Schindler's List

Schindler's List
Schindler's List
Theatrical release poster
Directed by Produced by Steven Spielberg Steven Spielberg Gerald R. Molen Branko Lustig Steven Zaillian Schindler's Ark by Thomas Keneally Liam Neeson Ben Kingsley Ralph Fiennes Caroline Goodall Jonathan Sagall Embeth Davidtz John Williams

Screenplay by Based on Starring

Music by

Cinematography Janusz Kamiski Editing by Studio Distributed by Release date(s) Michael Kahn Amblin Entertainment Universal Pictures 30 November 1993
(DC)

15 December 1993 Running time Country Language 195 minutes United States English Hebrew German Polish French $22 million
[1]

Budget Box office

$321,306,305

Schindler's List is a 1993 American film about Oskar Schindler, a German businessman who saved the lives of more than a thousand mostly Polish-Jewish refugees during the Holocaust by employing them in his factories. The film was directed by Steven Spielberg, and based on the novel Schindler's Ark by Australian novelist Thomas Keneally. It stars Liam Neeson as Schindler, Ralph Fiennes as Schutzstaffel (SS)-officer Amon Gth, and Ben Kingsley as Schindler's Jewish accountant Itzhak Stern. The film was a box office success and recipient of seven Academy Awards, including Best Picture, Best Director, and Best Original Score, as well as numerous other awards (7 BAFTAs, 3 Golden Globes). In 2007, the American Film Institute ranked the film 8th on its list of the 100 best American films of all time (up one position from its 9th place listing on the 1998 list).

Schindler's List

Plot
The film begins in 1939 with the German-initiated relocation of Polish Jews from surrounding areas to the Krakw Ghetto shortly after the beginning of World War II. Meanwhile, Oskar Schindler (Liam Neeson), an ethnic German businessman from Moravia, arrives in the city in hopes of making his fortune as a war profiteer. Schindler, a member of the Nazi Party, lavishes bribes upon the Wehrmacht and SS officials in charge of procurement. Sponsored by the military, Schindler acquires a factory for the production of army mess kits. Not knowing much about how to properly run such an enterprise, he gains a close collaborator in Itzhak Stern (Ben Kingsley), an official of Krakow's Judenrat (Jewish Council) who has contacts with the Jewish business community and the black marketers inside the Ghetto. The Jewish businessmen lend Schindler the money for the factory in return for a small share of products produced. Opening the factory, Schindler pleases the Nazis and enjoys his newfound wealth and status as "Herr Direktor", while Stern handles all the administration. Schindler hires Jewish Poles instead of Catholic Poles because they cost less (the workers themselves get nothing; the wages are paid to the SS). Workers in Schindler's factory are allowed outside the ghetto, and Stern falsifies documents to ensure that as many people as possible are deemed "essential" to the German war effort, which saves them from being transported at concentration camps, or being killed. SS-Lieutenant (Untersturmfhrer) Amon Goeth (Ralph Fiennes) arrives in Krakw to oversee construction of the new Paszw concentration camp. Once the camp is completed, he orders the final liquidation of the ghetto and Operation Reinhard in Krakw begins, with hundreds of troops emptying the cramped rooms and arbitrarily murdering anyone who protests or appears uncooperative, elderly or infirm. Schindler, watching the massacre from the hills overlooking the area with his mistress, is profoundly affected. He nevertheless is careful to befriend Goeth and, through Stern's attention to bribery, Schindler continues to enjoy SS support and protection. During this time, Schindler bribes Goeth into allowing him to build a sub-camp for his workers, so that he can keep his factory running smoothly and protect them from being randomly executed. As time passes, Schindler acts on information provided by Stern to try and save as many lives as he can. As the war shifts, Goeth receives orders from Berlin commanding him to exhume and destroy the remains of every Jew murdered in the Krakw Ghetto, dismantle Paszw, and ship the remaining Jewsincluding Schindler's workersto the Auschwitz concentration camp. At first, Schindler prepares to leave Krakw with his fortune. He finds himself unable to do so, however, and prevails upon Goeth to allow him to keep his workers so that he can move them to a factory in his old home of Zwittau-Brinnlitz, in Moravia away from the Final Solution, now fully underway in occupied Poland. Goeth eventually acquiesces, but charges a massive bribe for each worker. Schindler and Stern assemble a list of workers who are to be kept off the trains to Auschwitz. "Schindler's List" comprises these "skilled" inmates, and for many of those in Paszw camp, being included means the difference between life and death. Almost all of the people on Schindler's list arrive safely at the new site. The train carrying the Jewish women is accidentally redirected to Auschwitz. The women are taken to what they believe to be the gas chambers; they then weep with joy and immense relief when water falls from the showers. The day after, the women are shown waiting in line for work and being inspected by the camp physician, Dr. Josef Mengele. In the meantime, Schindler rushes immediately to Auschwitz. Intending to rescue all the women, he bribes the camp commander, Rudolf H, with a cache of diamonds in exchange for releasing the women to Brinnlitz. However, a last minute problem arises just when all the women are boarding the train. Several SS officers attempt to hold back the children and prevent them from leaving. Schindler, however, insists that he needs their hands to polish the narrow insides of artillery shells. As a result, the children are released. Once the women arrive in Zwittau-Brinnlitz, Schindler institutes firm controls on the SS guards assigned to the factory, forbidding them to enter the production areas. He permits and encourages the Jews to observe the Sabbath. In order to keep his factory workers alive, he spends much of his fortune bribing Nazi officials and buying shells from other companies, meaning he never actually produces working shells for the seven months his factory is in business. Later, he surprises his wife while she is in the village church during mass, and tells her that she will now be the only woman in his life, a concession he had

