🎦 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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Persuasive, visceral, shocking, and enlightening. And brilliantly made.
The Downfall (2004)

There is no way to find any movie-making fault here. The filming, the acting, the sets (if you can call such amazing scenes merely "sets"), and editing, and drama, the effects, etc etc are all as good as it gets. There no reason to even list all the great actors, from Bruno Ganz playing Hitler on down. It's so disturbing, convincing, and perfect (as much as movies can be) it'll shake you up, deeply, and properly.

Historically I can only assume it is accurate. It fits all the bits and pieces I've read about the last days of the Third Reich well, and it is a fully German effort, which gives it some kind of credence. Note, for a moment, that there are a lot of these redemptive, unapologetic, probing films by contemporary Germans, such as Sophie Scholl, and there are not similar movies made by the Japanese for their role in World War II. The implications of that I'm not sure, but it's worth pointing out at least to give huge thanks to the Germans involved for wanting to be honest, openly.

There will be a million ways of treating Hitler the person, including not treating him as a person at all. I think director Oliver Hirschbiegel (and his producers) make an astonishingly good effort to get it "accurate." It's not a documentary, and there are short scenes clearly meant to be moving beyond just information (like when Dr. Speer finds the patients in the basement of the hospital, or when the woman and the boy ride their bicycle down a woodsy road through golden sunlight). But why not? I don't think beauty is at fault here. The main narrative personality through the movie (the secretary) has at her core a sense of noticing what is true, and wanting what is right, and in the end she finds beauty by simply surviving.

But there is a way to analyze what happens here, but not quickly. There are moments that are gory, but there is no dwelling on violence (many suicides take place and we don't usually witness them directly). That alone makes the movie quite the opposite of Tarantino's version of Hitler's demise, for example, or even how Spielberg might show the blood, judging from Private Ryan. The Downfall makes the facts of Hitler's madness no caricature, but a real, frightening insanity, subtle enough to inspire followers. The willingness and the sometimes stupid sheeplike attitudes of the many officers around him is a huge part of the message here, assuming we can call the basic intention of the movie a drive for reassessing the facts of the times, and the implications about how power can be so wrong, and so persuasive.

Bottom line? An amazing movie.
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.
"You have to feel that Hitler was a human being; only then he is a real horror."
The first internationally released German production to feature Hitler as a central figure, "Downfall" (2004) takes place in the dismal gloomy Berlin during April - May 1945 in anticipation of the inevitable German defeat. The film shows the last days of Hitler and those close to him through the eyes of his young secretary, Traudl Junge.

Oliver Hirschbiegel's film has been criticized by some circles as presenting a "too sympathetic" portrait of the Fuhrer. I don't believe anything in the film suggests that its creators sympathize with the Nazi regime and those who had orchestrated it.

Showing Hitler as a human being (amazing performance by Bruno Ganz), a man who loved his dog, was a vegetarian and could display some moments of tenderness did not undermine the overall image of a lonely, domineering, conscienceless, and hateful man who believed that his people, his compatriots, women and children deserve to die because they are no longer deserve to live and because "in a war as such there are no civilians".

Did those who think that that the film "humanized" Hitler forget the most chilling scene in the movie, the one that shows Frau Goebbels crush the ampoules with cyanide between her children's teeth, after they had been dosed with a sleeping draught? She did it not because she was scared of what would happen to them after the war, no, her reason was, "The country without National Socialism and its party is not worth living in". How dangerous Hitler was if he could induce such a blind devotion that could convince a mother of six to murder her children in cold blood.

Bernd Eichinger, the producer and scriptwriter of "Downfall" emphasized, the greatest danger he saw in making a film about Hitler was the temptation to show him as a psychopath or madman: "Hitler possessed an enormous criminal and destructive energy, and he was a barbarian in the most fundamental sense of the term... But I am convinced that he was totally of sound mind until the very end, which is why leadership never slipped from his hands."

The film's director Oliver Hirschbiege says that, in the same way it was evil of Hitler to see Jews as less than human beings - i.e. as "insects" - it would be equally wrong to portray Hitler as a madman, because that would excuse him of culpability: "I think the biggest mistake is to have an image of Hitler as insane - that he was not a human being but a monster. The most important point to realize is that Hitler was not a madman, not a psychopath or someone on drugs, which implies that he wasn't responsible for what he was doing. Of course he was responsible! "For me, (this film is) paying homage to and truly honoring the victims, because we fall short if we explain the Holocaust by stating that they were all out of their minds. They knew what they were doing!"

I believe that the result of their work, the film I saw last night is absolutely unforgettable - honest, powerful and devastating. It is a masterwork of film-making and a very important in its objectivity historical document.

