Category Archives: Holocaust

Schindler’s List-1993

Schindler’s List-1993

Director Steven Spielberg

Starring Liam Neeson

Top 250 Films #179

Scott’s Review #775

Reviewed June 19, 2018

Grade: A

Schindler’s List (1993) is a film that is arguably Steven Spielberg’s finest directorial work and Liam Neeson’s finest acting performance.

The film is as disturbing as it is awe-inspiring, and it will undoubtedly envelop viewers in many emotions, most of them dark and dire.

Spielberg’s most personal story centers on the devastating Holocaust of World War II, which will grip and tear audiences to pieces.

The film deservedly won Oscars for Best Picture and Best Director, along with numerous other accolades.

Oskar Schindler (Neeson) is a powerful German businessman who arrives in Krakow, Poland, during the atrocities of World War II, presumably to make his fortune.

Handsome and respected, he is charismatic and feared by the German army, which has forced most of the Polish Jews into the overcrowded ghettos where they await their fates.

Schindler himself is a Nazi, but becomes more humanistic than most and ultimately opposes the Holocaust killings. He establishes a factory and hires a Jewish accountant (Ben Kingsley) to assist.

As he is tremendously affected by the inhumanity he sees throughout the city, he makes arrangements to hire and thus save the lives of over a thousand Polish refugees.

He does so by allowing them to work safely and productively in his factory. The story is reportedly true and is a rare example of humanity in a cold, ugly chapter of world history.

To be clear, Schindler does not start as a hero and is admittedly rather an unlikely one. The man is a businessman, greedy, and undoubtedly flawed. He plans to use the Jews because they are cheap labor and can be used to his advantage.

Because of the very long running time of the film (over three hours), Spielberg slowly depicts Schindler’s complex character growth and eventual determination to save these poor people from the Auschwitz gas chambers.

Spielberg shoots Schindler’s List entirely in black and white with tremendous results.

The camera work adds such ambiance and style to the 1990s film that, throughout, I felt as if I were watching a 1940s documentary.

The film is epic and choreographed with precision and timing, some of the best camera work in cinema history for creating the perfect solemn, dreary mood.

Supporting turns by Ben Kingsley and Ralph Fiennes are notable. In vastly different types of roles, both shine.

As the understandably nervous Jewish accountant for Schindler’s factory, Itzhak Stern is best known for creating the famous “list”. This contains the names of those who would be transferred to the factory and thus have their lives spared.

Kingsley, a brilliant actor, brings empathy and heart to the role.

Conversely, Fiennes plays a dastardly character as Amon Göth, a commander at the concentration camp. Evil and known for taking glee from killings, he is the man instrumental in deciding to exterminate all of the people in the ghetto.

A pivotal character, Göth is important because he makes Schindler realize how sickening and inhumane the treatment is.

Fiennes portrays the character with such hate that he is believable.

One of the most beautiful scenes is aptly named “the girl in red” and is highly symbolic and worthy of analysis.

Oskar watches as prisoners are escorted, presumably to their executions. He notices a three-year-old girl walking alone, clad in a bright red coat.

The coat is Spielberg’s only use of color throughout the entire film.

The scene is incredibly important as the girl stands out, proving that all the Nazi commanders are accepting of her death. In tragic form, Oskar later sees her dead body draped in her red coat.

The scene is sad and powerfully distressing.

Schindler’s List (1993) is an outstanding film that elicits raw emotion in anyone who watches it.

By no means an easy watch and most assuredly “a heavy” one, the film depicts the true struggles and catastrophic events that occurred not all too long ago.

A film for the ages that all must see to appreciate the terror and inhumanity that occurs throughout the world.

Oscar Nominations: 7 wins-Best Picture (won), Best Director-Steven Spielberg (won), Best Actor-Liam Neeson, Best Supporting Actor-Ralph Fiennes, Best Adapted Screenplay (won), Best Original Score (won), Best Sound, Best Art Direction (won), Best Makeup, Best Costume Design, Best Cinematography (won), Best Film Editing (won)

Golden Globe Nominations: 3 wins-Best Picture-Drama (won), Best Director-Steven Spielberg (won), Best Actor-Drama-Liam Neeson, Best Supporting Actor-Ralph Fiennes, Best Screenplay (won), Best Original Score

Son of Saul-2015

Son of Saul-2015

Director László Nemes

Starring Géza Röhrig

Scott’s Review #520

80057661

Reviewed November 16, 2016

Grade: A

Son of Saul, arguably the deserving winner of the 2015 Best Foreign Language Film Oscar, is a grim yet refreshing and inventive look at a subject matter cinema has covered at length.

The topic is a heavy, and calling the film a downer is justified, but there is also something brave and even heartwarming about it, and about the central character’s desire to do something decent in the face of death and hatred.

The film is Hungarian and takes place in 1944 when Saul is a prisoner in a Nazi extermination camp.

He is given various duties, considered a “glorified” prisoner, as he takes valuables from the belongings of those gassed and scrubs the floors after the gassing.

He later must dump the dead bodies into a pit to be incinerated.

One day, after a group of Jews is gassed, a young boy is miraculously still breathing. Soon after being discovered, the boy is suffocated. Convinced the boy is his son, Saul is determined to bury the boy properly for religious purposes.

I was immediately struck by two aspects of Son of Saul that set it apart: the camera work and the coloring.

Saul’s character is immediately shoved in our faces from scene one, letting us see things from his point of view. Extreme close-ups of Hungarian actor Geza Rohrig overwhelm the viewer as suffocation is apparent.

When close-ups aren’t used, the camera follows Saul as he performs his duties without emotion, clearly having done them many times before.

We become Saul and experience activities solely as he sees or hears them. This is understated yet compelling.

Secondly, the film has a rustic, beige palette mixed with sickly greens and yellows, muted almost, which is highly effective given the amount of death involved.

Not glossy, the color scheme conveys a sense of ruin and decay without overwhelming the viewer or leaning into total bleakness. The style is a dusty, smoky variety, nauseating at times.

I found this to set Son of Saul apart from other films with the same subject matter, making it distinctive.

Not a happy film, and it’s not a complete downer that leaves you entirely depressed. Saul’s intention to give his son a decent burial (and it is unclear whether the boy is Saul’s son or is hoped to be) is admirable and a small glimmer of goodness in a world full of evil.

Other prisoners aid Saul in his efforts, showing that their world isn’t without hope.

Still, despite the goodness of some of the prisoners, a couple of scenes are tough to take. Early on, dozens of people are huddled naked in a small room.

They are promised coffee, jobs, and most importantly, hope.

Sadly, the viewer quickly realizes the intention is to exterminate them, though the film wisely doesn’t show it visually. A brilliant distinction in Son of Saul is the contrast between the background sound and what is happening near Saul.

We hear the gasping, the pleading, and the screaming of the victims, while the camera stays on Saul and his stoic reactions.

We realize this is a typical day in his life.

Deserving of its accolades in a year of exceptional foreign-language films, Son of Saul (2015) takes a familiar subject matter and adds new, unique elements.

The film also ends on a cliffhanger involving a second young boy, a clever moment in an already superior film.

Oscar Nominations: 1 win-Best Foreign Language Film (won)

Independent Spirit Award Nominations: 1 win-Best International Film (won)