Schindler's List refused to grant previously. She goes with him to the factory to assist him. He runs out of money just as the Wehrmacht surrenders, ending the war in Europe. As a Nazi Party member and a self-described "profiteer of slave labour", in 1945, Schindler must flee the advancing Red Army. Although the SS guards have been ordered to liquidate the Jews of Brinnlitz, Schindler persuades them to return to their families as men, not murderers. In the aftermath, he packs a car in the night and bids farewell to his workers. They give him a letter explaining he is not a criminal to them, together with a ring secretly made from a worker's gold dental bridge and engraved with a Talmudic quotation, "Whoever saves one life saves the world entire." Schindler is touched but deeply ashamed, feeling he could have done more to save many more lives, such as selling his car, and selling his Golden Party Badge could have saved one more. Weeping, he considers how many more lives he could have saved as he leaves with his wife during the night. The Schindler Jews, having slept outside the factory gates through the night, are awakened by sunlight the next morning. A Soviet dragoon arrives and announces to the Jews that they have been liberated by the Red Army. The Jews walk to a nearby town in search of food. After a few scenes depicting post-war events and locations, such as the execution of Amon Goeth by hanging for war crimes and a brief summary of what eventually happened to Schindler in his later years, the film returns to the Jews walking to the nearby town. As they walk abreast, the black-and-white frame changes to one in color of present-day Schindler Jews at Schindler's grave site in Jerusalem (where he wanted to be interred).[2] The film ends by showing a procession of now-elderly Jews who worked in Schindler's factory, each of whom reverently sets a stone on his gravea traditional Jewish custom denoting deep gratitude or thanks to the deceased. The actors portraying the major characters walk hand-in-hand with the people they portrayed, placing their stones as they pass. (Ben Kingsley is accompanied by the widow of Itzhak Stern, who died in 1969.) The audience learns that, at the time of the film's release, there were fewer than 4,000 Jews left alive in Poland, but more than 6,000 descendants of the Schindler Jews throughout the world. In the final scene, Liam Neeson (although his face is not visible) places a pair of roses on the grave and stands contemplatively over it. The film concludes with a statement, "In memory of the more than six million Jews murdered"; the closing credits begin with a view of a road paved with headstones culled from Jewish cemeteries during the war (as depicted in the film), before fading to black.

Cast
Main
Liam Neeson Oskar Schindler, a German Nazi businessman who saves the lives of over 1,100 Jews by employing them in his factory. Ben Kingsley Itzhak Stern, Schindler's accountant and business partner. Ralph Fiennes Amon Gth, the main antagonist in the film; Goeth is an SS officer assigned to build and run the Paszw concentration camp, and is befriended by Schindler, though he grows steadily suspicious of Schindler's true aims as the film progresses. Embeth Davidtz Helen Hirsch, a young Jewish woman whom Goeth takes to work as his housekeeper, and finds attractive. Caroline Goodall Emilie Schindler, Schindler's wife. Jonathan Sagall Poldek Pfefferberg, a young man who survives with his wife, and provides goods to Schindler from the black market.

Schindler's List

Secondary
Ezra Dagan Rabbi Lewartow, a rabbi who acquires skills as a welder in Schindler's camp. Malgoscha Gebel Wiktoria Klonowska, Schindler's mistress. Shmuel Levy Wilek Chilowicz. Mark Ivanir Marcel Goldberg. Batrice Macola Ingrid. Andrzej Seweryn Julian Scherner. Friedrich von Thun Rolf Czurda. Krzysztof Luft Herman Toffel. Harry Nehring Leo John. Norbert Weisser Albert Hujar. Adi Nitzan Mila Pfefferberg, Poldek Pfefferberg's wife. Michael Schneider Juda Dresner. Miri Fabian Chaja Dresner. Anna Mucha Danka Dresner. Ben Darby Man in grey. Albert Misak Mordecai Wulkan.

Hans-Michael Rehberg Rudolf Hss. Daniel Del Ponte Dr. Josef Mengele.

Production
Development
Poldek Pfefferberg was one of the Schindlerjuden, and made it his life's mission to tell the story of his savior. Pfefferberg attempted to produce a biopic of Oskar Schindler with MGM in 1963,[3] with Howard Koch writing,[4] but the deal fell through. In 1982, Thomas Keneally published Schindler's Ark, which he wrote after he met Pfefferberg. MCA president Sid Sheinberg sent director Steven Spielberg a New York Times review of the book. Spielberg was astounded by the story of Oskar Schindler, jokingly asking if it was true. Spielberg "was drawn to the paradoxical nature of [Schindler]... It was about a Nazi saving Jews... What would drive a man like this to suddenly take everything he had earned and put it all in the service of saving these lives?" Spielberg expressed enough interest for Universal Pictures to buy the rights to the novel, and in early 1983 Spielberg met with Pfefferberg. Pfefferberg asked Spielberg, "Please, when are you starting?" Spielberg replied, "Ten years from now."[3] (In the end credits of the film, Pfefferberg is credited as an advisor, under the name "Leopold Page.") Spielberg was unsure of his own maturity in making a film about the Holocaust, and the project remained "on [his] guilty conscience". Spielberg tried to pass the project to director Roman Polanski, who turned it down. Polanski's mother was killed at Auschwitz,[5] and he had lived in and survived the Krakw Ghetto. Polanski eventually directed his own Holocaust film, The Pianist, in 2002. Spielberg also offered the film to Sydney Pollack,[4] and Martin Scorsese, who was attached to direct Schindler's List in 1988. However, Spielberg was unsure of letting Scorsese direct the film, as "I'd given away a chance to do something for my children and family about the Holocaust." Spielberg offered him the chance to direct the 1991 remake of Cape Fear instead.[4] Billy Wilder expressed interest in directing the film "as a memorial to most of [his] family, who went to Auschwitz." Spielberg finally decided to direct the film after hearing of the Bosnian Genocide and various Holocaust deniers.[3] With the rise of neo-Nazism after the fall of the Berlin Wall, he worried that people were too accepting of intolerance, as they were in the 1930s. In addition, Spielberg was becoming more involved with his Jewish heritage while raising his children.[6] Sid Sheinberg greenlit the film on one condition: that Spielberg make Jurassic Park first. Spielberg later said, "He knew that once I had directed Schindler I wouldn't be able to do Jurassic Park."[4]