The Last Days of Hitler and the Fall of the Third Reich
'Please, retain your faith in the final victory! If you lead us, we will follow!' By the time these words are spoken to Adolf Hitler it is far too late for him to be able to reassure the hysteric woman who said them. He knows, as all his Generals know, that World War II is over. And Germany has lost. However, as his mental stability declines Hitler will forget this and try, once again, to win. Moving forces that exist only on his map and calling in strikes by planes that were destroyed months earlier, Hitler fights until his last to protect the crumbled remains of what was once his evil empire. He pores over models that represent the new cities he believes he will build, and no one has the courage to tell him that his Aryan Xanadu will never exist as anything but these models.

This is "Der Untergang (The Downfall)". The film is inspired by the memoirs of Traudl Junge, Hitler's last secretary and oblivious follower. Traudl stands at the Fuhrer's side and refuses to move despite lacking all knowledge of him, even his Holocaust. The confused young woman watches in horror as Hitler's Generals turn their backs on him, and she weeps when she finds the remains of her leader's brains scattered across a wall following a fateful gun shot.

"Downfall" has a tricky goal: to show the human side of Hitler. No, it's not about making you sympathize with him. It's about showing that he wasn't some superhuman. Bruno Ganz's performance as Hitler, one of the towering performances in cinema history, exposes faults in the Fuhrer. Physically, his hands twitch uncontrollably and his back is hunched as if burdened with a massive load of shame and humiliation. Mentally, he rants about wanting to speak to soldiers he knows are dead and he fabricate stories about Nazi forces hiding in Prussia, waiting to rush in and save Germany from encroaching Russian armies. As he tells these stories to his friends and confidants, you can see he is telling them to reassure himself, and not his friends.

Then comes the final collapse. Hitler shoots his wife, Eva Braun, and then himself so as to prevent being captured and forced to face the music. Magda Goebells poisons her children, and then sits down to a game of solitaire before facing her own death. Joseph Goebells tries to salvage the German army, but finally gives in and shoots his wife and himself. Slowly but surely, every one of the Nazi officers in Hitler's bunker commits suicide.

Traudl finally accepts that it is over, and joins the German army as it moves to the front lines to surrender. Finally, she passes through the Russian front. While she may have lived in freedom physically, it is doubtful she ever escaped the mental image of what she saw, and the horrible truth she learned about her Fuhrer's crimes.

While we may have heard many ex-Nazi's and Nazi sympathizers claim to be oblivious to Hitler's true evil, Traudl Junge is the only one I'd ever believe. When the real Traudl appeared on screen at the end of the film and said she never knew of the Holocaust until the war ended, I felt sympathy for her and I understood the power Hitler had to blind young people and lead them astray.

"Downfall" has been surrounded by controversy since it debuted at the Toronto film festival last year. Critics said it sympathized too much with Hitler, which is obviously not true when you watch it. Others said it goes too far in it's depiction of Hitler's last days. Perhaps some people can not handle the sight of exploding heads and severed limbs, but to say this film goes too far is insane. How should this film depict it's subject? With sunshine and lollipops? World War II was brutal and, as such, so should any film depicting it be. Some people won't be able to handle it, but that's why we humans have discretion. We can decide what is okay for ourselves, and we can say no to whatever we think is bad for us. You don't have to watch this film.

"Downfall" is a vivid, graphic, firsthand reminder of the depth of Hitler's evil. It's makers are simply spreading the message that trying to forget evil will not change it's affect on us. Why shouldn't we depict Hitler in art the way "Downfall"'s makers have? It might be easier to live without thinking of him and seeing his human traits, but it wouldn't be any better to live that way.

This film should become required viewing for history classes.
A new angle on WWII that needed to be put to film
Painting Hitler and the Nazis as anything other than real human beings is the great failing of most WWII movies. This film dares to show a different side of the cast of characters we have come to regard as soulless monsters, while still showing us why they are regarded as such. However, their human sides are revealed as are the impetus behind many of their decisions and actions.

I have never seen a better film about WWII from any perspective. The plight of the Jews was barely shown because we have seen it in countless other great films like Schindler's List. This allowed for more time to be devoted to the Nazi government and was one of the most interesting and informative films I have ever seen. I gave it a 9 instead of a 10 because of a subplot or two that could have been shortened. However, these showed the plight of the German citizenry which was necessary to the story; they just could have been a tad shorter.
"Downfall"of a Monster
"I was not an enthusiastic Nazi," a woman's voice-over tells us at the opening of "Downfall," as if to underscore her lack of complicity in Germany's actions in the second World War, or perhaps to convince herself. It is 1943 when director Oliver Hirschbiegel's film about the last tormented days of Adolph Hitler begins, and that voice belongs to the real Traudl Junge (played here by Alexandra Maria Lara), one of several young women smuggled into the Führer's headquarters in East Prussia to interview for a position as his private secretary. When she messes up the first go-round at dictation, Traudl, whose curiosity about Hitler is the catalyst for her adventure, is moved by the dictator's gentleness and generosity. A moment later she is jumping for joy to land such a prestigious position.

