User Reviews

The lives of famous politicians are rarely the subject of a film, even though their decisions may have had a large influence on daily life, and in the case of wars even on death. Left-wing politicians are the favorites of film directors, not only because of their often interesting (creative and emotional) characters, but also in order to moderate and sometimes destroy the myth. Margarethe von Trotta has done justice to Rosa Luxemburg (1871-1919) in this film about her last twenty years. As a director she thank God refuses to take sides. Some knowledge concerning the historical backgrounds of the story will add to your enjoyment of the film. You might consider reading the friendly book "Gedenksteen voor Rosa" by the Flemish writer Achilles Mussche. Luxemburg was a legendary socialist leader with a revolutionary inclination. Just to give you a taste of the themes that await you: she recommends the political mass strike, an interesting idea which unfortunately can rarely be realized since the people themselves are the first victims. Although she originated from Poland, where she belonged to the upper middle class, she became a distinguished member of the powerful and massive German SPD workers-party. Later the Bolsheviks have presented her as one of their forerunners, but her ideas remain appreciated by social-democrats, since she never embraced dictatorship, and kept a critical distance towards Lenin. The film shows her life in the little biotope of all the contemporary party bosses and their families, among others Bebel, Kautsky, Karl Liebknecht, and Clara Zetkin, discussing society over a glass of good wine. Sometimes we see her association with the working class, during lectures and agitations. The film hints at her job as a productive journalist, and (being a versatile woman) her scientific ambitions. We get a taste of the puffed up ideological utopianism, which was so typical of a part of the intellectual middle-class social-democrats. Such extremist ideas blossomed naturally as a result of their permanent predicament of intimidation, persecution, imprisonment, and (for Luxemburg) exile, that was imposed by the corrupted state. unfulfilled personal ambitions are an additional cause. On the private level her intimate relationship with a Polish revolutionary is represented, as well as her final romance with a barely grown-up. In many ways her last final years lead to a climax. It was the period of the First World War, which in Germany had extreme consequences. During the war she was once again imprisoned for political reasons. Freedom has its limits even in capitalism. Then in 1918 after the defeat of Germany a proletarian revolution changed the empire into a republic. The socialist SPD played an eminent role in the upsurge, together with the left-wing secession USPD (a few years later they merged). Luxemburg (together with Liebknecht) had shifted to the extreme left-wing, into the sectarian Spartakus movement, with high ambitions. In word and deed she advocated that the social-democrats should cling to their newly conquered rule. In my opinion, and I am pretty knowledgeable on the subject, her plan would have created a civil war, which would have further aggravated the situation of the people. I would say that her final actions were highly questionable and perhaps irresponsible, however, some think otherwise, so judge for yourself. Anyway, she was freed, and in those first months of 1919 supported the armed resistance of workers, even when it continued after the successful proletarian revolution, mainly in Berlin. Finally she was arrested and shot on the spot by a Prussian Officer, together with Karl Liebknecht. On a higher level the social-democrat Noske, then minister in the social-democrat interim government, is commonly held accountable for these murders. The film gives an impressive overall description of the period, but you must appreciate the revolutionary atmosphere, caused by the persecutions and finally the horrid and superfluous war, otherwise the fierce dialogs and debates may deter you. Her premature death made her into a martyr, in the same league as Che Guevara. Like him, she must have been rather good-looking, more than the actress Barbara Sukowa, which also helps.

I found this film in a roundabout way after stumbling upon mention of Rosa in William Shirer's "The Rise and Fall of the Third Reich."

Indeed, the movie beautifully encapsulates the upheaval of the Weimar Republic, that uncertain period between Germany's defeat in World War I and the horrors of Hitler.

At the biopic's heart is revolutionary socialist Rosa (Barbara Sukowa), a brilliant orator who questions the status quo -- "How is it that some people may decide the fate of others?" -- and envisions, yes, a world without war. Although born to privilege, she risks death at every turn, be it in the tumultuous streets of Berlin or before a hastily assembled firing squad.

Ms. Sukowa's portrayal is illuminating, as we observe a fiery soul in all her facets. But first and foremost, there's the indefatigable dreamer. When Rosa's brother visits her behind bars -- "It doesn't make sense to be in jail for a lost cause" -- she responds, "It only seems that way; we need patience and good spirits!" Who among us doesn't need to hear such words?

Mid-40ish Rosa appreciates children, animals, and plants, and yearns for a baby of her own, but her unpredictable existence withholds it. The mentor she loved and trusted, fellow firebrand Leo Jogiches (David Olbrychski), expediently betrays her, and then can't fathom why she's upset, and Rosa finds herself alone.

"Did you sleep with her, without loving her?"

"How little you know me."

"I don't want to be indebted to anyone!"

Rosa finds comfort with a younger, apolitical man -- "How can you love as ungainly a duck as me?" -- as she watches her dreams for society disintegrate -- "There will be war, and most socialists will join up." Indeed, with a wolf at the door, who sits down to peruse political philosophy?

Yet, the consolations of nature sustain our heroine, perched in her prison-yard garden, as unflaggingly she aspires to prop up others: "My dear, don't live like a squashed frog!"

I found a soulmate in Rosa as I watched her weather storms. When she confides, "I have enough courage for myself, but when something happens to someone else, my courage fails me," is there a mother or sister who doesn't identify?

Rosa's scenes with her cat, Mimi, are revelatory; as a non-pet person myself, I was mesmerized.

I love that Rosa questions the givens of our lives, never surrendering.

"Before us lies the greatest task mankind has ever attempted."

"Don't shoot."

"I was, I am, I will be."

The movie ends on a shattering note, as we can glimpse the specter of what was to seize the world, in Naziism. May God have mercy on humanity...

"Rosa Luxemburg" is probably one of the most interesting and controversial characters in German history and here she gets her tribute movie. Initially, Rainer Werner Fassbinder was intended to make this one with Jane Fonda playing the title character, but as we all know he died prematurely and Margarete von Trotta took over with Helena Sukowa playing the main part. Both got a fair share of awards recognition (probably worked on several other projects together because of that) and the movie also won Best Film at the German Film Awards roughly 30 years ago. It was not the right decision I guess. I am not a great fan of Sukowa I must say, but she is bearable in here. I remember her being downright bad as Hannah Arendt recently, but in this much older work here, she is solid for the most part. She does not bring any greatness that could justify her awards for this work, not at all, but at least she kept herself from constantly going over the top, so that there were only a few cringeworthy moments involving her acting. But I also think, she does not prove she has particularly great range and this mediocre lead performance cost the film a lot as she is basically in every scene.

Then, you have to say in her favor that von Trotta's script isn't really up to the challenge either. There are good moments, but as a whole it simply is not enough for a movie that almost runs for 2 hours. This is particularly disappointing as Rosa Luxemburg really would have deserved a lead actress with more talent and consequently a movie with better quality. I guess we have to live with that for now. I may be a bit biased here as the years before 1933 in the 20th century, even as a German citizen, never felt that interesting to me as I hoped they would be, but I also need to state that this film here did not succeed in sparkling my interest. There were many moments during which the film dragged and it lacked consistency in convincing storytelling. The duo von Trotta / Sukowa is one that still has to impress me. This one not being as bad as the previously mentioned Hannah Arendt will not cut the cake. It is a missed opportunity and I do not recommend the watch.