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Hitler: The Last Ten Days

Hitler: The Last Ten Days

Drama · War · History · 1973

Hitler: The Last Ten Days takes us into the depths of der Furher’s Berlin bunker during his final days. Based on the book by Gerhard Boldt, it provides a bleak look at the goings-on within, and without.

Movie details

Hitler: The Last Ten Days

“On April 29, 1945, in his air-raid bunker in Berlin, Adolf Hitler married Eva Braun. Martin Bormann was the best man. Each of the wedding guests received a silver-framed photograph of the Führer and two cyanide capsules.”

1973 Drama · War · History 1h 46m

Critical arithmetic

One number, for now.

TMDB

6.2 / 10

Community rating

Hitler: The Last Ten Days takes us into the depths of der Furher’s Berlin bunker during his final days. Based on the book by Gerhard Boldt, it provides a bleak look at the goings-on within, and without.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Hitler: The Last Ten Days?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Ennio De Concini

Written by

Ennio De Concini · Wolfgang Reinhardt · Maria Pia Fusco

Alec Guinness

Alec Guinness

Adolf Hitler

Simon Ward

Simon Ward

Hauptmann Hoffmann

Adolfo Celi

Adolfo Celi

General Hans Krebs

Diane Cilento

Diane Cilento

Hanna Reitsch

Gabriele Ferzetti

Gabriele Ferzetti

Generalfeldmarschall Wilhelm Keitel

Eric Porter

Eric Porter

Generalfeldmarschall Robert Ritter von Greim

Doris Kunstmann

Doris Kunstmann

Eva Braun

Court is in session

Put Hitler: The Last Ten Days on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.