Schindler's List In 1983, Thomas Keneally was hired to adapt his book, and he turned in a 220-page script. Keneally focused on Schindler's numerous relationships, and admitted he did not compress the story enough. Spielberg hired Kurt Luedtke, who had adapted the screenplay of Out of Africa, to write the next draft. Luedtke gave up almost four years later, as he found Schindler's change of heart too unbelievable. During his time as director, Scorsese hired Steven Zaillian to write the script. When he was handed back the project, Spielberg found Zaillian's 115-page draft too short, and asked him to extend it to 195 pages. Spielberg wanted to focus on the Jews in the story. He extended the ghetto liquidation sequence, as he "felt very strongly that the sequence had to be almost unwatchable." He wanted Schindler's transition to be gradual and ambiguous, and not "some kind of explosive catharsis that would turn this into The Great Escape."[4]

Casting
Liam Neeson auditioned as Oskar Schindler early in the casting process and was cast in December 1992, after Spielberg saw him perform in Anna Christie on Broadway.[4] Warren Beatty participated in a script reading, but Spielberg was concerned that he could not disguise his accent and that he would bring "movie star baggage".[7] Kevin Costner and Mel Gibson expressed interest in portraying Schindler.[4] Neeson felt "[Schindler] enjoyed fookin' [sic] with the Nazis. In Keneally's book it says he was regarded as a kind of a buffoon by them... if the Nazis were New Yorkers, he was from Arkansas. They don't quite take him seriously, and he used that to full effect."[8] To prepare for the role, Neeson was sent tapes of Time Warner CEO Steve Ross, who had a charisma that Spielberg compared to Schindler's.[9] Ralph Fiennes was cast as Amon Goeth after Spielberg viewed his performances in A Dangerous Man: Lawrence After Arabia and Emily Bront's Wuthering Heights. Spielberg said of Fiennes' audition that "I saw sexual evil. It is all about subtlety: there were moments of kindness that would move across his eyes and then instantly run cold." Fiennes put on 28lbs to play the role. He watched historic newsreels and talked to Holocaust survivors who knew Amon Gth. In portraying him, Fiennes said "I got close to his pain. Inside him is a fractured, miserable human being. I feel split about him, sorry for him. He's like some dirty, battered doll I was given and that I came to feel peculiarly attached to." Fiennes looked so much like Amon Gth in costume that when Mila Pfefferberg, a survivor of the events, met him she trembled with fear.[10] Overall, there are 126 speaking parts in the film. Thirty thousand extras were hired during filming. Spielberg cast children of the Schindlerjuden for key Hebrew-speaking roles and hired Catholic Poles for the survivors.[4] Often, German actors playing the SS would come to Spielberg and say, "Thank you for letting me resolve my [family] secrets by playing in your movie."[7] Halfway during the shoot, Spielberg conceived the epilogue where 128 Schindlerjuden pay their respects to Schindler's grave in Jerusalem. The producers scrambled to find the people portrayed in the film.[4]

Filming
Shooting for Schindler's List began on March 1, 1993 in Krakw (Cracow), Poland, and continued for seventy-one days.[3] The crew shot at the real life locations, though the Paszw camp had to be reconstructed in a pit adjacent to the original site, due to post-war changes to the original camp. The crew was forbidden to enter Auschwitz, so they shot at a replica outside the camp.[9] The Polish locals welcomed the filmmakers. There were some antisemitic incidents; anti-Semitic symbols scrawled on local billboards near shooting locations.[4] An elderly woman mistook Fiennes for a Nazi and told him "the Germans were charming people. They didn't kill anybody who didn't deserve it",[10] while Kingsley nearly entered a brawl with an elderly German-speaking businessman who insulted Israeli actor Michael Schneider.[11] Nonetheless, Spielberg stated that at Passover, "all the German actors showed up. They put on yarmulkes and opened up Haggadas, and the Israeli actors moved right next to them and began explaining it to them. And this family of actors sat around and race and culture were just left behind."[11]

Schindler's List
"I was hit in the face with my personal life. My upbringing. My Jewishness. The stories my grandparents told me about the Shoah. And Jewish life came pouring back into my heart. I cried all the time." Steven Spielberg on his emotional state during the shoot
[5]

Shooting Schindler's List was deeply emotional for Spielberg, the subject matter forcing him to confront elements of his childhood, such as the antisemitism he faced. He was furious with himself when he did not "cry buckets" while visiting Auschwitz, and was one of many crew members who did not look on during shooting of the scene where aging Jews are forced to run naked while being selected by Nazi doctors to go to Auschwitz.[9] Several actresses broke down when filming the shower scene, including one who was born in a concentration camp.[7] Kate Capshaw and Spielberg's five children accompanied Spielberg on set, and he later thanked his wife "for rescuing me ninety-two days in a row...when things just got too unbearable." Spielberg's parents and his rabbi visited him on set. Robin Williams called Spielberg every two weeks to cheer him up with various jokes,[3] because there was very little humor on set. Spielberg also ordered various episodes of Seinfeld on VHS to watch in his hotel room after shooting each day.[7] Ironically, Jerry's watching of Schindler's List in a theatre became the plot of a later episode. Spielberg forwent a salary, calling it "blood money", and believed the film would flop.[3] Spielberg used German and Polish language in scenes to recreate the feeling of being present in the past, and used English to emphasize dramatic points. The director was interested in making the film entirely in German and Polish, but decided "there's too much safety in reading. It would have been an excuse to take their eyes off the screen and watch something else."[7]