Two and a half years later, things are considerably different. The German military has suffered severe losses, Berlin is under artillery attack by the advancing Russians, the great experiment in National Socialism is crumbling like the city, and Hitler (Bruno Ganz) and his key commandants have retreated to the leader's private bunker. But the megalomaniacal Hitler, who irrationally still believes he can produce a Third Reich that is a German "treasure house of art and culture" comparable to that of the ancient Greek and Roman civilizations, not only refuses to give up, but also shouts at his minions that a new military strategy is in effect that will help them win the war. How delusional!

Despite their resolute faith in the Führer, even some of the elite members of the SS have come to mistrust his judgment. Albert Speer (Heino Ferch), the famed architect of the Third Reich, looks askance at Hitler over a table top model of the cultural structures he planned to create for the master race. Field marshall Hermann Göring cannot (or will not) obey orders. Nazi doctors refuse to let civilians and young men die without some attempt at medical attention. When Hitler is told that "fifteen to twenty thousand" of those young men were lost in an effort to fight off the Russians, his heartlessly-spewed response is: "that's what they're for." But he will go out onto the street during a lull in the shelling to honor youngsters as heroes who "history will take note of," and pinch the cheek of one particularly innocent- looking lad.

The bipolarity of a man who himself has gone down in history as one of its greatest monsters is at the heart of "Downfall," the screenplay (by Bernd Eichinger) for which is based on historian Joachim Fest's book (The Downfall: Inside Hitler's Bunker, The Last Days of the Third Reich) and on the memoir of the real Traudl Junge (Until the Final Hour: Hitler's Last Secretary). The film does not ask us to sympathize with this madman (given his actions, how could it?), but it does present a profile of a man who, despite his obvious dementia, still managed to hold sway over those who earlier pledged their loyalty to him and were determined to maintain it to the bitter end. And is it ever bitter.

The claustrophobic confines of the elaborately designed bunker (by Production Designer Bernd Lepel) are reminiscent of the submarine in the German film "Das Boot." We can practically smell its fetid air and feel the walls closing in on us as the Russians close in on the city. Given these circumstances, we can understand how Eva Braun ("Nowhere in Africa's" Juliane Köhler in another terrific performance) can say to Traudl, "The shelling has stopped, let's go for a walk," even if the suggestion is as insane as staying with Hitler.

But like the others who stick it out and who, in many instances, make inhuman, incomprehensible sacrifices to do so, both women descend yet again to that labyrinth of madness.

Aside from the exploration of Hitler's increasingly fragile grip on reality, what is most fascinating about how he is depicted is his appeal, particularly to women. In addition to Traudl and Eva Braun, the short, mustachioed man with the thinning comb-over mesmerized such otherwise strong-willed women as pilot Hanna Reitsch (Anna Thalbach), and Magda Goebbels (Corinna Harfouch), wife of Nazi propagandist Joseph Goebbels (Ulrich Matthes). As such, "Downfall's" strength is greatest when it sticks to these human dynamics rather than when it sidetracks to subplots outside the bunker that have little or nothing to do with the story that unfolds in that enclosed world.

War is the ugliest, or among the ugliest of human actions, and "Downfall" does not glamorize it. On the contrary, despite its technically superb cinematography (by Rainer Klausmann, who also shot "Head On"), there are a number of graphic sequences that underscore the horrors of war, as if we needed reminding. Then again, perhaps we do.

"Downfall" does not necessarily present new information on those last twelve days of Hitler's life, but it does present it in a worthwhile way. In a time of war, such as the one we are currently living in, it is important to remember that monsters are made, not born, and that they lurk beneath the surface of some otherwise very ordinary humans.
A mesmerizing experience and one that will hopefully remind people all over the world that history may never repeat itself!
All I can say about "Der Untergang" is: WOW! This is one of those rare films that prove that the darkest pages in our world history easily surpass the fiction tales of the most imaginative fantasist. This soon-to-be landmark in cinema portrays the final ten days of Hitler's reign at the well hidden bunker in Berlin. In the opening sequences, we see how the Führer hires Traudl Junge (flawless performance by Alexandra Maria Lara) as his personal secretary and we largely witness the rest of the story from her viewpoint. Recent documentary footage with the real Junge is showed to audience at the end of the movie, stressing even more that this is a very intelligent and carefully elaborated production. A form of criticism I often encountered stated that Hitler was portrayed too "human" by the Swiss actor Bruno Ganz. Let me tell you that people who claim this haven't got the slightest clue what they're talking about! It's true that Hitler sometimes strokes his dog…or even gives a compliment to his servant for cooking him such a lovely dinner! But only moments after, you're exposed to the real Hitler again! Alternately a mad-raving dictator, a disillusioned conqueror or simply a pathetic old man. But perhaps the most astonishing scenes in "Der Untergang" are the ones in which the persons close to Hitler – either professional or amicable – remain unconditionally loyal to him! It is deeply disturbing to behold how so many people blindly swear by the unworldly beliefs of a madman, even prepared to follow him into death. This accurate portrait results in a series of brilliant sequences with the severely shocking fate of the Goebbels family as an absolute highlight.

