User reviews

True heroism, like martyrdom, must be imposed by fate, not sought. This is a profound moral principle that exercised Joseph Conrad in Lord Jim. Again, Robert Bolt's Sir Thomas More in A Man For All Seasons does everything he can to avoid his looming martyrdom - except sacrifice his conscience and moral identity.

This is not the only moral concept within this quiet, dignified, deeply moving German film, that resonates with significance for today's world. Much literature and most films, portray heroism as dramatic, with feats of daring and thrilling actions. This finely judged, beautifully played little film shows us heroism of a different kind: an unshakeable belief in justice, loyalty to personal conscience, and conviction unto death of the reality of the idea of freedom.

The story of the events leading up to the actual execution in 1943, of Sophie Scholl, her brother Hans and friend Christoph Probst, is horrifying for the sheer banality of their offence. As members of a student group, the White Rose, they were secretly distributing pamphlets daring to question Hitler's conduct of the war and the likelihood of victory. On discovery they are drawn into a process with none of the strutting, grandiose black clad villains so beloved of decades of British and American movies. Like someone standing too close to a dangerous machine, they are caught by a tiny thread of circumstance and increasingly dragged deeper and deeper into its destructive mechanism.

Each meticulous step in their tragedy is efficiently recorded, documented and processed with a detached calm that makes one shudder when one recalls the sheer bureaucratic efficiency with which the same machine disposed of 6 million Jews, Gypsies, and other selected groups of human beings. It is enormously affecting that three of the brightest and best of German youth are subjected to the same fate because of their refusal to conform to a corrupted nationalism and a cowed people. Perhaps because it suggests that the collective insanity that was Germany in the 30's and 40's was not a uniquely German phenomenon but one to which any society might succumb if the voice of justice is silenced, the rule of law subverted and fear becomes the currency of social life. Another conventional and comfortable fiction of British and American movies cast in doubt. And a thought for today.

The moral and dramatic heart of this absorbing film is in Sophie's extended interrogation by Mohr (Gerald Held), one time rural policeman now grateful to the Reich for his elevation to interrogator with the power of life or death over his prisoners. Mohr looks more like a stern Bank Manager unconvinced by a cash-flow projection than a leering, jack-booted man in black with silver lightning flashes. A father himself, he clearly finds Sophie's moral conviction and stubborn resistance disturbing. He can relate to her intelligence, her attractiveness, determination and self-destructive honesty. Everything except her moral condemnation of Hitler and the Reich. Mohr is like someone who knows the emperor is naked but is shocked when someone says it out loud. The acting in these scenes is simply superb, we see Sophie's sheer naked courage and idealistic conviction shake Mohr's blind unquestioning conformity. Only to be retrenched behind blank, dead, unthinking eyes.

The excellent Julia Jentsch (The Edukators and Downfall) plays brilliantly the intelligent, idealistic Sophie with her absolute commitment to justice and freedom. She moves towards her death through a system reminiscent of a strictly run, aseptic hospital. And at every step of the way, we see ordinary people, trapped in a nightmare they can see but not change. Each finds a way to show Sophie their empathy; from the communist prisoner staying alive by working for her jailors to the warderess who bends the rules to allow the three condemned young people a final cigarette and hug of comfort before their execution.

A great strength of the movie is that Sophie's religious faith is shown but left entirely personal. Both in her interrogation and sham trial, she appeals to moral principle and humanity not religious belief, in her defence of freedom and her refusal to be silent in the face of injustice.

This film is as unsettling as it is moving. It makes one ask - how many of us in similar circumstances, would have the courage to stand against the sheer weight of social conformity reinforced by an atmosphere of fear and an implacable application of lethal power? Heroism indeed, serving a belief in the ultimate right to personal conscience and the indestructibility of the idea of freedom in justice. The intensely moving photographs of the real Sophie Scholl and White Rose group that close the film give them a final victory over their oppressors. Sixty years after their deaths, their story is told and their memory cherished. It is fitting that such heroism be recognised. If you can seek this one out don't miss it. Inspirational.

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Sophie Scholl, at one point of her trial, tells the judge and his cronies, as well as the audience of cowards attending the proceedings, that soon they all will be seating in the place she is now occupying. History proved her right as most of the same people that condemned her for treason were proved to be the real traitors.