Cinematography
Spielberg decided not to plan the film with storyboards, and to shoot the film like a documentary, looking to the documentaries The Twisted Cross (1956)[12] and Shoah (1985) for inspiration. Forty percent of the film was shot with handheld cameras,[13] and the modest budget of $25 million meant the film was shot quickly over seventy-two days. Spielberg felt that this gave the film "a spontaneity, an edge, and it also serves the subject." Spielberg said that he "got rid of the crane, got rid of the Steadicam, got rid of the zoom lenses, [and] got rid of everything that for me might be considered a safety net."[9] Such a style made Spielberg feel like an artist, as he limited his tools for a film he felt didn't have to be commercially successful.[6] This matured Spielberg, who felt that in the past he had always been paying tribute to directors such as Cecil B. DeMille or David Lean.[11] On this film, his shooting style was purely his own. He proudly noted that in this film, there were no crane shots.[4] The decision to shoot the film mainly in black and white lent to the documentary-style of cinematography, which cinematographer Janusz Kamiski compared to German Expressionism and Italian neorealism.[9] Kamiski said that he wanted to give a timeless sense to the film, so the audience would "not have a sense of when it was made."[9] Spielberg was following suit with "[v]irtually everything I've seen on the Holocaust... which have largely been stark, black and white images."[14] Universal chairman Tom Pollock asked Spielberg to shoot the film in a color negative, to allow color VHS copies of the film to be sold, but Spielberg did not want "to beautify events."[9] Black and white did present challenges to the color-familiar crew. Allan Starski, the production designer, had to make the sets darker or lighter than the people in the scenes, so they would not blend. The costumes had to be distinguished from skin tones or colors being used for the sets.[14]

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Music
John Williams composed the score for Schindler's List. The composer was amazed by the film, and felt it would be too challenging. He said to Spielberg, "You need a better composer than I am for this film." Spielberg replied, "I know. But they're all dead!"[15] Williams played the main theme on piano, and following Spielberg's suggestion, he hired Itzhak Perlman to perform it on the violin. In an interview with Perlman on Schindler's List, he said, "...I couldn't believe how authentic he [John Williams] got everything to sound, and I said, 'John, where did it come from?', and he said, 'Well', he said, 'I had some practice with Fiddler on the Roof and so on, and everything just came very naturally.' and that's the way it sounds." Interviewer: "When you were first approached to play for Schindler's List, did you give it a second thought, did you agree at once, or did you say 'I'm not sure I want to play for movie music.'? Perlman: "No, that never occurred to me, because in that particular case the subject of the movie was so important to me, and I felt that I could contribute simply by just knowing the history, and feeling the history, and indirectly actually being a victim of that history."[16] In the scene where the ghetto is being liquidated by the Nazis, the folk song Oyfn Pripetshik (or Afn Pripetshek) (Yiddish: ") is sung by a children's choir. The song was often sung by Spielberg's grandmother, Becky, to her grandchildren.[17] The clarinet solos heard in the film were recorded by Klezmer virtuoso Giora Feidman. Williams won an Academy Award for Best Original Score for Schindler's List, his fifth win.

Symbols
The girl in the red coat
Although the film is primarily shot in black-and-white, red is used to distinguish a little girl in a coat. Later in the film, the girl is seen among the dead, recognizable only by the red coat she is still wearing. Although it was unintentional, this character is coincidentally very similar to Roma Ligocka, who was known in the Krakw Ghetto for her red coat. Ligocka, unlike her fictional counterpart, survived the Holocaust. After the film was released, she wrote and published her own story, The Girl in the Red Coat: A Memoir (2002, in translation).[18] The scene, however, was constructed on the memories of Zelig Burkhut, survivor of Plaszow (and other work camps). When interviewed by Spielberg before the film was made, Burkhut told of a young girl wearing a pink coat, no older than four, who was shot by a Nazi officer right before his eyes. When being interviewed by The Courier-Mail, he said "it is something that stays with you forever." According to Andy Patrizio of IGN, the girl in the red coat is used to indicate that Schindler has changed: "Spielberg put a twist on her [Ligocka's] story, turning her into one more pile on the cart of corpses to be incinerated. The look on Schindler's face is unmistakable. Minutes earlier, he saw the ash and soot of burning corpses piling up on his car as just an annoyance."[19] Andre Caron wondered whether it was done "to symbolize innocence, hope or the red blood of the Jewish people being sacrificed in the horror of the Holocaust?"[20] Spielberg himself has explained that he only followed the novel, and his interpretation was that "America and Russia and England all knew about the Holocaust when it was happening, and yet we did nothing about it. We didn't assign any of our forces to stopping the march toward death, the inexorable march toward death. It was a large bloodstain, primary red color on everyone's radar, but no one did anything about it. And that's why I wanted to bring the color red in."[21] This partial climax in the film may have been influenced by the final scene of Tarkovsky's Andrei Rublev, an entire black-and-white film which shows a few moments of color at the end to put an exclamation point on Rublev's spiritual change. This is a far more likely influence on Spielberg than the suggested Lars von Trier's film, Europa, was in relation to this approach.

Schindler's List Although she has no speaking part, the little girl is noted on the Internet Movie Database as the "Red Genia". Her portrayer, Oliwia Dabrowska, was born in Krakow on 28 May 1989 and later appeared in only one other movie.

Candles
The beginning features a family observing the Shabbat. Spielberg said, "to start the film with the candles being lit...would be a rich bookend, to start the film with a normal Shabbat service before the juggernaut against the Jews begins." When the color fades out in the film's opening moments, it gives way to a movie in which smoke comes to symbolize bodies being burnt at Auschwitz. Only at the end do the images of candle fire regain their warmth when Schindler allows his workers to hold Shabbat services. For Spielberg, they represented "just a glint of color, and a glimmer of hope."[4]

Release
The film opened in New York, Los Angeles, and Toronto on December 15, 1993. The film grossed $96.1 million in the United States and over $321.2 million worldwide.[22] In Germany, over 5.8 million admission tickets were sold. Schindler's List made its US network television premiere on NBC in February 1997. The film was shown without commercials, and fully sponsored by Ford Motor Company. It gained the highest Nielsen rating (to that date) for any movie since NBC's broadcast of Jurassic Park (also directed by Spielberg) in May 1995.[23] (For further information on the telecast, see the "Controversies" section below.) The film was released to DVD on March 9, 2004. The DVD was available in widescreen and fullscreen editions, both being a DVD-18 disc with the feature film beginning on side A and continuing on side B, along with the special features, which include a documentary introduced by Steven Spielberg. Also released for both formats was a limited edition gift set. The laserdisc gift set was a limited one, with only 10,000 copies manufactured. Besides the DVD, the set included the film's soundtrack, the original novel, and an exclusive photo booklet.[24] Similar to the Laserdisc set, the DVD gift set included the widescreen version of the film, the original novel, the film's soundtrack on CD, a senitype, and a photo booklet titled Schindler's List: Images of the Steven Spielberg Film, all housed in a plexiglass case.[25] The set has since been discontinued.[26] The film will be released on Blu-Ray in 2012 as part of Universal's 100th Anniversary celebration. No specific date has been announced as of yet.[27]

