SummarySteven Spielberg's epic drama tells the compelling true story of German businessman Oskar Schindler (Neeson) who comes to Nazi-occupied Poland looking for economic prosperity and leaves as a savior. (History in Film)
SummarySteven Spielberg's epic drama tells the compelling true story of German businessman Oskar Schindler (Neeson) who comes to Nazi-occupied Poland looking for economic prosperity and leaves as a savior. (History in Film)
The worst of times has brought out the best in Spielberg, and it is the delicate narrative balance that makes Schindler's List such a special and profoundly moving experience. [15 Dec 1993, p.E2]
If Spielberg’s account of the Holocaust is not his greatest movie, it is still the defining moment of his career, the point where his yearning to be taken seriously (The Color Purple, Empire of the Sun) finally fully merged with his filmmaking talents.
Some films go beyond cinema, and this is one of them. Schindler’s List does not just tell a story; it becomes memory and testimony. Spielberg approaches the Holocaust with a sensitivity that shakes you to the core and, at the same time, with the clarity needed for its message to endure through generations. It is not simply a narrative; it is a reminder of what happened and what must never be **** black and white enhances every image, confronting us with the harshness of an era marked by horror. There are no unnecessary embellishments: every frame serves historical truth. Despite its long runtime, the pacing never falters because the weight of what is being told leaves no room for distractions. The result is an absorbing experience that stays with the viewer long after the credits **** leading trio is outstanding. Liam Neeson gives Schindler a fascinating ambiguity, a man caught between self-interest and moral awakening. Ralph Fiennes chillingly embodies the monstrosity of ****, while Ben Kingsley adds humanity and balance, closing an unforgettable acting triangle. Their performances sustain the greatness of the story, grounding it in flesh and blood so the audience can grasp its full magnitude.This is a harsh film, with no concessions, never seeking to soften the tragedy. Its greatness lies in the fact that it avoids spectacle and instead honors the victims, using cinema as a vehicle for memory. Each scene carries an emotional weight that extends far beyond the screen and speaks directly to our conscience.Spielberg’s achievement is not only technical—though it is masterful in that regard—but also ethical and human. The film manages to be both universal and profoundly personal. Its legacy is immense: a testimony that turns pain into collective memory and cinema into an act of justice.Schindler’s List is not just a masterpiece; it is a moral obligation for anyone who loves cinema and believes in its power as a keeper of memory. A film that hurts, moves, teaches, and above all, never fades.
There was much about **** Germany in war, about concentration camps, about the propaganda machine and other large-scale topics; however, in all of these works, there pretty much always was a lack of humanity, rarely history about one person or family. Someone calls it a banal topic about "People in the shadow of historical events," but only in that perspective can we understand all horror of totalitarianism.
But the film Schindler's List, directed with fury and immediacy by a profoundly surprising Steven Spielberg, presents the subject as if discovering it anew.
Director Steven Spielberg has achieved something close to the impossible--a morally serious, aesthetically stunning historical epic that is nonetheless readily accessible to a mass audience.
The movie's ending at the train station and the modern-day epilogue feel protracted and indulgent...Apart from the ending though, this is Spielberg's most articulate movie ever.
The movie is not that bad but it's far from Spielberg's best works. Ralph Fiennes here is great but this film really exaggerates things a lot. One of the negative notes is also that this film, which is supposed to tell the story of Oskar Schindler, sees its most interesting scenes just when Schindler is not involved. Slightly flawed script.
Sappy, manipulative and a ridiculously oversimplified version of the Holocaust.Spielberg has made a name for himself in the film industry by reducing serious subjects to the lowest denominator until it's no more than any mawkish family melodrama. Why should a movie about the Holocaust be any different? Schindler's List is an aesthetic mess and exemplifies everything that's wrong about Hollywood.First off, the movie's primary focus is to show us how Oscar Schindler, a slave owner aiming to run his factories through jew labour for monetary profit, turns into a defender of jews' rights and the protector of their lives. But the problem is Schindler's transformation is portrayed in an extremely poor way. In fact, there is no transformation. Midpoint in the film, the Schindler persona has disappeared, and we have a new character clothed in the same flesh -- a self-sacrificing philanthropist who spends his entire amassed fortune to save the Jew workers. How did we get from one to the other?And then we have Amon Goeth. He's an evil, sadistic, Jew-hating **** - but do we get to know why he wakes up every morning, takes a swig of booze and snipes Jew prisoners for fun? No. Spielberg thinks the answer is obvious -- he's a ****, and **** don't have reasons for the things they do. The attempt to add depth to Göeth's character by dwelling on his twisted love affair with a Jewish girl is easily seen for what it is -- a cheap exposure of **** hypocrisy. The true intrigue, the true horror of the Holocaust does not lie in brutality alone, but rather in Hannah Arendt's "banality of evil". How can a man (or millions of men) arbitrarily narrow the moral sphere to exclude people seemingly no different from neighbours, friends and family?Another problem is the accent. There are English-speaking films and then there are German-speaking films. Schindler's List, on the other hand, does not belong to either of these categories. One of the truly unforgivable aspects of the film is the ending. When Schindler took off his gold ring and blubbered "I could have saved one more", I experienced a feeling of mild revulsion. Spielberg's invariable resort to sentimentality is quintessentially Hollywood, quintessentially cheesy and quintessentially inappropriate for the subject matter of the film. Schindler's List is technically brilliant but Spielberg is a director of extremely limited vision. His moral and intellectual depth is that of a child (and the funny part is Schindler's List may be the most mature movie Spielberg has made till now).