🎦 Downfall full movie HD download (Oliver Hirschbiegel) - Drama, Biography, History, War. 🎬
Downfall
Year:
2004
Country:
Italy, Germany, Austria
Genre:
Drama, Biography, History, War
IMDB rating:
8.3
Director:
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.
Type Resolution File Size Codec Bitrate Format
720p 1280x720 px 9445 Mb h264 N/A mkv Download
HQ DVD-rip 576x320 px 1394 Mb mpeg4 1082 Kbps avi Download
Reviews
An excellent rendition reflecting historiographical trends of the past years.
"Der Untergang" ("The Downfall") portrays life inside (and to an extent outside) the "Führerbunker" in Berlin during the last few weeks prior to Hitler's suicide in April, 1945. The screenplay was written by Bernd Eichinger, who has had previous experience with the adaptation of historical material for cinema, and done a commendable job in the process. I am, of course, referring to his screen version of Umberto Ecco's historical novel "The Name of the Rose (1986). Some of Eichinger's other credits include "Body of Evidence" (1993, which he co-produced) and "The NeverEnding Story" (1984, as producer).

Few movies have stirred up as much controversy even before their release, as has "Der Untergang." So what was all the fuss about, and was it warranted? After all, how many films have been made about Hitler already, including several about Hitler in his Berlin bunker. There is nothing especially controversial about the subject matter per se. What is more, Hirschbiegel and Eichinger appear to have done their homework, basing the film extensively on German historian Joachim Fest's acclaimed book of the same name (2003). Events are portrayed largely through the eyes of Traudl Junge, Hitler's private secretary from 1943–when the film opens with a flashback sequence to her job interview and appointment–to his death. Her memoirs, and interviews conducted before her death, constitute a further source for the film. The Führer himself is played magisterially by Bruno Ganz, who clearly spent countless hours studying Hitler's public speeches, as well as rare footage of the private man, not to mention recordings of his voice. For a historian like myself, who has viewed and listened to much of the material myself, it is uncanny how right Ganz gets it. Inflection, tonality, accent–they are all there. As are gestures and body language. This film has to be seen in the original, even if you don't understand German.

So if there is little in the way of subject matter, preparation, historical consulting, and prime acting to fault, why then the controversy? The approach and interpretation were at the root of the hullabaloo. Interviewed while the film was in the making, Eichinger explained that he would portray Hitler "as a man, as a human" ("wie ein Mensch.") This was revolutionary in cinema, where renditions of the Nazi leader have–pre-Eichinger–still not gone far beyond the "evil-dictator" approach. You might reasonably query what is wrong with the "evil dictator" approach, given the accepted fact that he was, indeed, evil. From a historian's perspective, everything is wrong with that approach, and Eichinger had the courage to transcend it for the broad public.