Marc Rothemund, the director, working on Fred Beinersdorfer's screen play, presents us with a courageous figure, Sophie Scholl, who saw the atrocities the Third Reich was doing to her country and dared to speak about it when confronted by the regime.

Sophie was part of the student's organization, White Rose, that wanted to inform the German people about facts that were never challenged by anyone because of the consequences such action would mean for whoever spoke the truth. Sophie and her brother were instrumental for several pamphlets informing the population about things that the regime's propaganda didn't tell the German people. Sophie mentioned the unmentionable, the extermination of the Jews, and even the elimination of sick children by people gone mad.

The main part of the film involves the interrogation Robert Mohr subjects Sophie as soon as she is arrested. In their exchange Sophie shows an amazing courage and never is seen as being scared of what will happen to her. After she admits to the charges, even Mohr seems to be amazed by her intelligence and resolve.

Julia Jentsch is the main reason for seeing this movie. Ms. Jentsch gives a luminous performance as the woman who challenged the higher ups in charge of her country. Gerald Alexander Held, who is seen as Robert Mohr, makes an impression as the man who questions Sophie's motives and tries to break her spirit. Johanna Gastdorf is seen as the kind Else, who shares a cell with Sophie.

"Sophie Scholl" is an intelligent film that shows a talented director, Marc Rothemund, and a bright young star of the German cinema, Julia Jentsch, in a film about courage and decency during a crazy time where all hope seemed to have disappeared from Germany.

As a person who spent many years 'making art', I could not be more amazed reading some of the comments. I've just been to a preview of Sophie Scholl in Manchester, England; and I am not only glad that this movie has been made, but also that it is done at the time when young people are happier to do 'whatever' rather than have any principles.

There is no point debating historical accuracy. As it followed from the Q&A session with Marc Rothemund following the preview, not only the filming took place at the original locations that are still there, but the crew went at great length doing things 'right', including getting the weather reports for February 1943. Yes, there is this strange feeling of looking at the film's title, which sounds like the title for a documentary. But then I didn't gather the impression that Rothemund's goal was to poeticise the story of Sophie Scholl. I think it is quite enough that in Germany she is perceived as a martyr. What Sophie Scholl - Die Letzten Tage does successfully is it shows a person behind the image, a young girl (younger than myself), who was prepared to die for her idea, but desperately loved life.

I read critical comments, and mine was in part sparked by them. Far from trying to debate their correctness, I'll do exactly what I always do on these occasions. Guys, those of you who decide to write next dismissive drag, instead tell us how you would direct in Rothemund's place. Or how would you act in place of Julia Jentsch? If you have really valid suggestions, we'll all be happy to hear.

As this is more of a history film, I will write this review based on the historical aspect of the film and not so much about the acting. However it goes without saying that the acting and handling of the camera was nothing less than superlative! By watching the film you really have the impression of being there at that time.

This film details the last six days of the primary members of a resistance group called the White Rose. The White Rose was an organization of students, mainly around Munich, during the years 1942-1943, though there were fringe elements that eluded capture by the authorities that survived until the end of the war. Many of those survivors contribute to this story.

There are two other films about the group. The main one was a film called "The White Rose". It can be found described here in IMDb. It recounts the complete story of the group. The other was Fünf Letzte Tage (The five last days), which deals with Sophie's last five days. Both of these movies were released in 1982 and the same actress (Lena Stolze) plays Sophie Scholl.

This current film is an amalgamation of the two films with some expansion to the story. More information since the original two films, released in 1982, was subsequently available.

I have studied the story of this group at some length and find the historical aspects of this film track very well with a few notable exceptions. First, at one point when Sophie learns that Christoph Probst was also implicated (she and Hans tried to take all the blame to avoid others from being drawn in) historical accounts say she was shaken to her core and she screams. In the movie however it hardly phases her, she only screams later after the meeting with her parents. I suppose this was done to increase the theatrical value by the placement.

The other is that Police Commissioner Mohr is painted slightly darker than in real life. According to Else Gebel he came back from the prison "white as chalk". She asks if they will die and he only nods shaken from the experience. Else asks how she took it. He replies that she was very brave." He then said, "Keep her in your thoughts in the next half an hour. By that time she will reach the end of her suffering.".