Reception
Schindler's List won seven Oscars at the 66th Academy Awards, including Best Picture and Best Director. It was the first black and white film since The Apartment to win the Oscar for Best Picture. Liam Neeson and Ralph Fiennes were nominated for Best Actor and Best Supporting Actor respectively, but did not win.[28] At the British Academy awards, the film won Best Film, the David Lean Award for Direction, Best Supporting Actor (Ralph Fiennes), Cinematography, Editing and Score.[22] Schindler's List won Golden Globes for Best Motion Picture (Drama), Best Director and Best Screenplay, with John Williams awarded the Grammy for the film's musical score.[22] Schindler's List was warmly received by many of Spielberg's peers. Filmmaker Billy Wilder reportedly wrote a long letter of appreciation to Spielberg in which he proclaimed, "They couldn't have gotten a better man. This movie is absolutely perfection."[29] Filmmaker Quentin Tarantino has commented that Schindler's List left him "shaken" and that "even though I have seen many films about the Holocaust, none up to that point had managed to get at the feeling of what it was like to be in the inside of a concentration camp."[30] Roman Polanski, who had turned down Spielberg's offer to direct the film, later commented, "I certainly wouldn't have done as good a job as Spielberg because I couldn't have been as objective as he was." Polanski has also cited Schindler's List as an influence on his 1995 film Death and the Maiden.[31]

Schindler's List Schindler's List received widespread acclaim from critics. Reviewing Schindlers List for The New York Review of Books, the leading British critic John Gross wrote: Suppose the Disney organization announced that it was planning a film about the Holocaust. Spielbergs films up until now have mostly been fairy tales or adventure stories, or a mixture of both, so I cant pretend, then, that I approached the film without apprehension. My fears were altogether misplaced. Spielberg shows a firm moral and emotional grasp of his material. The film is an outstanding achievement.[32] The success of Schindler's List persuaded filmmaker Stanley Kubrick to abandon his own Holocaust project, Aryan Papers, which would have been about a Jewish boy who survives the war, along with his aunt, by sneaking through Poland while pretending to be a Catholic.[33] Convinced that no film could truly capture the horror of the Holocaust, scriptwriter Frederic Raphael has recalled that Kubrick commented on Schindler's List, "Think that's about the Holocaust? That was about success, wasn't it? The Holocaust is about 6 million people who get killed. Schindler's List is about 600 who don't."[33] Since then, many of the film's detractorsincluding filmmaker Terry Gilliamhave cited this quote in their criticism of the film.[34] The film was attacked by filmmaker and professor Claude Lanzmann, director of the 9-hour Holocaust documentary Shoah, who called Schindler's List a "kitschy melodrama", and a "deformation" of historical truth. Lanzmann was especially critical of Spielberg for viewing the Holocaust through the eyes of a German. Believing his own film to be the definitive account of the Holocaust, Lanzmann complained, "I sincerely thought that there was a time before Shoah, and a time after Shoah, and that after Shoah certain things could no longer be done. Spielberg did them anyway."[35] Spielberg angrily responded to Lanzmann's criticisms, accusing him of wanting to be "the only voice in the definite account of the Holocaust." He added, "It amazed me that there could be any hurt feelings in an effort to reflect the truth."[36] French New Wave filmmaker Jean-Luc Godard accused Spielberg of using the film to make a profit of tragedy while Schindler's wife, Emilie Schindler, lived in poverty in Argentina.[37] In defense of Spielberg, critic Roger Ebert said, "Has Godard or any other director living or dead done more than Spielberg, with his Holocaust Project, to honor and preserve the memories of the survivors?"[38] Author Thomas Keneally has also disputed claims that Emilie Schindler was never paid for her contributions to the film, "not least because I had recently sent Emilie a check myself."[39] Filmmakker Michael Haneke has criticized the sequence in the film in which Schindler's women are accidentally sent off to Auschwitz and hurdled into showers: "Theres a scene in that film when we dont know if theres gas or water coming out in the showers in the camp. You can only do something like that with a naive audience like in the United States. Its not an appropriate use of the form. Spielberg meant well but it was dumb."[40] However, according to one of Schindler's women, Etka Liebgold, this incident is based on fact. [41] Screenwriter and playwright David Mamet also came out against the film, noting, "I think [Spielberg] made it from the best possible motives and it was a subject close to his heart," but then going on to say he felt it was "exploitative" of Spielberg to be making a film that dramatized Holocaust-related events at all. Citing a passage in the Talmud, Mamet argued that silence is the only acceptable response to the Holocaust: "It's in the Talmud that you're not supposed to say anything when someone is in mourning. What's there to say?"[42] Film critic Robert Philip Kolker, in his book A Cinema of Loneliness, attacked the film's portrayal of Goeth as "too unrelievedly brutal. He is a psychopath, and psychopathology is too easy a way to dismiss Nazism and its adherents. [...] Ideological elements are so distorted by dreams of power, authority, and manufactured hatred and convictions of necessity, that the majority of a culture gets caught up in the act of killing the demonized other. There were psychotic Germans, to be sure; but Nazism cannot be reduced simply to psychosis. There are scenes in Schindler's List of German officers in a hysterical frenzy of killing that are, perhaps, more accurate than Goeth's unrelenting murderousness, but also bring with them the old Hollywood representations of Nazis as sophisticated gangsters."[43] Hungarian Jewish author Imre Kertsz, a Holocaust survivor, criticized Spielberg for falsifying the experience of the Holocaust in Schindler's List and for showing it as something that is foreign to the human nature and impossible to recur. He also dismissed the film itself, saying "it is obvious that the American Spielberg, who incidentally wasnt