The first two decades of post-World War II historians pretty much demonized Hitler, as did all movies before "Der Untergang." This was understandable, at the time. Wounds were still fresh, denazification was under way, Germans were seeking a new democratic identity aligned with the West, and the issue of "collective guilt" was touchy. Solid, balanced biographies of Hitler had not yet been written, and historical understanding of how it was possible that a highly cultured people such as the Germans could have been led astray was only just beginning to take shape. But with the 1964 revision of Lord Alan Bullock's "A Study in Tyranny" (1st ed. 1952) and Joachim Fest's "Hitler: Eine Biographie" (1973) professional historians started putting demonetization to rest and instead began to explain. And this meant accepting the perhaps distasteful tenet that Hitler was, after all, a man, and not some kind of deranged satanic figure from hell. Sir Ian Kershaw, Professor of Modern History at the University of Sheffield, has taken things even further, in his highly accessible two-volume (2000 page!) magnum opus which has now become the standard biography (published 1998-2000). For Kershaw has not only reconciled the internationalist (or "Hitler-centric") approach, which focuses on Hitler as linchpin and leader of the Third Reich, without whom World War II and the Holocaust are unthinkable; with the structuralist approach, which links Hitler and his "enabling" to social, political and cultural structures in Weimar Germany. Kershaw has also gone a long way towards meeting the desideratum of German historian Martin Broszat, uttered as far back as the 1970s, for the "historicization" of Third Reich history, meaning its firm embedding in overall German, European, and indeed World History, rather than its artificial isolation as an "aberration" or a "German special path" ("deutscher Sonderweg.") This, then, is the proper historiographical context of "Der Untergang." In effect, the film almost belatedly follows trends in scholarship that have been developing for some time now. Of course, the general public is hardly aware of such developments. So in a sense, the film is something of a vulgarization, a kind of dramatization informed by the best scholarship. The film does not explain, for it is, after all, not a documentary with the voice-over of a historical consultant cum narrator. That is not its purpose. What it does, however, is provide an excellent sense of Hitler in his declining days, increasingly delusional if perhaps not outright insane, but still able–almost to the bitter end–to maintain a hold on his closest followers. Not to mention the unreality of life in the sheltered bunker, while outside the Russians are advancing through Berlin suburbs, held back only by a pathetic hodge-podge of Hitler youth and tired old men drafted into service in the Volkswehr. From all accounts I have read, from the pens of scholars English, American and German, I can say with a high degree of certitude that this film provides a reasonably authentic recreation of what it must have been like. Or in the words of Leopold von Ranke, "wie es eigentlich gewesen." What higher acclaim can a historian provide?
2005-02-06
Cinema at its best
It may not be entertaining, Leo Di Caprio may not be in it, there may be no no melodrama, no fake emotions, no Hollywoodisation of History for American audiences, but Der Untergang is certainly one of the best period films ever. Hitler, the most odious figure in History, is portrayed not in a sympathetic way but as he was: a man, persuaded that he was doing the right thing; with painstaking realism, and aided by one of the most riveting performances ever, the film shows us that there is a monster inside every one of us, living side by side with more gentle traits. Superlative acting, awesome script, overwhelming presentation of the subject matter: a near-perfect cinematic experience.
2005-01-26
The Best WWII movie ever.
'Der Untergang' is probably the only WW2 movie I've ever seen, which only deals with facts and is utterly deprived of any form of commercialism whatsoever. Bruno Ganz is truly excellent in his role as Adolf Hitler, a tired man who sees his "Reich" fall, but cannot accept it. Overall (type)casting is very good; all the actors chosen to portray a famous/notorious character look a lot like the real deal, especially Goebbels. Although I'm not a fan of long war movies, these 2,5 hours passed very quickly due to excellent acting, great sets, FX and storyline. Somehow, every scene is dripping with underlying tension that never really explodes; a kind of unsettling unbelieved grips you when you see seemingly ordinary people commit astonishing atrocities and sins towards mankind, just for their faith and loyalty to one man, Hitler, who himself walks the edge of reason.

Great movie : 10/10 without a doubt.
2004-12-14
best docu-drama in years
I got to see 'Der Untergang' only now, on DVD, but maybe this is the right format for it. The film is a docu-drama, with all the goo things and the limitations of the genre, and as a docu-drama is better to be seen on the small screen than in a theater.

And it is one of the best docu-dramas I saw in years, maybe the best. Director Oliver Hirschbiegel brings to screen the last days of the Nazi regime and of its leaders, crowded in a bunker with a seemingly infinite Web of corridors, terrorized by the louder and louder noises of the approaching Red Army attacks and living the last phantasms of the nightmare their sick minds created, the nightmare that swallowed the whole world.

A lot was written and said about Bruno Granz's rendition of Hitler. There is no Oscar for no-English speaking actors, and it's a good thing, because Granz deserves not a Oscar but a Nobel prize for acting, if such thing existed. Hitler's madness exceeded the limits of human understanding, it was madness at history level. Was Hitler a man, or the incarnation of Devil in man's skin? His success in turning his nation into a Evil Empire and half of the world in hell was the result of a mix of historic context, but also the result of a magnetic personality, that Granz analyzes and recomposes with art. Granz's Hitler is a master in human manipulation, the majority of his foes stay devoted to him until the last moment. Granz's Hitler is charismatic, physically sick and mentally mad, he lives in a world that mixes messianic faith with murderous hate for his enemies and especially against the Jews, a world fill of phantasms and military fantasies. He is completely isolated from reality, as all dictators, because dictators inspire fear, fear inspires lies, and you cannot build strategies on lies.

Almost all acting is superb. The Nazi leaders, one more sinister than the other are brought to life with art. Julianne Kohler's Eva Braune is a frivole, living the day in the shade of the Great Leader. The Goebbels pair played by Ulrich Matthes and Corinna Harfouch are sick and fanatic, they commit the absolute family crime by killing their children before taking their own lives, and killing with them the myths of the German Nazi family. There is some controversy abut the image of Albert Speer, the Nazi minister of economy and the architect of what would have been the capital of the 1000 years Reich, the film presents him in a more human light, but life and history was also more understanding with him, making him the only Nazi leader who ended his life in his own bed.