However despite this I thought it was a fantastic film, and probable to date the best one on the subject. There have been a recent wave of films coming from the Bavaria Film Studios, "Der Untergang", "Napola" and this film, coinciding with the 60th anniversary of the end of the war. It has been suggested in some circles that this is an attempt to whitewash, I disagree. Until 1994 when I made a visit to Tuebingen and saw some graffiti, I never heard of the White Rose (I am an American). In fact I didn't even know there WAS a German resistance. So I think this about time that this is also given it's place in history along side of the other aspects. In every age there is always a resistance element -- even in our own day. So why should this be such a surprise?

I hope that those who see this film enjoy it as I have. I give it nine stars!

I saw this film on February 14th, 2006 in Indianapolis. I am one of the judges for the Heartland Film Festival that screens films for their Truly Moving Picture Award. A Truly Moving Picture "…explores the human journey by artistically expressing hope and respect for the positive values of life." Heartland gave that award to this film.

The place and time are Nazi Germany of 1942-43. Germany is starting to have serious war setbacks like their huge loss and immense casualties at Stalingrad, and the allies, consisting of England, the United States, and Russia, are united in the destruction of the Third Reich. Within Germany, the opposition to Hitler, the Gestapo, and fascism is laughably small. Students with mimeograph machines try to educate and motivate other students to rally and protest. These students have to do this clandestinely because their activities are considered high treason and there is no freedom of speech or assembly.

Sophie Scholl and her older brother Hans are caught distributing subversive, anti-Hitler literature. The film focuses on the 21 year old Sophie, and she is NOT the weaker sex. She is interrogated for days and she is a spectrum of people far beyond her years; i.e., young, afraid, conniving, brave, docile, belligerent, religious, tough, tender, mature, etc.

The film is shot in color, but the color is heavily muted and it looks almost black and white. That is appropriate because the film plays as much as a documentary and as it does as a fictional drama. In fact, this story is based on a true story.

We live in a time when the head of Iran thinks the Holocaust didn't happen. It is moving to see that at least some young people in Germany during World War II were ashamed and disgusted by their country's murder of Jews, the mentally ill, gypsies, and women and children of occupied countries.

Sophie's religious beliefs were inspiring. She did not blame her God and she did not feel forsaken. God was simply her strength that she humbly called upon when she needed it most.

This film appears to have been made with a low budget. But, the impact is as powerful as large-budgeted films with similar themes like "Schindler's List" and "A Man For All Seasons." It has been nominated for an Oscar as Best Foreign Picture this year. And…it deserves the nomination.

FYI – There is a Truly Moving Pictures web site where there is a listing of past Truly Moving Picture Award winners that are now either at the theater or available on video.

I was so deeply touched by the life of a very courageous young German woman. Together with her brother and other Munich University students they proceeded to become true resisters of Hitler and the Third Reich. Through intense interrogation and ultimately her trial before the infamous and evil Roland Freisler, Sophie Scholl refused to compromise her stand against one of the most evil empires the world has ever known. In the end, Sophie, her brother and fellow students paid the price with their young lives. Growing up as Jew I always thought there must be people like the Scholls in the midst of Nazi cruelty. I have read about many other Germans since and have been deeply moved by their will to resist under the most difficult circumstances. The movie gripped my emotions so deeply, that at the end I began to cry as my heart went out to this precious young life. I would only hope that my own daughter would grow into the character of a woman like Sophie Scholl. This movie is not to be missed!

Unlike the grand canvas of 'Der Untergang', 'Sophie Scholl' is an intimate struggle on an almost miniature scale between the forces of good and evil, freedom and tyranny. Instead of famous names like Hitler, Goebbels, Speer et al., the characters in this story were, at the time, mere nobodies - a boy and girl and a few of their friends (who barely figure in the story) versus the mundane machinery of the local Gestapo. They weren't bomb-planting conspirators, just young people writing pamphlets, and yet this was enough to merit the death penalty. The film does a good job impressing the viewer with how quickly they were grabbed, convicted, and their lives snuffed out - the whole thing was hustled along in about 3 days. The same efficient machinery that murdered millions in concentration camps ground them up like sausages, without a hitch or hesitation.

