AQA A-Level German (7662)

## Learning Outcomes

- Understand the historical setting of _Sophie Scholl - Die letzten Tage_ and why the final days of February **1943** matter
- Explain how Marc Rothemund presents Sophie as a possible **Heldenfigur**
- Analyse how **filmische Mittel** such as close-ups, silence, lighting and confined settings create atmosphere
- Evaluate the importance of **historische Authentizität** in the film
- Use precise German vocabulary to discuss character, theme, structure and cinematic technique
- Build stronger essay arguments in German for AQA Paper 2

## AQA A-Level German (7662) Syllabus

For the AQA A-Level German (7662), you are expected to understand this film as a work of German cinema, with a focus on the following syllabus points:

- Know that _Sophie Scholl - Die letzten Tage_ was directed by **Marc Rothemund** and released in **2005**
- Understand that the film focuses on the final days of Sophie Scholl, a member of the **Weiße Rose**, in **Munich** in **February 1943**
- Identify the importance of the arrest at **Ludwig-Maximilians-Universität München** on **18 February 1943**
- Explain the role of major figures including **Sophie Scholl**, **Hans Scholl**, **Christoph Probst**, **Robert Mohr**, **Else Gebel** and **Roland Freisler**
- Analyse how **Verhörszenen**, courtroom scenes and prison scenes present power, fear, resistance and conscience
- Explain how atmosphere is created through **Nahaufnahmen** (close-ups), muted colours, sparse music, silence and restricted spaces
- Understand the distinction between historical accuracy and dramatic reconstruction
- Develop a balanced response to questions using wording such as **inwiefern**, rather than giving a one-sided answer

## Test Your Knowledge

_Attempt these questions before reading this article. If you find some difficult or cannot remember the answers, look more closely at that area during your revision._

1. Why can Sophie Scholl be described as a heroic figure in the film?
2. How does Rothemund create a tense and oppressive atmosphere in the interrogation scenes?
3. What happened on **18 February 1943** and **22 February 1943**?
4. Why is the courtroom shown as a place of terror rather than justice?
5. In what sense is the film historically authentic, and in what sense is it still a drama?

## Introduction

_Soph ie Scholl - Die letzten Tage_ is one of the most likely AQA film texts to reward close analysis rather than broad plot summary. The film is narrow in time, focused in setting, and intense in style. Instead of telling the whole story of the Nazi period or even the full history of the **Weiße Rose** (White Rose), it concentrates on Sophie Scholl’s last days: arrest, interrogation, trial and execution. That narrow focus is exactly what gives the film its force.

For Paper 2, you need more than a knowledge of events. You need to explain how meaning is created. That means discussing **filmische Mittel** such as camera distance, sound, silence, editing, colour and performance, and linking them to themes such as courage, conscience, fear and state violence. You also need enough German critical vocabulary to turn your ideas into a clear essay.

> **Key Term: filmische Mittel**
> Techniques used in film, such as camera work, lighting, sound, editing and framing, to create meaning and shape the viewer’s response.

### Historical setting, structure and why the final days matter

The film, directed by **Marc Rothemund** and released in **2005**, is set in **Munich** in **February 1943**. Sophie Scholl was a student and member of the non-violent resistance group the **Weiße Rose**, which distributed leaflets against the Nazi regime. On **18 February 1943**, Sophie and her brother Hans were arrested at the university after distributing leaflets. On **22 February 1943**, after interrogation and trial, Sophie was executed. The film covers only this final phase.

This limited time frame matters because it creates a highly concentrated structure. In German, you can call this a **linear structure**: _Die Struktur des Films ist linear._ The events move forward from public action to private confinement, from hope to death. There are no major flashbacks to distract us. That keeps the viewer inside the pressure of the moment. We are not allowed the comfort of distance.