Schindler's List even born until after the war, has and can have no idea of the authentic reality of a Nazi concentration camp... I regard as kitsch any representation of the Holocaust that is incapable of understanding or unwilling to understand the organic connection between our own deformed mode of life (whether in the private sphere or on the level of "civilization" as such) and the very possibility of the Holocaust."[44] In 2004, the Library of Congress deemed the film "culturally significant" and selected it for preservation in the National Film Registry.[45] Schindler's List featured on a number of other "best of" lists, including the Time magazine's Top Hundred as selected by critics Richard Corliss and Richard Schickel, Time Out magazine's 100 Greatest Films Centenary Poll conducted in 1995, Roger Ebert's "Great Movies"' series, and Leonard Maltin's "100 Must See Movies of the Century". In addition, The Vatican named Schindler's List among the top 45 films ever made.[46] The readers of the German film magazine, Cinema, voted Schindler's List #1 the best movie of all time in 2000.[47] In 2002, a Channel 4 poll named Schindler's List the ninth greatest film of all time,[48] and it came fourth in the 2005 war films poll.[49] The film was extremely well received in Israel, where it is aired on public television every year on Holocaust Memorial Day, unedited, uncensored and without commercial breaks. Following the success of the film, Spielberg founded the Survivors of the Shoah Visual History Foundation, a non-profit organization with the goal of providing an archive for the filmed testimony of as many survivors of the Holocaust as possible, to save their stories. He continues to finance that work.[22] Spielberg used the money from the film to finance several related documentaries, including The Lost Children of Berlin (1996), Anne Frank Remembered (1995), and The Last Days (1998).[22]

10

Awards
Academy Award
[50] Award Awarded: Best Picture Steven Spielberg Gerald R. Molen Branko Lustig Steven Spielberg Person

Best Director

Best Adapted Screenplay Steven Zaillian Best Cinematography Best Art Direction Janusz Kamiski Ewa Braun Allan Starski Michael Kahn John Williams

Best Film Editing Best Original Score Nominated: Best Actor Best Supporting Actor Best Costume Design Best Sound

Liam Neeson Ralph Fiennes Anna Biedrzycka Sheppard Andy Nelson Steve Pederson Scott Millan Ron Judkins

Schindler's List

11
Best Makeup Christina Smith Matthew Mungle Judy Alexander Cory

Golden Globe Award

Won Best Motion Picture Drama Best Director Best Screenplay Nominated Best Score Best Supporting Actor - Motion Picture Best Actor - Motion Picture Drama

American Film Institute recognition

1998 AFI's 100 Years... 100 Movies#9[51] 2003 AFI's 100 Years... 100 Heroes and Villains: Oskar Schindler#13 Hero Amon Gth#15 Villain AFI's 100 Years...100 Movie Quotes: "The list is an absolute good. The list is life." - Nominated[52] 2006 AFI's 100 Years... 100 Cheers#3 2007 AFI's 100 Years... 100 Movies (10th Anniversary Edition)#8 2008 AFI's 10 Top 10#3 Epic film

Schindler's List

12

Controversies
According to Slovak filmmaker Juraj Herz, the scene in which a group of women confuse an actual shower with a gas chamber is taken directly, shot by shot, from his Zastihla m noc (1986). Herz says he wanted to sue, but was unable to come up with the money to fund the effort.[53] For the 1997 American television showing of the film, at Spielberg's insistence it aired unedited and nearly uncensored, although the sex scene was mildly edited by removing nearly all of the "thrusting". The film was preceded by a recorded introduction by Spielberg himself, explaining why the film was being aired nearly unedited. The telecast was the first ever to receive a TV-M (now TV-MA) rating under the TV Parental Guidelines that had been established at the beginning of that year. Senator Tom Coburn, then an Oklahoma congressman, said that in airing the film, NBC had brought television "to an all-time low, with full-frontal nudity, violence and profanity", adding that airing the film was an insult to "decent-minded individuals everywhere".[54] Under fire Commemorative plaque from fellow Republicans as well as from Democrats, Coburn apologized for his criticism, saying: "My intentions were good, but I've obviously made an error in judgment in how I've gone about saying what I wanted to say". He said he hadn't reversed his opinion on airing the film, but said it ought to have been aired later at night when there aren't "large numbers of children watching without parental supervision".[55] The film was subsequently rebroadcast a year later on select PBS stations, once again airing unedited and without Spielberg's prologue. Controversy arose in Germany for the film's television premiere on Pro 7. Heavy protests ensued after the station intended to televise the film separated by two commercial breaks. As a compromise, the broadcast finally included one break, consisting of a short news update and selected commercials (no alcohol and no hygiene products).[56] Since then, subsequent broadcasts in German television did not include commercial breaks. In the Philippines chief censor Henrietta Mendez ordered three cuts of Schindler's List, due to its scenes that displayed female nudity and sexual intercourse, before it could be shown. As a result of these proposed cuts Steven Spielberg pulled the film from screening in the Philippines. As a result of Mendez's actions, Philippine senators demanded the abolition of the Philippine censors board. Senate justice committee chairman Raul Roco stated "such narrow-mindedness precisely shows the dangers of censorship." Mendez argued that "the sex act is sacred and beautiful and should be done in the privacy of the bedroom."[57] The song "Yerushalayim Shel Zahav" ("Jerusalem of Gold") is featured in the film's soundtrack and plays during a key moment near the end of the film. This caused some controversy in Israel when the film was released because the song was written in 1967 and is widely known in Israel as a popfolk song. The song was therefore edited out of the Israeli release of the film and replaced by the song Eli, Eli, which was written by the Jewish Hungarian poet Hannah Szenes in World War II and is more appropriate for the time period and subject matter of the film. French New Wave filmmaker Jean-Luc Godard stated that he holds Spielberg partly responsible for the lack of artistic merit in mainstream cinema and accused Spielberg of using his film Schindler's List to make a profit of tragedy while Schindler's wife lived in poverty in Argentina. Spielberg took no profit from the film as he considered

Schindler's List it "blood money".