At the time, their deaths must have seemed like the most futile waste imaginable - the war went on for years more, and it must have seemed, even to those sympathetic, that they had been as thoroughly obliterated as a blade of grass under the treads of a tank. It's never discussed in the film, but as Sophie and her brother were caught and taken away to their doom, I kept remembering the faith with which they embarked on their mission. "The whole university will rise up," said Hans adamantly, certain that once the students read their pamphlet, the lovers of truth and freedom would mobilize and put a stop to Hitler's madness. Yet when they were caught...nothing. The students stood by, cowed and submissive, and there was no uprising. Hans and Sophie must have been bitterly disappointed, but their reproaches were all to the representatives of the Nazi regime that interrogated them, not to the people who did not share their courage and clarity.

This film is not about the „Weisse Rose" (White Rose) resistance group, nor is it about Sophie Scholl. It sticks very closely to its title, and only deals with the last days of Sophie Scholl. Having staked out such a narrow subject, Marc Rothemund is able to narrate the story in great detail. This allows the use of pauses in the dialogue which add to the credibility and drama. I read the official version of the interrogation before seeing the film, and felt that a very good effort had been made to reconstruct what may have actually happened. I also felt that the atmosphere which the film conveyed to be entirely plausible for that time, which I am not old enough to have lived through. For instance, the characters always seemed to be holding back, and not opening their feelings to each other.

Because the official version of the interrogation was dictated by Robert Mohr, it is certain to contain many gaps, such as the lines of questioning before reaching Sophie Scholl's quoted replies. The film may have tended to be too dramatic in filling those gaps. It was surely too dramatic in showing so many chance encounters in the various corridors. Perhaps this tendency to over-dramatise was necessary to present the otherwise rather dry historical events. At least the final result was almost believable, in contrast to many films about the past, and it was an improvement on earlier films covering the White Rose, simply because so much more has come to light since they were made.

This is one of the best dramatic reconstructions of historical events that I have seen.

A film about courage, moral values and dreams. A homage to the "White Rose" group and definition of sacrifice. A film - question for its public and subtle description of an era. A tale of few people who believe in honor and truth, in fundamental gestures and duty, who discover the world as not a cage and the hypocrisy as not a solution. Sophie Scholl is a symbol. Symbol of courage but in fact, definition of decent way to be yourself in a time of lies, in the time of fear. So, it is an important film. Not for its subject, not for beautiful interpretation of characters, not for tension or atmosphere. For the silence, for the respect of measure, for the art to be a remember against totalitarians projects.For image of normal resistance to a fake freedom. For the delicate respect for the future, for grew-up of future. A great film. A splendid testimony.

OK, first of all. This movie is absolutely not like "the Downfall" (Der Untergang). Sophie Scholl is way more demanding and exacting. Now, 3 days after I've seen this movie, I still got a feeling of guilt and concernment in my stomach. In my opinion Sophie Scholl is due to its precision more like a (replayed) documentary movie than a Drama, which makes it even more "shocking". This is for sure no light entertainment, and those, that don't like long conversations or even are not interested in history, should not watch this movie. This is the main reason, why Sophie Scholl won't make the transatlantic heap, because it's too "special". It's a part of German history and requires a willingness to cope with it.

Marc Rothemund does a very good job on directing this movie, and Julia Jentsch is very convincing. While watching this movie you don't have the feeling that the story is 60 years ago and can't touch you. It makes you feel like you're in the thick of it. And that's why I give a 9/10. Great Movie.

Sophie Scholl is about a real college student that lived in Germany during world war two and took the initiative with some of her mates to speak out against Hitler. She and her mates were killed for their trouble, but went proudly to the guillotine. The military tribunal near the end of the film was interesting as the judge did all the prosecuting and the lawyers sat back and did nothing. Just like the Salem witch trials and the terrorist trials of today. Fascism is the same no matter what the age. A moving story where in hindsight you can say these students were correct. The master race or the righteous tend to ignore the facts that contradict their theories of life. It's depressing to think that any country can be duped into electing whack jobs like Hitler, but it is definitely worth the watch.

In 1943, in Munich, the siblings Sophie Magdalena Scholl (Julia Jentsch) and Hans Scholl (Fabian Hinrichs) distribute anti-Nazi pamphlets in the University of Munich. However, they are arrested by the Gestapo and Sophie is interrogated by Robert Mohr (Alexander Held).

Sophie becomes loyal to her ideal and to her comrades of The White Rose resistance group and pleads guilty of all charges to save them. In a couple of days, she is judged by a Nazi court with her brother Hans and their friend Christoph Probst (Florian Stetter ) and they are sentenced to death and beheaded.