The movement between spaces is also important. At the beginning, the university gives at least some sense of openness. Once Sophie is arrested, the film becomes increasingly enclosed: office, interrogation room, prison cell, courtroom, execution chamber. This physical narrowing mirrors the loss of her external freedom. At the same time, her inner freedom becomes clearer. That is one of the film’s main ideas: as the Nazi state closes in physically, Sophie becomes more morally firm.

This is why the **Verhörszenen** are so central. At first, Sophie tries to deny guilt. That does not make her weak or dishonest in any simple sense. It shows intelligence and tactical thinking. She tries to protect others. Later, when the evidence is overwhelming, she stops denying and openly defends her beliefs. This shift is one of the most important turning points in the film. A weaker essay might say, “Sophie confesses.” A stronger essay explains that her change is not simple surrender but **moral self-assertion**.

> **Key Term: Weiße Rose**
> A non-violent student resistance group in Nazi Germany that distributed anti-Nazi leaflets.
>
> **Key Term: Verhör**
> An interrogation, especially by the police or state authorities; in this film, the questioning by the Gestapo.

Robert Mohr, the Gestapo interrogator, is important because he is not presented as a shouting caricature. He is calm, controlled and procedural. This makes him more disturbing. He represents the everyday machinery of dictatorship. The film suggests that oppressive systems do not rely only on violent fanatics; they also rely on officials who do their jobs efficiently.

By contrast, **Roland Freisler** in the courtroom is aggressive, theatrical and openly intimidating. The contrast between Mohr and Freisler helps students build stronger analysis. Mohr shows the bureaucratic face of state power; Freisler shows its public, performative brutality. In German, you could write: _Mohr verkörpert die kalte Bürokratie des Regimes, während Freisler die Justiz in ein politisches Spektakel verwandelt._

> **Key Term: historische Authentizität**
> The extent to which a film is based on documented events and presents them in a convincing historically grounded way.
>
> **Test Tip:** When the question includes **inwiefern**, do not argue only one side. Build a balanced line: “to a large extent... however...” This is essential for AO4 because it shows judgement, not just admiration.

### Sophie as Heldenfigur: courage, fear and moral authority

A common exam angle is: _Inwiefern spielt Sophie Scholl die Rolle einer echten Heldenfigur im Film?_ The key word here is **echten**. A strong answer does not simply say she is heroic because she dies bravely. It explains why the film presents her as a believable, human hero rather than an unrealistic saint.

At the start, the film includes moments that show Sophie as young, lively and fully human. This matters because heroism becomes more convincing when it comes from an ordinary person. Julia Jentsch’s performance avoids turning Sophie into a distant symbol from the first scene. Instead, the audience sees fear, intelligence, quick thinking, tenderness and resolve. This makes her courage feel chosen, not automatic.

> **Key Term: Heldenfigur**
> A heroic figure presented as morally admirable, especially through courage, sacrifice or resistance.

Sophie’s heroism is mainly moral rather than physical. She is not a military leader. She does not defeat the regime. Politically, she loses. Ethically, however, she emerges as stronger than the men who control the institutions around her. This distinction is very useful in essays: Sophie lacks **institutional power**, but she gains **moral authority**.

The interrogation scenes show this especially well. In close-up, we can see small changes in expression: anxiety, calculation, refusal. **Nahaufnahmen** force the viewer to study her face closely. They create identification and tension at the same time. We are drawn into the psychological struggle. Because the camera stays so close, Sophie’s resistance feels internal and mental, not theatrical.

Her decision to stand by her ideas when she has the chance to retreat is central to the heroic reading. The film presents moments where compromise seems possible. Yet she refuses to accept a false moral world just to save herself. This is why many viewers see her as a genuine hero. But your essay should also note that she is afraid. Fear does not weaken the heroic image. In fact, it strengthens it. Courage only matters when fear is present.

A sophisticated argument is that Rothemund makes Sophie heroic precisely by avoiding over-idealisation. She is not born as a legend. She becomes heroic through action under pressure. In German: _Gerade weil Sophie nicht als übermenschlich dargestellt wird, wirkt ihr Mut glaubwürdig._

Else Gebel, Sophie’s cellmate, also contributes to this presentation. Through this relationship, the film shows Sophie not only as a political resister but as a warm, humane person. That prevents the film from reducing her to abstract ideology. Her humanity is part of her heroism.

