Watch Rosenstrasse For Free

Waste of Money.

everything you have heard about this movie is true.

There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

War Movies Have Been Plentiful Over The Past 60 Years, Mainly From America To Remind Us That "What Hitler Did Was Evil", This Is Why I Have Turned To Foreign War Movies(As In Foreign Language War Movies, Don't Take That The Wrong Way).This Is Another Movie That Portrays The Victimisation Of The Jews, The Only Problem Is That When America Does It I Think "Jesus Haven't You Done ENOUGH OF THESE MOVIES, WE GET IT!!!"(I'm Probably Not Alone With That), When Germany Does It I Think "Okay I Hope Its Better Than What Hollywood Spoonfeeds Us" Rosenstrasse Is The Only German "Jew-Victim" Film I Have Ever Seen, I Have Only Ever Seen One Other War Movie That I Consider Fantastic And That Is The Winter War, Both Are Incomparable Because This Film Is About The Peaceful Protest To Get The Jews Out Of A Nazi Prison, The Winter War Is About How Finland Won A War Against Russians Who Were Invading.Rosenstrasse Is A Great Movie At Doing This. I Highly Recommend This To Anyone Who Is At All Interested In Both Foreign Cinema Or Who Wants To See A WWII Movie That Isn't Racist Towards Germany(That Is All I See In American War Films, People Might See It Differently And Who Doesn't Think Hitler Was A Bastard But Germany Suffered Too).

Spoiler alert-This implies what happens and how it ended.The consultation of an authority on the subject of a film never should be taken as an endorsement. Consultants are hired in order to be ignored. (That's showbiz.) What obviously helped the protest portrayed in this film was that it began in broad daylight in a highly visible public place before the Nazis had any idea it was happening. The international press could see it practically by looking out their windows. Of course the Nazis gave in under this threat of exposure. They didn't want any one to know what they were doing (hence they arrested the people in the dead of night). Unfortunately, everyone else in the country was too frightened or too complacent to see that these women had exposed the Nazis for the lawless thugs that they were.

Goebbels motivation in backing down was not explored. In the aftermath of Stalingrad the Reich had decided to go for 'total war'. This is referred to in the film. Part of this was to use women in the war effort, which Germany had not previously done to any great extent. An SS massacre of women would have faced Goebbels with a public relations disaster of massive proportion. His preference was to make the problem go away as quietly as possible, on the basis that the Jewish men could always be rounded up later. I understand the majority survived the war.His other problem was that the 'Red' Berlin had never been very enthusiastically behind the Nazi cause and had to be handled cautiously. Again a massacre of women could have cost the Nazis what mediocre level of support they had in their capital city.It was interesting that the majority of SS uniforms showed patches which indicated that the men wearing them were not of German nationality, but were from German origins in other countries such as Lithuania or Latvia

"Rosenstrasse" is a defense of naive Righteous Gentiles, the women who married secular Jews in Germany as the Nazis rose to power. Like "The Pianist," it goes out of its way to distinguish between Nazis and natives who thought this too shall pass and noble Prussian culture would again assert itself (I couldn't pick up all the cultural references, particularly in the German music selections, though soldiers are seen dancing to Cole Porter songs.). While the promotion for the film claims that feminist director Margarethe von Trotta is the first to deal with this particular slice of German protest to the Nazi eradication of Jews, a series of German films not otherwise distributed in the U.S. were shown on PBS some years ago and demonstrated that other post-war filmmakers were looking at complicity and professed ignorance among their country people, and that their discovery of their parents' hypocrisy led to the radical politics of 1968. Von Trotta carefully avoids this context by oddly having her seeker of truth be a young American woman who grew up speaking German fluently in the German Jewish emigre enclave of Washington Heights in Manhattan (from whence came Henry Kissinger) and has a South American boyfriend. Somewhat clumsily for the narrative and for the family, her father's death leads her to investigate her mother's past in Germany to try and figure out why her cold, secular mother is suddenly following shiva (Jewish mourning rituals) for him. (These rituals are disconcertingly portrayed inaccurately -- What rule of silence? Everyone would be talking about memories of the deceased, and eating and eating-- unless the point is to show they don't know how to follow Jewish tradition anymore and talk of any past is verboten in this family). The film unravels, not particularly satisfactorily, many layers of irony and guilt as personal and political realities are intertwined --between Germans (especially soldiers who had witnessed what the S.S. was doing in the East, showing it was not a secret at home); between gentiles and Jews (particularly about intermarriage then and now); between survivors and the dead; between men and women (there's an assertion that gentile men deserted their Jewish wives to their fates while gentile women did not desert their spouses); between mothers and children, whether biologically linked or not; between siblings, and,between chance and choice.Katja Riemann's strong performance as the stubborn wife who accidentally becomes an activist by default almost puts aside the fact that her character was monumentally oblivious to what was happening around her until it was almost too late by a thread. The conclusion seems to come out in favor of compromise as it explores love and tradition, which is inevitably not happy for everyone but may be a flexible response to a complicated past and present.