13

References
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Faber and Faber. pp.42933. ISBN0-571-19177-0. [10] Richard Corliss (1994-02-21). "The Man Behind the Monster" (http:/ / www. time. com/ time/ magazine/ article/ 0,9171,980191,00. html). TIME. . Retrieved 2007-08-08. [11] David Ansen; Abigail Kuflik (20 December 1993). "Spielberg's obsession". 122. Newsweek. pp.11216. [12] Steven Spielberg (2006-11-04). The Culture Show (TV). BBC2. [13] Schindler's List DVD insert [14] "Behind The Scenes: Production Notes" (http:/ / www. schindlerslist. com/ main_loader. html). Official site. . Retrieved 2007-08-08. [15] "The man behind the music of 'Star Wars'" (http:/ / today. msnbc. msn. com/ id/ 7749339/ ns/ today-entertainment/ t/ man-behind-music-star-wars/ ). NBC. May 6, 2005. . Retrieved December 27, 2011. [16] "John Williams, Itzhak Perlman - Schindler's List" (http:/ / www. youtube. com/ watch?v=ueWVV_GnRIA). YouTube. "KlezmorimI". . Retrieved 1/8/12. [17] Susan Goldman Rubin (2001). Steven Spielberg. Harry N. Abrams, Inc.. pp.7374. ISBN0-8109-4492-8. [18] The Girl in the Red Coat (http:/ / books. google. com/ books?id=GvsNg4qvxSgC), accessed 15 May 2009 [19] Andy Patrizio (2004-03-10). "Schindler's List" (http:/ / dvd. ign. com/ articles/ 497/ 497689p1. html). IGN. . Retrieved 2007-08-09. [20] Andre Caron. "Spielberg's Fiery Lights" (http:/ / web. archive. org/ web/ 20070828181821/ http:/ / www. sensesofcinema. com/ contents/ 03/ 27/ spielberg_symposium_films_and_moments. html#caron). Senses of Cinema. Archived from the original (http:/ / www. sensesofcinema. com/ 2003/ 27/ spielberg_symposium_films_and_moments/ ) on 2007-08-28. . Retrieved 2007-08-09. [21] David Anker (director), Steven Spielberg (2005-04-05) (TV). Imaginary Witness: Hollywood and the Holocaust. AMC. [22] Freer, Ian (2001). The Complete Steven Spielberg. Virgin Books. pp.220237. ISBN0-7535-0556-8. [23] "TELEVISION: 'Schindler's' Showing" (http:/ / articles. latimes. com/ 1997-02-25/ entertainment/ ca-32141_1_los-angeles-radio-stations). Los Angeles Times. February 25, 1997. . Retrieved 2 February 2012. [24] "Schindler's List (1993)Laserdisc details" (http:/ / www. imdb. com/ title/ tt0108052/ laserdisc). Internet Movie Database. . Retrieved 2009-01-16. [25] "Schindler's ListCollector's Gift Set DVD" (http:/ / www. filmfreakcentral. net/ dvdreviews/ schindlerslist. htm). Film Freak Central. . Retrieved 2009-01-16. [26] "Schindler's List (1993)" (http:/ / www. amazon. com/ exec/ obidos/ ASIN/ B00012QM9K/ filmfreakcentral). Amazon.com. . Retrieved 2009-01-16. [27] http:/ / www. comingsoon. net/ news/ movienews. php?id=85810 [28] "Schindler's ListAwards and Nominations" (http:/ / movies. yahoo. com/ movie/ 1800205324/ awards). Yahoo! Movies. . Retrieved 2007-08-08. [29] http:/ / books. google. com/ books?id=jf9HBgttTeQC& pg=PA427& lpg=PA427& dq=%22billy+ wilder%22+ %22absolutely+ perfection%22& source=bl& ots=Q0BuV3BrIa& sig=Wi4HBRvkfRDvEWgyawTUG-_3pzA& hl=en& ei=_J5ITrC_CqHD0AGxw6WJCA& sa=X& oi=book_result& ct=result& resnum=1& ved=0CBwQ6AEwAA#v=onepage& q=%22billy%20wilder%22%20%22absolutely%20perfection%22& f=false [30] Angelfire.com (http:/ / www. angelfire. com/ de/ palma/ blog/ index. blog/ 1378661/ tarantino-on-icasualties-of-wari/ ) [31] http:/ / books. google. com/ books?id=Pckg8k3g-PkC& pg=PA167& lpg=PA167& dq=%22that+ film+ challenged+ some+ of+ my+ preconceptions%22& source=bl& ots=myX-mLT6uZ& sig=1YwICWG_tSvjjhPKvN-qeJ_xNJI& hl=en& sa=X& ei=qwtKT63AOYqDtgfQ4sHuAg& ved=0CCEQ6AEwAA#v=onepage& q=%22that%20film%20challenged%20some%20of%20my%20preconceptions%22& f=false [32] John Gross (February 3, 1994). "Hollywood and the Holocaust" (http:/ / www. nybooks. com/ articles/ article-preview?article_id=2334). The New York Review of Books. . Retrieved 13 September 2010. [33] A. Goldmann (August 25, 2005). "Stanley Kubrick's Unrealized Vision" (http:/ / www. jewishjournal. com/ arts/ article/ stanley_kubricks_unrealized_vision_20050826/ ). Jewish Journal.com. . Retrieved February 5, 2012. [34] http:/ / kubrickfilms. tripod. com/ id86. html