A few words about the character of Traudl Junge, Hitler's young secretary acted by Alexandra Maria Lara. The movie presents her as completely fallen under Hitler and Eva Braun magnetic powers, she is genuinely devastated not by the end of the war but by the personal loss and death of his masters. Only when she gets out of the bunker and sees the smoking ruins of what became of Germany she starts to understand the dimension of the tragedy brought by her superiors to her country and to the whole world. However, the total understanding may have come later, and we understand it when the real Traudl Junge, at his old age tells us, looking into the eyes of the camera 'I should have known!'.

Docu-drama has limits, the purpose and quality lies more in the accurate rendition of the history than in looking for the deeper truth. Still, for whoever sees this film, the last days of Hitler will remain as they are described here. There is no one movie that can encompass all the lessons of history, but this movie made from the German perspective provides a veridical and true version of the human dimension of the absolute horror.
2005-12-31
One of the great modern epics and one of the most haunting films ever made
Downfall is a film not without it's flaws but I feel it is one of the most important films I've ever seen. It is so accurate and so unbiased in it's portrayal of Hitler and the final days of his Reich that we get to see the man behind the monster and the people who have sold their soul to him. Nazis weren't beacons of pure evil, they were human beings and Downfall takes this to heart. I remember the film received some criticism upon it's release for being "sympathetic" to the Third Reich, sympathy is not the emotion Oliver Hirschbiegel is trying to inset in his audience, I felt he wanted them to develop a sense of understanding.

Bruno Ganz is haunting and mesmerizing as Hitler, but the dictator is not the main focus of the film. It is largely an ensemble piece about the fall of Berlin to the Russian army through various perspectives. We see the efforts of an SS Doctor named Ernst Gunther Schneck as he tries to look out for the interests of his fellow Germans and we see that he is most troubled by the SS' indifference to the suffering. There is a very well done subplot about a group of Hitler youth being called into battle because there simply isn't anyone else left. The group of children have been brainwashed and believe that they must fight to the death, and they do despite the pleas of a boy's broken father. To say this is simply a film about Nazi' would be an understatement, it's a film about Germany and the uncertainty of her future.

We have little time to catch our breath as we are thrust into the Bunker where the Fuhrer will sit through the destruction of his empire and have to endure a hellish demise. And go through Hell he will, the fortunes of the war shift dramatically for the worse. Hitler sits in his war room moving troops across it which don't exist anymore. His Generals and followers don't know what to think anymore. Some want to continue to place complete faith in Hitler and some believe it is time to end the war. Hitler himself clings onto the slimmest chances that he can lead Germany to victory. He continues to plan for the building of a new model Berlin and seldom does he show his true intentions or thoughts. Only when his closest followers abandon him does Hitler realize that he has no chance of winning the war. We are unsure of what Hitler wants to hang onto, he makes it very clear that he doesn't care about the citizens of Berlin. He sees them as weak and as traitors to their own cause even though they continue to fight to the last man for him. In many ways the Bunker is a surreal area void of reality. In it's walls, Hitler is still a powerful leader and not a weak old man drained by war. The occupants know their fate but they never admit it or bring it up. Eva Braun plans a huge party with dancing and drinking but it is interrupted by powerless due to the firing of Russian artillery, when the power returns Eva doesn't ask if anyone is all right she orders that the music be put back on. Hitler makes a big deal about his killing himself, he is clear that this is the last and only option. When he parts with his secretaries and staff we see Hitler's trademark theatricality. He doesn't speak to any of his followers except for Magda Goebbels, whom he gives his official seal to praising her as the bravest mother in the Reich. Magda later comes to the realization that she would rather kill her young children rather than let them live in a world without their Uncle Adolf and Aunt Eva and National Socialism.

In the end the influence of the Third Reich only extended from the mind of a madman to a group of uncertain people buried below the rubble.

If Downfall has a main character it is Traudi Junge, Hitler's secretary, played by the beautiful actress Alexandra Maria Lara. This character is the most compelling in the film. She is young and by her own admission she sought a career with the Nazis because she saw an opportunity for advancement. The best scene is when the two central characters are introduced in the beginning of the film, Traudi is applying to be Hitler's secretary. Hitler's introduction into the picture is filmed relatively simply but Ganz' presence is huge and rather Traudi looks like she is looking into the eyes of God. Hitler brings the girl to his office to test her typing skills and he makes small talk about his beloved German Shepard Blondi. Ganz makes him appear like a father figure to the girl, patient and understanding. It is one of the best scenes of the film. The relationship between Traudi and Hitler is handled with utmost care. Traudi is never sure what to think about Hitler, he both repulses and fascinates her. She convinces herself that she sees something past the hate filled rants, she tries to find Hitler's soul. And the audience is brought along on this search. The thought of Hitler having a soul is a tough conundrum to think about, but past the hate,the racism, and the evil was a man who was gentle and understanding with Traudi and who loved his dear old dog Blondi.

