical importance through the eyes of complex characters and it does so masterfully. "Downfall" raises important questions, and it also presents the viewer with a compelling visual epic.

Performances are first-rate. Costume design, the recreation of bombed-out Berlin, of air raids, are so realistic that you feel plunged into another world.

From the first scene, I was completely immersed in the world of "Downfall." I was moved; at times I cried. On screen characters make unintentionally funny comments, for example, about how they will negotiate with the Americans after the war. More than once, everyone in the theater where I saw the movie laughed out loud.

And, I raged.

I don't know when I've reacted so strongly to a movie. I'm sure you've seen the press conference where American military show film footage of the newly captured Saddam Hussein to Iraqi journalists. The Iraqis in the audience, seeing the film footage of Hussein, began to curse and shout and shake their fists at the screen. That's how I wanted to react to this movie.

Like most people interested in history, I've seen archival film footage of Hitler's speeches, and productions like "Triumph of the Will." That film footage did not prepare me for "Downfall"'s painstaking recreation of Nazism. There they are: Himmler, Goering, Goebbels, Speer, and Hitler himself, chatting, eating, planning, going about their day-to-day activities.

Their painfully realistic images on screen filled me with rage.

Another reviewer here commented on her strong reaction to watching Magda Goebbels murdering her own children so that they don't have to live in a world without National Socialism. That viewer said she wanted to scream at the screen. I felt that way throughout the movie.

Are these Nazis human? Yes. Are they sympathetic? I'd be hard pressed to imagine a normal person feeling sympathy for these Nazis. They murder their own children. Hitler is plainly depicted as a twitching failure and a pathetic narcissist who sees even his beloved German people as mere pawns who exist solely to provide greater glory for him.

I can't help but compare "Downfall" to the "big" epic-wanna-be American movies of 2004, from "The Aviator" to "Alexander." There is just no comparison. Hollywood, watch out.

During, and certainly after, the movie my mind raced. Without being at all preachy, this movie invites you to -- no, demands that you -- think about the hero worship that surrounded Hitler. Why did a nation drop to its knees for this lunatic? Why, during Berlin's final hours, didn't more people read the writing on the wall? By extension, the film invites critique of any national psychosis and hero worship. Why did these people surrender themselves to Hitler? Is there any comparison between the events on the screen and contemporary life? In a brief coda, the real Traudl Junge, Hitler's secretary, attempts to acquit herself by saying, paraphrase, "Gosh, I was a young, pretty girl, what did I know or care about politics?" But then she interrogates that stance. "I could have informed myself. I could have learned something. Being young is no excuse." I left the theater thinking not just about fifty years ago, but about today, about my country's involvement in Iraq, and America's largely passive response to that war.
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
Well worth seeing...
German film about Hitler's last days in his bunker at the end of WW2.

This was nominated for an Oscar and i can see why - its a very interesting subject, not something WW2 films tend to concentrate on and it was interesting to see a German-made WW2 film. It looks really good - the reproduction of the period, the battle scenes, Bruno Ganz's performance as Hitler.

As it goes on and things get more desperate i got into it a lot more and the thing that affected me most were the suicides, the information about what happened to the people around Hitler (and discovering quite a lot of them only died a few years ago and one was still alive when the film was released) and also the modern day interview with Hitler's secretary that bookends the film.

Its quite long and a bit of a downer - not the sort of film i'd want to watch again anytime soon - but well worth seeing.
Far and away the best film of 2005
I came across this film in the video store while searching for a movie I have already forgotten. It wedged in a tiny column in between entire walls of "Brokeback Mountain" and "The Wedding Crashers." It was only because of the Oscar buzz over the former and the sophomoric media hoopla over the latter that this film has received such little attention here in the US despite being vastly superior to either.

What impressed me the most about this film was Bruno Ganz's acting. His portrayal of Hitler was the capstone to a production effort that could have stood without him. As a historian I have seen the footage of Hitler giving speeches and read numerous accounts of his madman personality (both on stage and in private) that held his audiences spellbound. Ganz could have been forgiven had he failed to capture this virtually impossible act, yet he does so flawlessly. Words can't really describe it; the viewer must witness it for himself. At the same time, however, Ganz manages to portray the human side of Hitler as well, the non-drinking, non-smoking vegetarian who was an absolute hit with children. It is a true testament to Ganz's performance that some historically-illiterate critics felt that he portrayed Hitler as being "too human" while others felt he went overboard in his portrayal of Hitler's lunacy.

Ganz is not the whole show, however. Much of the movie is focused on the plight of every Berliner, ranging from Eva Braun and Hitler's close subordinates to Hitler Youth mounting a last stand in the streets to the old men and women being chased through the streets as "deserters" by the SS. The acting is superb across the board and the production of Berlin burning is downright disturbing in its accuracy. Those with narrow attention spans will have difficulty with the length but the engaged viewer will find themselves enjoying every minute. This film is a true masterpiece and the best piece of German cinema since "Das Boot".
📹 Downfall full movie HD download 2004 - Bruno Ganz, Alexandra Maria Lara, Corinna Harfouch, Ulrich Matthes, Juliane Köhler, Heino Ferch, Christian Berkel, Matthias Habich, Thomas Kretschmann, Michael Mendl, André Hennicke, Ulrich Noethen, Birgit Minichmayr, Rolf Kanies, Justus von Dohnanyi - Italy, Germany, Austria. 📀