Tag Archives: Maja Ostaszewska

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, as many emotions will undoubtedly envelop any viewer, 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 work deservedly secured the Oscars for Best Picture and Best Director, as well as 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, who have 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 against 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 was a rare instance of humanity in a cold and ugly chapter in 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 documentary from the 1940s.

The film is epic and choreographed with precision and timeliness- some of the best camera work in cinema history as far as successfully creating the perfect solemn and 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, fills the character with empathy and heart.

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 is the man who makes Schindler realize how sickening and inhumane the treatment is.

Fiennes carves the character with such hate that he is believable in the role.

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 by herself- she is 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”, the film depicts the true struggles and catastrophic events occurring 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)

In the Name of-2013

In the Name of-2013

Director Malgorzata Szumowska

Starring Andrzej Chyra

Scott’s Review #1,159

Reviewed July 8, 2021

Grade: B+

In the Name of (2013), not to be confused with In the Name of the Father, a 1993 film starring Daniel Day-Lewis, is a Polish independent LGBTQ+ genre film directed by a female, Malgorzata Szumowska.

I point out the gender only because the subject matter skews heavily towards male homosexuality, which is an interesting one for a female to tackle.

Szumowska does so with gusto, providing wonderful cinematography and quiet dialogue.

She casts her husband, Mateusz Kościukiewicz, in the central role of an outsider who stirs up the sexual feelings of a priest struggling with his long-repressed sexuality.

If you look closely, each character struggles with conflict and self-acceptance in some way, restless and hungry for peace of mind and satisfaction.

We wonder if any of the characters will ever find this.

Andrzej Chyra plays the priest in question. It’s revealed that Adam joined the House of God at age twenty-one to escape issues he wrestled with concerning his sexuality.

He has spent his life running away from his true self.

Now in his forties, he leads a rural parish after being transferred from the lively city of Warsaw, and he’s still tormented by desire.

To make matters even more difficult, he mentors troubled young men with lots of testosterone.

When Adam attempts to help troubled teen Lukasz (Kościukiewicz), long-suppressed feelings begin to surface as the men grow closer. A townsperson catches wind of possible shenanigans, and Adam is transferred yet again to another location.

This has happened before.

But will Adam and Lukasz have a chance at happiness if they play their cards right?

The obvious comparison for In the Name of is Brokeback Mountain (2005), which set the standard and paved the way for many LGBTQ+ films.

All of Adam’s and Lukasz’s dalliances, and their romantic suggestions, are secretive, but nothing is animalistic. Both men are repressed but are at different stages of life.

I can’t say In the Name of hits the mark in this regard because the film is less about a male romance than about the characters being unhappy. It’s not until the end of the film that anything blossoms between Adam and Lukasz.

I wanted more meat between the characters, pun intended, but was left knowing almost nothing about Lukasz specifically.

I also yearned for more backstories from three supporting characters.

Ewa (Maja Ostaszewska), an attractive local woman, flirts with Adam and the coach on occasion and drinks too much, later regretting her actions.

How does she end up in town, and why is she already without a man? Is the coach gay or straight? It is suggested he is gay, but this remains unclear.

Finally, Blondi is a bleached blonde troubled boy played by Tomasz Schuchardt. He beds another boy and senses Adam’s sexuality, filling Blondi with venom.

I wanted to know more about Blondi.

Despite these slight yearnings for more, the film is very good.

Chyra does a terrific job as Adam and easily wins over the audience, who will root for his happiness. In a great scene, the typically reserved Adam explodes with self-deprecating rage during a video call with his sympathetic sister.

He struggles for self-acceptance that many in the LGBTQ+ community can relate to.

I sense that having seen In the Name of when it was originally released in 2013 would have made the experience even more powerful.

By 2021, the cinema world has been saturated with films with similar themes and religious conflict, so it feels common and less original. I’ll never complain about too many LGBTQ+ films being made.

Nonetheless, I thoroughly enjoyed the film and recommend it to anyone seeking a quality character-driven experience.