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Three women, from different generations are mild trying to heal from the horrors of the Third Reich and WWII more than fifty years after Germany surrendered to the Allied forces on May 7, 1945. The film’s necessary focus, however, is on a minute girl who lost two mothers in a three year period – 1943 to 1946. She never received explanations for the horrors she lived through, nor did she have the opportunity to understand or verbalize her afflict. “Rosenstrasse” is space in 21st century Original York City and Berlin, with flashbacks to Nazi Germany and Berlin in 1943.
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When Ruth Weinstein’s, (Jutta Lampe), husband dies, she insists that the family spy a strictly Orthodox mourning period, even though they had never been observant Jews. Her son and daughter are both bewildered, and then wrathful, when Ruth forbids daughter Hannah, (Maria Schrader) to marry her Nicaraguan fiance Luis, ((Fedja van Huet) . Luis is not Jewish, and although he was mentored by Hannah’s now deceased father, and religion had never been a jam before, their plans for a life together are now up in the air. A distant cousin alludes that the source of Ruth’s problems lies in the past, in Nazi Germany. She reveals to Hannah that her mother was cared for, in fact saved from definite death, by an Aryan woman during WWII. After the war Ruth immigrated to America to live with this cousin and her family, virtual strangers. Ruth had never discussed her childhood or her war experiences with her children. She always kept calm. And when Hannah probes once more she receives no answers, as always. She decides to waft to Germany to divulge the secrets of her mother’s past.
In Berlin, Hannah tracks down 90 year-old Lena Fischer, (Doris Schade), the Christian woman who brought seven year-old Ruth home to live with her, when the child’s mother was imprisoned with other Berlin Jews in March, 1943. Hannah does not utter her identity, but says she is conducting a contemplate about Aryans and their Jewish spouses during the war. She listens intently, over a period of days, as the charming elderly woman finally reveals the facts about her beget life and Ruth’s, both so closely intertwined.
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Thousands of Berlin’s Jews were swept up from their forced labor jobs and taken to Rosenstrasse 2-4, in central Berlin in March 1943. This was meant to be the capital’s final round-up for the Final Solution, and the Jews were to be deported to concentration camps from Rosenstrasse. Ruth’s mother was one of these poor people. Left alone without a ration card, the child would not have survived without Lena’s assistance. (The younger Lena is played by Katja Riemann, who gives a grand performance) . Her husband, Fabian Fischer (Martin Feifel), a shining violinist, was also taken to Rosenstrasse. Lena was a concert pianist and met Fabian through their mutual worship for music. She married against her aristocratic parents wishes and was disowned by all, except her brother Arthur. As with most marriages between Aryans and Jews, the Aryans were pressured heavily by the Nazi Site, their employers, and usually friends and family to divorce their Jewish spouses. Most who refused were marginalized, but they level-headed maintained their place as Aryans and German citizens, and as such their Jewish mates were supposedly protected from deportation.
Lena joins a group of women waiting for word of their husbands, keeping vigil, outside the building on Rosenstrasse. It is here that Lena meets the stunned and bewildered Ruth, who knows her mother is in the building, but never is actually told that she has been deported already. Svea Lohde plays Ruth, as a young girl, with tall sensitivity. She has nowhere to go and no one to turn to, so Lena steps in, in spite of her dismay of discovery for hiding a Jewish child. Lena and Ruth produce a strong bond, a surrogate mother-daughter relationship which will last for three years. Director Margarethe von Trotta emphasizes throughout Ruth’s heartbreaking ignorance of her mother’s fate. The number of women on Rosenstrasse increases. Unarmed, unorganized, and leaderless, these intrepid women, some with their children, stood up to the Nazis and demanded the return of their loved ones.
The acting and the Rosenstrasse storyline are expedient, however Director von Trotta combines so many intense plots, lively so many people, that the points she most wants to perform occasionally become lost in the confusion. We never hear Ruth scream of closure, if in fact she does ever approach to grips with her past. The film’s conclusion only hints at this. Almost all of her dramatic fable is revealed by Lena, who has only second-hand knowledge of the events and no sincere concept of the child’s feelings at the time. Von Trotta’s handling of the character see is far too abstract. She is mighty more successful when portraying the women of Rosenstrasse and their protests and resistance. I must credit her with navigating an intensely emotional memoir effectively, without falling into sensationalism or melodrama.
This is a limited known proper yarn of women, who in spite of loss, separation and awe for their loved ones, found the courage to fight befriend against a brutal Nazi residence. I am contented it has finally been brought to the camouflage.
JANA
This film is based upon the lawful epic of the German women who, during Word War II, protested the internment of their Jewish husbands in a building located on Rosenstrasse, a street in Berlin. These were women who defied the Nazi situation quo by remaining married to the husbands whom they loved so dearly, although it came with a mark.