Showing Hitler and his Third Reich as humans is the best way to respect the sheer evil of the Holocaust. If we think of Hitler as nothing put pure evil we lessen the tragedy and the enormity of humanity's darkest hour. A human being is capable of error and Downfall is about flawed people who allowed themselves to be taken in by a crazy man and how they and the nation of Germany had to pay for their sins
2008-06-21
Outstanding, amazing, spellbinding
History tells us that Hitler was a great orator, a charismatic leader who held millions spellbound. Downfall follows that same role model as it paints a gripping, harrowing last few days of Adolf Hitler in his bunker in Berlin as the Russians close in..Still in charge, but barely there in mind or body, it almost seems that as the country collapsed around him, Hitler himself disintegrated. The movie is amazingly real, thanks to an amazing performance by Bruno Ganz as Adolf Hitler. The set detail, the storyline and all the supporting cast of characters is just about perfect. I could not fault this movie at all. You feel as if you are witnessing history unfold before your very eyes. To the end, despite his state of health, Hitler believed in his "ethnic cleansing" policy, appeared delusional in his belief that somehow he could lead Germany to victory over the allies.

The story itself is based on facts recounted by one of Hitler's close secretaries, Traudl Jung who managed to live through the war and survived to tell her account of the story.

This is clearly a great film of an important subject matter and director Oliver Hirschbiegel has crafted an amazing celluloid masterpiece of a man whose all-encompassing hatred and passion for the Jews literally drove him insane and to his ghastly death.

Some emotionally powerful moments in the movie involving mass suicide or murder will mean that the movie may not appeal to all fans. This is a must-see movie for fans of cinema. An absolutely riveting, astonishing piece of movie-making that left me shaking my head thinking I was watching a real documentary even though I knew it was a movie!
2006-02-07
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.
2010-02-28
This Historian is awed by the effort for accuracy
I teach a college course on WWII, in graduate school studied under several experts on the subject and have interviewed numerous survivors on both sides. This film comes out on top, perhaps the finest ever made on the subject of the war (though the Belorussian "Come and See" & "Schindler's List" are darn close as well).

I had the remarkable experience of watching this film last night with two veterans, one a GI who fought from Omaha to Czechoslovakia. . .and a German infantry officer, a veteran of four years on the Eastern Front. The German, who met Hitler several times, within minutes was exclaiming over the historical accuracy, right down to "Hitler's" lower class Munich accent. . .something an American audience would never pick up on. My German friend, who at the end of the war was in East Prussia, in the debacle of attempting to evacuate over a million civilians ahead of the Russians, was profoundly shaken by the film. . .saying the horror, the hospital scenes, the utter chaos, the lynchings, the sight of 12 year old children fighting. . .all of it was real. And an interesting observation by him. . .he had no idea Berlin, at the end, had been as bad as what he witnessed along the Baltic coast and is still haunted by. It truly was "Gotterdammerung" for an entire nation and this film brings it frightfully close to you. If you are a parent of small children, the terrifying ending for the Goebbel's children is an absolutely searing nightmare.

I think the most important point of the film was the portrayal of Hitler. . .not as the stereotyped raving madman, usually overplayed like a bad performance of King Richard, but far more subtle. I've talked with many who knew Hitler, including a childhood playmate of Helga, Goebbel's oldest child, and all will tell you that Hitler could be absolutely charming, focused on you, even courtly when with women. The terror is, that even as the actor shows us that "human" side, in his soft voice he is dictating orders, observations, and comments of absolute evil. The true form of evil rarely looks evil on the surface, it seduces us with a fair face as it leads, sometimes an entire nation, into damnation. THis film captured that evil.

My German friend's comment at the end of the movie. . ."I still can not believe we fought for that monster for six years."

A history professor at Montreat College
2005-08-21
by the way, academy awards ignore them
This is the best WWII movie ever, and i do not really see why they gave the academy award to Amenabar's "Mar Adentro (The Sea Inside)". Bruno Ganz as Adolf Hitler was the obvious most important performance for 2004 - or perhaps he should perform an American icon to receive the award? His acting was so impressive to me that i finally thought that he was *actually* the Fuhrer, even though i have seen him playing Damiel in Far Away So Close (Wim Wenders, 1993). But also: Just Germans themselves could have shown the real madness in Nazi people (think about Berlin being protected only by children). A 10/10, a must-see definitely.
2005-03-22
📹 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. 📀
×