For my first post review ever, I thought I would do Schindler’s List. I had not seen the movie for quite some time – since High School, in fact[1] - and really, before watching the movie again, all I could remember is being incredibly disturbed by the whole thing. So, glutton for punishment that I am, I decided to have some people over and watch it again. I was afraid to do it alone. Overall Impression
The movie was so much better than I remember. Really, the three hours were completely captivating. The story is incredibly engrossing, from Schindler’s savvy but selfish business maneuvering, to the disturbing policy of life/death of sociopathic SS commander Amon Göth, to the mini-biopics we are frequently given of several different people out of the 1,000 some-odd Polish Jews that Schindler saved. There were moments were I laughed out loud, obviously moments where I cried, and moments where I was unsure of even what to think or say. The scene where the Jewish women are sent to the “showers” was one of the tensest I have experienced in cinema, even the second time around! It really is a fantastic story.
Directing
I know Spielberg is an established director (and good for him). I had never really watched him for his directing abilities, and this was the first time. I was incredibly impressed with his use of light and dark (especially with the film being black & white), of shadows. The scene between Schindler and the Aucshwitz commander was so well shot, where the light just illuminated the eyes. The scene where Schindler is getting ready was fantastic (the one where we don’t see his face), and then topped by his introductory scene, where we follow him into the restaurant. Wonderfully directed, brilliant really. A friend told me that Spielberg, in order to get the backing to do Schindler’s List, agreed to do Jurassic Park. I can only imagine that meeting: “Steve, why do ya wanna do a picture about Holocaust Jews? How ‘bout a movie about dinosaurs? It’ll be a hit!” I’m glad he made the sacrifice though. I have not seen every Spielberg movie, and certainly those I have seen I have not watch critically. But I wouldn’t hesitate to say that, of his movies that I’ve seen, Schindler’s List stands as his crowning achievement.
Acting
Brilliant. I mean, brilliant. Liam Neeson is of course completely believable as Oskar Schindler. There are moments, such as the horseback scene, where the conflict of emotions on his face is just indescribable. Ralph Fiennes portrays a positively horrible Göth, and I mean that as a compliment. The bathroom scene, where he looks into the mirror after “pardoning” that poor Jewish boy…no words. I have to give Kingsley the trophy though. He is utterly amazing. The principle scene, I think, was when Schindler says to him, “When this is all over, we’ll have a drink.” I was so completely done over when Kingsley looks at him with fear and despair and sorrow and even, maybe, something like love, and says, “I think we better have that drink now.” One tear spills over his cheek. Perfect. I noticed he was not nominated for an Academy Award for that performance. Somebody oughta lose their job over that one.
But really, I have to say something for the scores of parts portraying the various Jews throughout the story. Really, their acting makes the movie. They serve as the foundation of the entire movie, and over and over, through their masterful depictions, you are again and again plunged emotionally into just an inkling of what those people went through. My hat’s off to them.
The horror of the Holocaust is truly incomprehensible. I am stunned and shocked by it. After the movie was over, I said to my friend, “Why do we hate so much?” It’s a question that still haunts me. The presence of evil in the world is undeniable, unbelievable, and unnerving. Schindler’s List stands as a particularly excellent portrayal of one corner of those events, and leaves us to ponder the more important questions.
At the end of the film, in the famous “One more” scene, Liam Neeson says, “I could’ve got one more [hesitation of brilliance] …person.” That was the point, I think. Schindler’s journey to realizing that these Jews, they were people. His conversion, whatever it was, was complete. Maybe that’s all that can be done about such reckless hate. To realize that we are not hating objects, but people, with names and lives and loves and families and desires. I’m afraid the hate that drove the Nazis might just be more common than we realize.
[1] Although the reviews will mostly be first time viewings, occasionally I will re-visit a movie that, on my first time around, I didn’t get because I lacked maturity, experience, the right mood, whatever. I’ll always let you know.
5 comments:
A film like Schindler's List, I think, transcends the "out of 5" categorization. There are very few films that I feel this way about, but for me, it's like putting a grade on a personal testimony -- there's something about it that is unmeasureable.
It's been a while since I've seen it, but the amazing thing about the film is that the film could be both completely honest and yet almost melodramatic. It feels like a film from the 40's (not just the black-and-white, but the characters, and the dialogue), and yet has the sensibility and introspection of more contemporary films.
I'm about to either learn something new (probably) or point out an error (which is an attempt only to add to your credibility). You said Spielberg is an established actor? I had no idea. Did you mean to say director? Just checking. Please give me a movie to watch him as an actor.
Good catch, Colby, I'm gonna fix that with the quickness. I wish I could say it's something new to learn, but, well, that would be lying.
Doug, I totally agree with you about the 40's quality about the film. The entire sequence of Schindler in the restaurant towards the beginning of the film has exactly that feel, like it could be a Bogie film. Now what do you think that adds to the overall arc of the film?
I think it adds an incarnational element to the film. A lot of period pieces have a sort of "looking backward" element to them (contemporary plot, dialogue, characterization in period dress). Just because the actors are in vintage dress driving classic automobiles doesn't make it a true period movie.
A good example of this is Soderburgh's The Good German. That was a contemporary film trying to be old. Schindler's List, on the other hand, is an old movie told with contemporary technology (e.g. the girl in the red dress). The viewer is detached from the time of The Good German, but you really enter into the world of Schindler's List. You really feel this in the last modern-day scene -- where Spielberg shocks you back to today (the last scene of Saving Private Ryan does the same thing).
The effect of this, I think, is that the brutality of the events depicted has a much more visceral quality. By entering into the world of the Holocaust, you experience the evil and even more celebrate the heroics of Schindler. You see the value of one more life -- and isn't that the theme of the movie?
One of the interesting things to me about the film in regards to lighting, shadows and so forth, Is the way characters who are meant to portray in my opinion the embodiment of evil (ala Ralph Feinnes' brilliant performance as Amon Goeth) are lit the same way as the heroes, or the "anti-hero" in Oskar Schindler. Go back and look at the way the light plays with Feinnes' facial features, soften his eyes, and bring an amazing amount of humanity to the character. I think its this simple technique that reminds me that evil is so horrific yet so within our reach as humans.
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