MovieChat Forums > Amen. (2002) Discussion > Best scene?

Best scene?

posted 18 years ago by french-ingenue17
10 replies | jump to latest

I have two great scenes that moved me so much:
-Ulrich Tukur looking through the little hole to see what happens to the Jews when the gas starts working its effect on them, and he suddenly withdrawns, horrified. So powerful!!!
-Mathieu Kassowitz talking about Jews to his superiors and suddenly throwing off the chair a Christian cloth, I don't know how to say it. It meant he totally had no trust in them, and was ready by any costs to let the truth be revealed.

What were your favourite scenes?

[–] ChristianneOtte 18 years ago

So many great scenes!

- The look in the eyes of his wife after he kisses her goodbye. She knows it may well be the last time she sees him.

- The scene where the priest puts the Jewish star on his cloth.

- The ending of the movie where in just one sentence the death of Ulrich is stated. I was utterly shocked. Usually in movies these scenes are long and by the end of it you wanna cry. But this scene made me just stare at the screen, as it had so much more of an impact on me!
And the scene where a man in the concentrationcamp picks up the priest's robe and then folds it. It said it all.

[–] LEMONPIE_30 18 years ago

Of course I agree with both of you.
I'd also like to add some of my favourite scenes:
a) The opening sequence, the Jew walking along the arcade to the U.N. building.
b) All the scenes with the trains going to the camps and returning empty. Pretty haunting!
c) The look on Tukur's face in prison, as he reads the accusations against him. I'll never forget that look!
d) Kurt's encounter with the priest in the concentration camp near the end of the movie.

[–] overninethousand 13 years ago

It was the League of Nations, not the United Nations (which was created only during WWII mind you).

[–] !!!deleted!!! (41638798) 11 years ago

All of the above.

But perhaps the most horrifying scene was one that wouldn't normally be seen as such.

It was the meal scene at the Count's home with the all the self-satisifed fat cats sitting round the table sucking loudly on the crayfish innards (a metaphor for the Count's life and certain elements in the Vatican one might surmise.)

The sub-scene when the diner is looking at the 'death map' that priest has provided while the woman next to him is sucking the last drop of crayfish butter from her fingers, one after one, as the death camps are being discussed, is a horrific image...

[–] overninethousand 11 years ago

That was some really strange reply to my comment of "It was the League of Nations, not the United Nations (which was created only during WWII mind you)."

[–] !!!deleted!!! (41638798) 11 years ago

Mine?

I was responding to the OP, not the aside about the League of Nations of course.

[–] overninethousand 11 years ago

And I'm not OP, so why were you responding to me?

[–] smigrobustus 10 years ago

My favorite scene, since it made me think at things a bit differently was how, at lunch,the american ambassador explains why the usa wouldn't take in the Jews, antisemitism, pulling resources from the war effort...etc....now, IF these men in powere REALLY AND TRULY believed in the massacres and really WANTED to help......well, when you take into consideration their other concerns.....what an awful position to be in.....only surpassed by the Jews.

[–] smigrobustus 10 years ago

A close second was when gerstein and his boss were in the car and the boss says that when the world heard the rumors of Jewish massacres, world Jewry, this supposed hugely powere, behind the scenes power brokers did nothing. And that's a great point. If the world was being run by wealthy and powerful Jews, as hitler and the nazis claimed............why didn't they simply stop it...after all, they run the whole world, right???

[–] matthewkjamison 10 years ago

Singing "O Sacred Head Now Wounded" at the piano with his children near the end. This Paul Gerhardt hymn is one of the most profound and beloved Lutheran passion (Good Friday) hymns, a meditation on the body of Christ as He is crucified. J.S. Bach used the tune extensively in the St. Matthew Passion and the Christmas Oratorio. Beyond its Christian significance, it is one of the masterpieces of German music. It is the perfect accompaniment to the Christ-like sacrifice of Fr. Ricardo, and I was in tears at this point in the movie.