"Sophie Scholl - Die Letzten Tage" recreates the last days of the twenty-one year-old Sophie Magdalena Scholl, who was a student of the University of Munich and leader of the Anti-Nazi resistance group The White Rose. This awarded film has great performances and direction, and the dialogs are awesome, specially the ideological discussion between Sophie and Mohr during the interrogation.

I am a big fan of German movies and for those who liked "Sophie Scholl - Die Letzten Tage", there is another good film about this resistance group named "Die Weiße Rose" (1982). My vote is eight.

Title (Brazil): "Uma Mulher Contra Hitler" ("A Woman against Hitler")

German film is on its way again and this is another example. Sophie Scholl was a member of the White Rose, who distributed pamphlets against Hitler at the Munich university in 1943. That was of course suicide. Gestapo got them.

This is not only a recapitulation. Far from it. There is also a small but strong mini drama between Scholl and the Gestapo interrogator and despite the situation and what in the end can't be avoided, it's not clear who really wins that battle.

Very good acting by Julia Jentsch and Gerald Alexander Held here. A real nightmare and a perverse situation, but still taken out of life. This is not only drama. It is also possible.

SOPHIE SCHOOL - THE FINAL DAYS is one of those films made more powerful by the understated production values. The script, yes, the story itself, is so powerful that it doesn't need big battle scenes or full-fledged staged crowd scenes to make it work: the dialogue among the actors speaks volumes.

Written by Fred Breinersdorfer based on documents from life and directed with enormous sensitivity by Marc Rothemund the film takes place in the last days of the lives of members of the anti-Nazi resistance movement The White Rose in 1943. Sophie Scholl (Julia Jentsch), her brother Hans (Fabian Hinrichs) and their friend Christoph (Florian Stetter) are organizers for creating leaflets warning the populace of Germany of the ills ahead should Hitler and his Hessians remain in power. They are caught, imprisoned and interrogated. Sophie's interrogator Robert Mohr (Gerald Alexander Held), though strong, does seem to understand Sophie's explanations for her denial of participation in the spreading of leaflets, but Sophie has the courage to speak out against the current government. Hans is likewise interrogated and when he confesses to the leaflet incident he is implicating both Sophie and Christoph and the three are brought before a vicious tribunal. Christoph pleads for his life and Sophie and Hans request that his life as a father be spared but the charges are made of iron and the three are convicted and immediately executed.

The fact that the story is true makes it all the more moving. Observing the inordinate amount of courage in standing firm for beliefs - especially in Sophie's case - is humbling for the viewer. How many of us, under similar circumstances would have that degree of conviction of ideals and bravery? The acting by everyone involved is first rate, with Julia Jentsch and Gerald Alexander Held being especially fine. The pacing, scoring, lighting and direction of this film are keyed to the atmosphere of the times in 1943 Germany, creating a sense of claustrophobia in the visual and the emotional aspects of the film. It is a brilliant work and deserves a very wide audience. In German with English subtitles. Grady Harp

Most of the initial comments here have been from Germans. I just saw this movie in the Portland International Film Festival and I do feel compelled to say that it has an extra resonance for me as an American at this particular historical movement. (The film is about to be rolled out now in the US, starting with NY and LA.)

"Sophie Scholl" is about a group of university students who stand up and clearly declare that their government is killing people for nothing by continuing to fight a war that cannot be won. Julia Jentsch, who plays Sophie, does a powerful job of delivering Sophie's actual words as she asserts with total conviction that this cannot be passively accepted - that you must follow your conscience, even if that puts you on the wrong side of the law and therefore in personal peril. She objects to her government's criminalization of free speech (they charge her with treason and demoralizing the troops) and she and the rest of the White Rose insist on speaking out against the war.

Heartbreakingly, the US is also slogging through an unwinnable war of aggression right now in Iraq. Through virtually no one in Congress will stand up and say so, we do have an American "White Rose" grassroots resistance calling for the end of the war and, increasingly, the impeachment of the president. Our government responds by charging them with treason and demoralizing the troops but, luckily for Cindy Sheehan, not with guillotines. With polls indicating that half of the American electorate is recognizing the futility of this war, Sophie Scholl's example could not be more relevant as more and more Americans must decide how much to speak out.