Purely talking in terms of cinema, "Der Untergang" comes dangerously close to perfection as well. The largest part of this film exists out of interior shots, more specifically the bunker-network where Hitler lasted his final days and eventually committed suicide. And the atmosphere inside this bunker is reflected on the movie-screen as genuine as humanly possible. You can nearly smell the fear of the lower-ranked officers! You can almost feel the shivering of the petrified secretaries! I really hate using a cliché sentence like this but…it's true…it's like you are there yourself! And you don't want to be there! Even the totally demolished streets of Berlin looks look more appealing than the claustrophobic Nazi bunker. This despicable chapter in history deserves an accurate and well-budgeted cinema version, if only just for passing on the inglorious stories of WWII to younger generations. Director Oliver Hirschbiegel terrifically turned Joachim Fest's novel into a mesmerizing film experience. Perhaps the most praiseworthy aspect about it all is that "Der Untergang" simply is a reconstruction of the facts! No lame and amateurish attempts to blame Hitler's actions on miserable childhoods or traumatizing experiences. Simply put: this is fundamental viewing!
Human crimes
The Nazi regime and everything associated with it has been demonized in the past six decades up to a point where it is truly hard for a layperson to have a fairly realistic view of how things were. Don't get me wrong: every bit of the moral condemnation is fully deserved and necessary to be made.

However, we have to understand, that Nazis were just as human as any regular guy. It wasn't demons, or Satan or some unimaginable evil that has committed those crimes- they were people, cruel & despicable people, but otherwise having the same feelings, fears & uncertainties as any one of us. Attributing demonic powers to the enemy is never a good way to understand; and you might say who wants to understand such a thing?; but there is no other way to learn from the past- or from anything else for that matter- then trying to be realistic instead of dismissing.

We HAVE to condemn crimes that have taken place; but we have to condemn them for the right reasons; only after medicine has learned that diseases are caused by microorganisms, genetics etc. rather then by evil spirits that it was able to treat them. It is only if we accept that the nazi crimes(and many others before & after) were the results of deeply human processes that we can hope to avoid them in the future.

This is what I think this movie transmits to us.
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.
60 years ago
It has been months since Der Untergang first premiered. For one reason or another, I kept postponing it, month after month, country after country. Luck dictated I should see it on May 9th 2005, in Hannover, Germany. The 60th anniversary of the Armistice in Europe. The day we celebrate an united Europe (that same Europe that Robert Schumman kicked-off in the 50s and still works in preventing further wars). To make it clear: I am not German. Yet, for more than a few reasons, the history of the Second World War always touched me in a particular way. Not that it was any different from so many other wars. Except for the numbers. Never did human cruelty climbed to such levels. Never did we realize as then, how easy can society mutate into a monster. This was a highly intense movie to watch. Bruno Ganz will for ever be remembered as the magisterial actor that played Hitler - as Ben Kingsley is remembered for Gandhi. We see him in this film as a madman. There is no other way to describe it. He was insane. An insane man led the world to collapse, brought Humanity to its knees, and did so unquestioned. Der Untergang is full of strong imagery - it shouldn't matter if those in the streets were German or not. The human misery is total. I could not contain my tears in many occasions (not titanic tears, rather those that come from the depth, those that imply something beyond the screen. tears of History). In others, I simply had to close or cover my eyes, so brutal were the scenes. And as we come to an end, I am, as viewer, left with a sense of emptiness. The credits came, ran for 10 minutes, and I just sat there, crying compulsively for 10 minutes. Not due to the film, but to all that is behind it.

As I exited the theatre, I noticed a few other people drying their faces. Outside, the cold had returned. The wind blew strong and icy, some rain drops fell on me. And I walked. I wandered in the cold rain for one hour. I can only think of two other films that left me this disoriented, this helpless.

It should never happen again. Never.
See Also
📹 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. 📀