> **Test Tip:** For character questions, do not list adjectives only. Move from trait to method to effect: “Sophie wirkt mutig, weil Rothemund sie oft in Nahaufnahme zeigt, sodass der Zuschauer ihren inneren Kampf direkt erlebt.”

### Atmosphäre, realism and the presentation of Nazi justice

Another likely question focuses on atmosphere: _Durch welche Mittel wird Atmosphäre im Film hervorgerufen? Wie wichtig ist diese Atmosphäre für den Erfolg des Films?_ To answer well, you must cover both parts: how atmosphere is created and why it matters.

The dominant atmosphere is tense, oppressive, sober and claustrophobic. One reason is the use of **muted colours**. Browns, greys and pale tones suggest wartime hardship and emotional coldness. The film avoids rich or glamorous imagery. This visual restraint supports realism. It tells us that this is not a romantic historical spectacle.

Lighting also matters. Many interior scenes are dim, cold or harshly lit. This makes offices, cells and corridors feel severe and airless. The physical world reflects institutional control. In essays, try not to stop at “the lighting is dark.” Push further: dark or flat lighting reduces warmth and comfort, so the viewer feels the absence of safety.

Sound is one of the film’s strongest tools. There is relatively little non-diegetic music. That means silence becomes powerful. We hear footsteps, doors, keys, paper, chairs, voices. These small sounds make the state feel mechanical and unavoidable. The lack of swelling emotional music also stops the film becoming sentimental. The result is stronger, not weaker, emotion.

> **Key Term: Atmosphäre**
> The mood created by a film through visual style, sound, performance, setting and pacing.
>
> **Key Term: Nahaufnahme**
> A close-up shot that shows a face or object closely, often to intensify emotion or direct the viewer’s attention.

The film’s camera movement is usually restrained. There are no flashy effects to distract from the verbal and ethical conflict. Editing is measured, not frantic. This slow, controlled pacing is important. In a thriller, rapid editing can create excitement. Here, restrained pacing creates pressure. The viewer is made to wait, listen and observe. That fits the film’s documentary-like seriousness.

The courtroom scene is especially useful for analysis. It presents Nazi justice as performance rather than justice. Freisler dominates through noise, aggression and humiliation. The courtroom should be a place of law, but the film shows that legal form can exist without fairness. This is a major distinction: **Legality** is not the same as **justice**. In the film, procedure becomes theatre.

The realism of the film is therefore not only about factual basis. Students often make the mistake of equating realism with “it really happened.” But film realism is also stylistic. Sparse music, naturalistic acting, confined spaces, careful pacing and minimal melodrama all create a sense of authenticity. So when discussing realism, combine source-based history with cinematic style.

A balanced judgement on authenticity is safest. The film is widely regarded as highly grounded in historical sources, especially interrogation records. That gives many scenes unusual credibility. However, it remains a **Spielfilm**, not a documentary transcript. Dialogue is shaped, scenes are selected, and emotional emphasis is interpreted. So a strong judgement would be: _Der Film ist historisch sehr glaubwürdig, obwohl er als Spielfilm bestimmte Momente verdichtet und dramatisiert._

This atmosphere is crucial to the film’s success because it changes Sophie’s story from distant history into an immediate moral experience. If the film used louder music, broader acting or more sensational violence, the viewer might feel manipulated. Instead, the restraint invites serious reflection. The pressure feels real, and Sophie’s courage therefore feels real too.