A war is being waged by a mad man, who fans the flames of conflict where he can, in Germany and abroad, he slashes with his sword, but the tide begins to turn against his plan. The University of Munich takes the stage, where a group of students publish their outrage, covertly they dispense, argue against armed offense, it's a war of words and wisdom on a page. But the powers that have stolen all free speech, hail down upon the message that you preach, incarceration and then court, corrupted state gets what it sought, but there is solace in the strength of your outreach.

The powerful and inspirational story of Sophie Scholl as she's arrested, tried and punished for being part of The White Rose movement during WWII with a great central performance from Julia Jentsch.

I saw this historical piece because it has to do with the German world war II and the war politic of Hitler. I was impressed how efficient the German secret police could solve the propaganda case of Sophie Scholl and their friends until the very short process time. The performance of Julia Jentsch and Alexander Held was great and they must have won at least one Oscar. It won therefore many other respectable prices and this document should be screened out in every school for history lesson. The script itself limits on the propaganda and the process and works as a psycho drama but the story is predictable. So if you like movies that are inspired on true events this is one for you but if you are expecting action with lot of twists and plots stay away from this one. I recommend more the true DOWNFALL-DER UNTERGANG. Final verdict: 6/10.

The story of one of the rare opposition movements in Germany during World War II, entitled The White Rose. The story traces the last days of Sophie Scholl, whose moral stature and courage are admirably brought to life. As far as the script, I'll remember more than anything the extraordinarily intelligent dialog between the main character and the policeman interrogating her. This film isn't just a historical reconstruction; it's also a plea against the fanaticism and right-wing extremism against which not only German-speaking countries have to fight. In this sense, this short episode (four days) about life in Munich in February 1943 takes on a universal dimension.

The film continues the ouevre of revisionist films that fantasize the Deutsch Volk opposition in National Socialist Germany. The story is real but the manipulation of images is to make Germans feel good about a horrific past. I kept thinking of the dissonance with the diaries of Walter Klemperer, the Nazi fanaticism in the university, his jail time, and recording the daily solidarity of Germans with Hitler into 1945.

The history of the White Rose could be brilliant with the critical thinking of say a Fassbinder, Edgar Reitz, or Wim Wenders. The film makes history feel good for those in Triberg, Flensburg, Passau who reconcile the kindly opa who did his duty in the Gestapo or did genocide in the heimat.

On a petty level, Sophie's jam on da bread in jail looks better than what I am eating today in 2011 USA. Her bed is so fluffy! No rats, no filthy toilet. In reality, Sophie went to court with a broken leg from the torture. In the film, polite Gestapo make NYC police officers look even thuggier. I felt the memory of Anne Frank betrayed with those longing looks at the sky! The film is kitschy but complete revisionism in its work. Amazing that Germany submitted this for an Oscar!

I have been to every Lander. It is amazing to see white German reactions when 2 or more Black folks get together! The film does not fit with my lenses. Perhaps I have known too many Jewish refugees, contemporary German exiles, Turks living in Germany, or Americans who have lived in Germany. I am an Auslander, and really do not value normative Deutsch mentalite. I love Munich but it is not Paris, London nor New York with a vibrant diversity of peoples as well as histories.

Is the film good for domestic German TV.. yes! Is it art or critical thinking.. no. The gemeinshaft was suffocating! Forgive the filmmaker Sophie! I think the filmmaker would make a great story of the lives of Marianne Hoppe and Gustav Grundgens, perhaps the ultimate Deutsch film couple!

Sorry, nice try but really missed the point. Specially the trial speech of Sophie Scholl was that pathetic that i immediately wanted to turn off. To make it worse, all confessed Nazis by-standing the trial looking uncomfortably at this speech mad me turn my feeling to the movie from neutral to negative: If it really had been that easy to get through Nazi-indoktrination and -ideology, there surely would have been a much wider resistance movement and a much smaller circle of hardcore Nazis, prefering to shoot themselves at the end of the war, believing that thats the better solution then living in a world without the Führer.

But paradoxically the best and the worst aspects of this film lie in the same scene: The behavior of the judge during the trial, yelling and enjoying himself shouting ego-maniacal accusations not for a process of truthfinding but for himself and the bystanders is a highly true picture of what processes against the "Volksfeinde" had been in Nazi-Germany.

But all in all just a 4.