The Idea of an Essay, Volume 3

90 The Idea of an Essay: Volume 3 While both Ebert and Rainer agree that the interrogation scenes serve as the heart of the film in Sophie Scholl: The Final Days , Ebert provides a more in depth review by addressing the theme of good versus evil concerning the law and its execution. Out of all the aspects of the film, both critics agree that the interrogation scenes betweenSophie andMohr serve as the emotional high point of Sophie Scholl: The Final Days . Tense and emotionally charged, these scenes between Sophie and Mohr portray a clash of ideals and worldviews; the Nazi regime versus the conscience- driven mind. Both critics comment on the fact that these scenes were not only some of the best in the film, but historically accurate as well. Rainer states in his review that this accuracy contributed greatly to the film. He writes, “The realization that we are, in many instances, listening in on actual proceedings gives the film an immediacy that no dramatist could hope to match” (Rainer). Rainer believes that the historical aspect adds a concreteness to the film, as well emotional relevance. Ebert follows along the same lines in his review, referencing the historical transcripts released after World War II, indicating that the dialogue in these interrogation scenes is almost word for word (Ebert). By acknowledging the historical elements within the film, both Ebert and Rainer are able to elaborate on the emotional aspects of the film as well. As such, both critics further examine their own emotional reactions to the film. At one point during the interrogation, Mohr confronts Sophie with damning evidence, such as her suitcase that is exactly the size of the fliers that she is charged with handing out. Ebert describes his own reaction to this line of questioning, writing, “The effect of this scene is so powerful that I leaned forward like a jury member, wanting her to get away with it so I could find her innocent” (Ebert). Ebert’s analogy to a jury member conveys the emotional tone of the film exactly; one is on the edge of his or her seat wishing for Sophie’s innocence when we know she is found guilty. Ebert summarizes Sophie’s whole experience, as well as the viewer’s, saying, “The sentence against her is carried out with startling promptness; because of the movie’s title, we are not surprised, but we are jolted” (Ebert). Due to the emotional overtones of the film, especially the interrogation scenes between Mohr and Sophie, the viewer is left vying for Sophie’s cause knowing full well that it is a lost one. Rainer describes this as “…the emotional heart