Lidia Draper Great example of an old-fashioned, pure-at-heart escapist event movie that doesn't pretend to be anything that it's not and has boat loads of fun being its own ludicrous self.

Kirandeep Yoder The joyful confection is coated in a sparkly gloss, bright enough to gleam from the darkest, most cynical corners.

Taha Avalos The best films of this genre always show a path and provide a takeaway for being a better person.

Guillelmina The film's masterful storytelling did its job. The message was clear. No need to overdo.

Horst in Translation (filmreviews@web.de) "Der neunte Tag" or "The Ninth Day" is a German movie from over 10 years ago that runs for slightly over 90 minutes and was directed by Volker Schlöndorff who is still pretty famous here in Germany for directing the Oscar-winning "Die Blechtrommel". I was very underwhelmed by this one and while I am definitely not the greatest Schlöndorff fan, I can't deny he has made a couple good films and I would include this one here also as one of these I deem superior to "The Tin Drum". The best thing about it is definitely the acting. Matthes and Diehl bring their A-Game and other actors probably could not have delivered better portrayals. Both certainly elevated the material and I think that, at least back then, both count to the best Germany had to offer in their respective age groups. Hilmar Thate played a supporting character and I felt he was very good too. Then again, I may be a bit biased here as I have always liked him.The story is about a priest who is in jail at a concentration camp during the days of Nazi Germany. A German army commander offers him a deal: If he writes a letter to the Pope and encourages the Pope to approve of German politics during that era, then he (Diehl) would let him (Matthes) free and also save many of the priest's peers from being killed at the concentration camp. Of course, the priest does not believe a bit in the Nazi's claim to being the dominant race, so it is all a decision of his conscience and there is a lot of talk about the priest acting like a Judas for the good cause and for saving people's lives. Will he finally do it? I won't tell you. You need to watch for yourself.Another aspect I believe that is interesting about the movie is the fact that the Vatican is in Rome and people who know about the Italian political position in the 1930s will know that this may have complicated things a lot. Unfortunately, the basics are a lot more interesting in this movie than the actual story. The writers certainly could have made a better job here and I cannot say I approve of the script. The story offered so much more and even if the German Film Awards apparently disagree, I have to say that they did not achieve what they could have achieved here. The only true reason for watching this film is the political context, the real story it is based on and the convincing performances from the 2 lead actors. All in all, I give "Der neunte Tag" a thumbs-up and still call it a missed opportunity. Go check it out.

Jiri Severa **** may contain spoilers ******I am not surprised nor offended that some reviewers find the Ninth Day a Catholic propaganda and Ullrich Matthes' silences a witness to his lack of Thespian credentials. Quite the contrary, such comments confirm that the movie, and the basis of morality which it examines, is not intellectually available or esthetically pleasing to simple-minded people. That in itself marks its quality.There are some absolutely gripping moments in the Schloendorff's masterpiece: the mocking of the Polish priest before he is hoisted on the cross (he was not "crucified" - that just would not capture the horrific sadism in the act - the movie makes a point in altering the method of using the cross by a Dachau commandant), the reading by Gebhardt of Kremer's human weakness and sense of inferiority (the offering of the chocolates after Kremer contemptuously refuses a cigarette was a devilish coup - Kremer tries to justify his defeat by offering the sweet to an unknown little girl), Gebhardt's theory of "Judas" as the most pious Christian, his cool reception of Kremer's volcanic "noli venire inter Domine et me", Gebhardt's contempt for the cowardice of Kremer's brother ("you were right, the eggs are excellent")...no, this is no Catholic propaganda, on the contrary, the body of Christ failed Kremer by signing the Concordat with the Antichrist, in his search for the vindication of his faith he is alone, ...this has all the markings of a great classic: ingenious, complex, haunting, obsessional, true.

codairem I have no great sympathy for the Catholic Church, but I found the movie quite moving while watching it. There were some rank-and-file Catholic (and Protestant) clergy who spoke up against Nazism. They paid a heavy price - in part because there wasn't an outcry on the part of the higher-ups in the church hierarchy. They were more interested in keeping their perks and playing nice with the powers-that-be. This silent betrayal is very well conveyed in the movie.Unfortunately some of the other dramatic elements don't work as well. I think the movie would have been stronger if Henri Kremer's relationship with his family -- his sister especially, who was willing to put her life on the life so he could flee to freedom -- had been more fleshed out. They don't even show their parting! So although I was interested throughout the movie, it was not quite satisfying.

Carel Kremer There is this story about a Catholic priest (Abbé Henri Kremer / Monsignore Jean Bernard) allowed by Nazis out of the concentration to go back home to Luxembourg for eight days to bury his mother. He was to return to the camp on the ninth day. The incredible actually happened. The priest in question returned to the camp, was finally released in 1942 (why?) and wrote a book about his ordeal. The book has about 100 pages and the part taken for the film is a small fraction from that book, not even a couple of pages. Several questions arise: how became it possible that the Nazis gave leave to someone from a camp? Who intervened in high places that his might be possible? The bishop from Luxembourg, mentioned in the film, earned the nickname 'The silent one' during the war because he did not speak out against the occupation. It leads to think that he might have intervened in some kind of Machiavellic plot to turn the whole of the lower clergy to the Nazi side by showing the doubters among them that the Nazis were not the monsters after all. The book on which the film is based was first published in the 1950s by the leading Catholic newspaper publisher. Over the years it became thicker because of the many introductions and forewords added. It was the same newspaper publisher who pushed the filming of the story, who got Schlöndorff on the director's seat and who is pushing now the viewing of the film by handing out free tickets and making a huge publicity. To me this whole film is nothing but propaganda for the role of the C. Church and a kind of manipulation of history by not releasing the real facts about this story. Like any propaganda movie it should be rated 0 out of 10. Sit down Mr. Schlöndorff and go over your homework once again!