### German Language Toolkit

#### Topic vocabulary

| German                        | English                    |
| ----------------------------- | -------------------------- |
| die Weiße Rose                | the White Rose             |
| der Widerstand                | resistance                 |
| der Mut                       | courage                    |
| der moralische Mut            | moral courage              |
| die Zivilcourage              | civil courage              |
| das Verhör                    | interrogation              |
| die Verhörszene               | interrogation scene        |
| der Gerichtssaal              | courtroom                  |
| der Volksgerichtshof          | People’s Court             |
| die Justiz                    | judiciary / justice system |
| die Heldenfigur               | heroic figure              |
| die Atmosphäre                | atmosphere                 |
| die Nahaufnahme               | close-up                   |
| die Kameraführung             | camera work                |
| die Beleuchtung               | lighting                   |
| die Stille                    | silence                    |
| die Spannung                  | tension                    |
| die Haftzelle                 | prison cell                |
| die historische Authentizität | historical authenticity    |
| die Inszenierung              | staging / presentation     |

#### Complex sentence patterns

- **Obwohl Sophie körperlich machtlos ist, gewinnt sie im Verlauf des Films moralische Autorität.**  
  Although Sophie is physically powerless, she gains moral authority over the course of the film.

- **Gerade weil der Regisseur auf starke Spezialeffekte verzichtet, wirkt der Film besonders realistisch.**  
  Precisely because the director avoids strong special effects, the film appears especially realistic.

- **Man könnte argumentieren, dass Sophie als Heldenfigur dargestellt wird, weil sie trotz ihrer Angst zu ihren Idealen steht.**  
  One could argue that Sophie is presented as a heroic figure because she stands by her ideals despite her fear.

- **Während Mohr die bürokratische Seite des Regimes verkörpert, steht Freisler für dessen offene Brutalität.**  
  While Mohr embodies the bureaucratic side of the regime, Freisler stands for its open brutality.

- **Die Nahaufnahmen sind so wirkungsvoll, dass der Zuschauer Sophies inneren Kampf direkt miterlebt.**  
  The close-ups are so effective that the viewer experiences Sophie’s inner struggle directly.

- **Wenn man die Gerichtsszene genauer analysiert, erkennt man, dass es dort nicht um Gerechtigkeit, sondern um Einschüchterung geht.**  
  If one analyses the courtroom scene more closely, one sees that it is not about justice but about intimidation.

- **Rothemund zeigt, dass persönliches Gewissen wichtig bleibt, selbst wenn der Staat jede Freiheit zerstört hat.**  
  Rothemund shows that personal conscience remains important even when the state has destroyed every freedom.

#### Opinion and argument phrases

- **Meiner Meinung nach ...**  
  In my opinion ...

- **Man kann deutlich sehen, dass ...**  
  One can clearly see that ...

- **Einerseits ... andererseits ...**  
  On the one hand ... on the other hand ...

- **Ich würde behaupten, dass ...**  
  I would argue that ...

- **Entscheidend ist hier, dass ...**  
  What is decisive here is that ...

## Key Point Checklist

_This article has covered the following key knowledge points:_

- _Sophie Scholl - Die letzten Tage_ was directed by **Marc Rothemund** and released in **2005**
- The film focuses on Sophie Scholl’s final days in **Munich** in **February 1943**
- Sophie and Hans Scholl were arrested on **18 February 1943**
- Sophie Scholl was executed on **22 February 1943**
- The film presents the **Weiße Rose** as a non-violent resistance movement
- The structure is largely linear and becomes increasingly confined in space
- Sophie is shown as a possible **Heldenfigur** because of moral courage, not physical power
- Her fear makes her courage more believable, not less
- The film creates atmosphere through close-ups, silence, restrained editing, muted colours and confined interiors
- Robert Mohr represents bureaucratic state power, while Roland Freisler represents public ideological terror
- The courtroom is shown as a place of intimidation rather than justice
- Historical authenticity is important, but the film remains a dramatic reconstruction rather than a pure documentary

## Key Terms and Concepts

- filmische Mittel
- Weiße Rose
- Verhör
- historische Authentizität
- Heldenfigur
- Atmosphäre
- Nahaufnahme


Literary and Film Works - Sophie Scholl - Die letzten Tage - Marc Rothemund