Schindler's List
[35] Lanzmann, Claude (February 2004). "Schindler's List is an impossible story" (http:/ / www. phil. uu. nl/ staff/ rob/ 2007/ hum291/ lanzmannschindler. shtml). University College Utrecht. . Retrieved February 5, 2012. [36] Books.google.com (http:/ / books. google. com/ books?id=DbqATVZHvkQC& printsec=frontcover& dq=steven+ spielberg& hl=en& ei=vyjDTbqdEZK2tweP37S9BQ& sa=X& oi=book_result& ct=book-preview-link& resnum=1& ved=0CDsQuwUwAA#v=onepage& q=lanzmann& f=false) [37] Bill Gibron (April 21, 2007). "Short Cuts Forgotten Gems: In Praise of Love" (http:/ / www. popmatters. com/ pm/ blogs/ shortends_post/ 33421/ short-cuts-forgotten-gems-in-praise-of-love-2001). Pop Matters. . Retrieved April 28, 2007. [38] Roger Ebert (October 18, 2002). "In Praise Of Love" (http:/ / rogerebert. suntimes. com/ apps/ pbcs. dll/ article?AID=/ 20021018/ REVIEWS/ 210180306/ 1023). Chicago Sun-Times. . Retrieved April 28, 2007. [39] http:/ / books. google. com/ books?id=vg1Gw6VSK98C& pg=PA265& lpg=PA265& dq=%22searching+ for+ schindler%22+ %22not+ a+ penny%22& source=bl& ots=Dg6TrltJSU& sig=RkeFksEgrI0qvSmwG2tMYk9ZFU0& hl=en& sa=X& ei=7OlTT8X0AY2ftwe7ocGmDQ& ved=0CCQQ6AEwAA#v=onepage& q& f=false [40] http:/ / www. timeout. com/ film/ features/ show-feature/ 9114/ Michael_Haneke_discusses-The_White_Ribbon-. html [41] http:/ / www. oskarschindler. dk/ schindler9a. htm [42] http:/ / www1. salon. com/ feature/ 1997/ 10/ cov_si_24mamet. html [43] Robert Philip Kolker. A Cinema of Loneliness: Penn, Stone, Kubrick, Scorsese, Spielberg, Altman. Third Edition. p. 320. [44] "Holocaust Reflections" (http:/ / www. english. illinois. edu/ maps/ holocaust/ reflections. htm). . [45] "National Film Registry, List of Films 2004" (http:/ / www. decentfilms. com/ sections/ articles/ vaticanfilmlist. html). National Film Registry. . Retrieved 2007-10-28. [46] "The Vatican Film List Ten Years Later" (http:/ / www. decentfilms. com/ sections/ articles/ vaticanfilmlist. html). Decent Films. . Retrieved 2007-10-28. [47] Cinema.de 100 Magische Filmmomente: Die besten Filme aller Zeiten (http:/ / www. cinema. de/ news/ specials/ m/ magicmoments?object_id=434& artobj_id=1447) [48] "100 Greatest Films" (http:/ / www. channel4. com/ film/ newsfeatures/ microsites/ G/ greatest/ results/ zxyzres_01. html). Channel 4. 2008-04-08. . Retrieved 2008-04-08. [49] "100 Greatest War Films" (http:/ / www. channel4. com/ film/ newsfeatures/ microsites/ W/ greatest_warfilms/ results/ 5-1. html). Channel 4. . Retrieved 2008-04-08. [50] "The 66th Academy Awards (1994) Nominees and Winners" (http:/ / www. oscars. org/ awards/ academyawards/ legacy/ ceremony/ 66th-winners. html). oscars.org. . Retrieved 2011-08-04. [51] Hoberman, J (October 26, 2004). "Still a Contender" (http:/ / www. villagevoice. com/ 2004-10-26/ film/ still-a-contender/ ). The Village Voice. . Retrieved February 21, 2009. [52] AFI's 100 Years...100 Movie Quotes Nominees (http:/ / www. afi. com/ Docs/ 100Years/ quotes400. pdf) [53] Ivana Kosulicova (2002-01-07). "Drowning the bad times" (http:/ / www. kinoeye. org/ 02/ 01/ kosulicova01. php). Kinoeye. . Retrieved 2007-08-08. [54] Reason. "The Minority Leader" (http:/ / www. reason. com/ news/ printer/ 120322. html). Reason. . Retrieved 2007-08-08. [55] Associated Press (1997-02-26). "After rebuke, congressman apologizes for 'Schindler's List' remarks" (http:/ / web. archive. org/ web/ 20071011191648/ http:/ / cnn. com/ US/ 9702/ 26/ schindler. debate/ ). CNN. Archived from the original (http:/ / www. cnn. com/ US/ 9702/ 26/ schindler. debate/ ) on 2007-10-11. . Retrieved 2007-08-08. [56] "Article, February 21, 1997 (German)" (http:/ / www. berlinonline. de/ berliner-zeitung/ archiv/ . bin/ dump. fcgi/ 1997/ 0221/ none/ 0068/ index. html). Berliner Zeitung. 1997-02-21. . Retrieved 2010-01-21. [57] "Schindler's List in Philippines" (http:/ / www. cd. sc. ehu. es/ FileRoom/ documents/ Cases/ 46schindListPhil. html). . Retrieved 15 September 2010.

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External links
Schindler's List (http://www.imdb.com/title/tt0108052/) at the Internet Movie Database Schindler's List (http://tcmdb.com/title/title.jsp?stid=89238) at the TCM Movie Database Schindler's List (http://www.allrovi.com/movies/movie/v119912) at AllRovi The Shoah Foundation (http://dornsife.usc.edu/vhi/), founded by Steven Spielberg to videotape and preserve the testimonies of Holocaust survivors and witnesses. Aerial Evidence for Schindlers ListThrough the Lens of HistoryYad Vashem (http://www1.yadvashem. org/yv/en/exhibitions/our_collections/schindlers_list/index.asp?WT.mc_id=wiki) Schindler's List (film) bibliography via UC Berkeley (http://www.lib.berkeley.edu/MRC/spielberg. html#schindler) Voices on Antisemitism Interview with Ralph Fiennes (http://www.ushmm.org/museum/exhibit/focus/ antisemitism/voices/transcript/?content=20100304) from the U.S. Holocaust Memorial Museum

Schindler's List Voices on Antisemitism Interview with Sir Ben Kingsley (http://www.ushmm.org/museum/exhibit/focus/ antisemitism/voices/transcript/?content=20111006) from the U.S. Holocaust Memorial Museum Schindler's List (http://www.rottentomatoes.com/m/schindlers_list/) at Rotten Tomatoes

15

Article Sources and Contributors

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Article Sources and Contributors

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File:Targafabbrica.jpeg Source: http://en.wikipedia.org/w/index.php?title=File:Targafabbrica.jpeg License: Creative Commons Attribution-Sharealike 3.0 Contributors: Ortobagi

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