The film tells the myth through the juxtaposition of the show and the past. The record is told in flashback. In the exhibit, the viewer is introduced to Ruth Weinstein (Jutta Lampe), a secular Jewish woman, living in display day Novel York, She has fair lost her husband, and appears to have lost her senses, as well. She insists that her family sit Shiva, speaking only German while observing Orthodox traditions. She refuses to reply her first cousin, who has arrive to pay her respects. Ruth also refuses to reply Luis Marquez (Fedja van Huet), her only daughter’s Nicaraguan, non-Jewish fiance. Luis had been a protoge of the deceased, who had had no assure with the opinion of Luis marrying his daughter. Ruth now forbids her daughter to marry Luis or she will disown her. Hannah (Maria Schrader), the daughter, is at a loss to chronicle for her mother’s seemingly irrational behavior and is totally appalled by it.
When Hannah speaks to her mother’s first cousin, whom she had never before met, she discovers that her mother had lived with her first cousin and her family when she first came to the United States from Germany. Hannah comes away thinking that the respond to her mother’s apparent derangement lies in Berlin, with an Aryan woman Hannah does not even know is unexcited alive. This woman had, apparently, saved Ruth’s life during the Nazi’s reign of fright. This was news to Hannah, as she knew virtually nothing of her mother’s past, as Ruth had never spoken to her about it. When her mother insists on remaining uncommunicative on the assure, Hannah decides that for all their sakes, she needs to secure some answers. So, she goes off to Germany to observe in the past the answers that she cannot derive in the point to.
Fortunately for her, she discovers that the woman for which she is looking is, indeed, alive, although quite elderly. She contacts the woman, ninety year stale Lena Fischer (Doris Schade), telling her that she is doing research on the sing of Aryans and their Jewish spouses during World War II. Ms. Fischer agrees to watch her, and during their session the narrative of her mother unfolds in flashback, In Berlin of 1943, many Jews married to Aryans were swept up by the Nazis and taken to a building on Rosenstrasse to await a determination of their fate. Virtual prisoners, their spouses and children were unable to communicate with them. Ruth’s mother, Miriam Sussman (Lena Stolze), was one of these Jews. Her daughter, eight year used Ruth Sussman (Svea Lohde), had escaped her mother’s fate, as she had obeyed her mother’s instructions when the Nazis paid the Sussman home a visit. Unfortunately for Ruth’s mother, the Nazis discovered that her Aryan husband had divorced her two years prior, thereby sealing her fate, and she, unknown to Ruth, is transported East. One can well imagine what happened to her.
At the same time, Fabian Israel Fischer (Martin Feifel) is also swept up from the factory where he works and taken to the building on Rosenstrasse. Fortunately for him, his wife, thirty-three year venerable Lena Fischer (Katja Riemann), is an Aryan devoted to her husband. Both are musicians. She is a concert pianist, and he is a violinist. They met before the war, bonding through their music. Although he is Jewish, and she is a member of a marvelous Aryan family, the von Eschenbachs, they married. Her father, however, disowned her for marrying Fischer. Her mother was sympathetic but under her father’s thumb. Her brother, Arthur (Jurgen Vogel), however, remained actual to his sister and suited with his brother-in-law. With the rise of the Nazis, life for the Fischers changed. They were forced to live in reduced circumstances, giving up the music that they loved. Instead, Fabian was made to work in a factory from which he was taken peremptorily to the building on Rosenstrasse.
Lena sought the assist of her brother, Arthur, now a soldier in the German army. He is sympathetic and tries to regain Fabian released to no avail. Lena herself tried, but was looked down upon as limited more than a whore for having married a Jew whom she now refuses to divorce. Instead, she stood vigil for her husband, Fabian, with the other Aryan women on Rosenstrasse, and it was there that she met Ruth Sussman. Ruth attached herself to Lena, and Lena assumed responsibility for the child. Without Lena, Ruth would never have survived. Lena takes care of Ruth for three years, forming a mother-daughter bond. After the war, Ruth’s aunt, her mother’s sister, claimed Ruth, and Lena was forced to send Ruth to join her aunt in America. Ruth never knew what happened to her mother, Miriam, and never understood why Lena, her surrogate mother, gave her up to go and live with total strangers. It is Ruth’s ignorance of the status that lies at the heart of her dysfunction.
What happens to them all during the war and the impact that the Nazis were to have on all their lives makes for a well told legend. The film offers a very balanced concept of ordinary Germans in war time, telling a epic not generally known. Under the deft direction of Margarethe von Trotta, the performances in this film are phenomenal, and the film has won many awards. Katja Riemann won the Best Actress Award at the 2003 Venice Film Festival. It won the David Di Donatello Award in 2004 for Best European Film. At the Bavarian Film Awards in 2004, it won for Best Cinematography. This is a great and compelling film that is totally riveting. Bravo!
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