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A skeptic could argue that Steven Spielberg, known for his successful and uplifting films, has found a glimmer of hope in the most tragic event of the 20th century with his movie, Schindler’s List. Despite the character’s egotism and self-hatred, Spielberg aims to highlight any shred of humanity within this story.
However, do not overlook the darkness portrayed in the film. Even after thirty years, it is still astonishing how Spielberg, who was possibly the only director in Hollywood capable of securing funding for a movie about the Holocaust, chose to depict both grand and casual acts of atrocity with unwavering directness, only slightly softened by Janusz Kamiński’s black-and-white cinematography. Here was a master of misdirection and off-screen space – a man known for withholding the appearance of a killer shark for most of the film – presenting the horrors of the Kraków ghetto and Płaszów concentration camp in their rawest form. We witness Jews being senselessly shot in the streets. We see bodies being humiliated through medical evaluations before being sent to gas chambers. We see parents frantically screaming as their children are taken away in trucks, waving as if they are on a never-ending field trip.
Initially, we see Liam Neeson portraying Oskar Schindler, wearing a silk suit and a small Nazi lapel pin, which allows him to gain access to certain places. The lighting, created by Kamiński, resembles that of Casablanca, with a key light highlighting Schindler’s eyes, which are surrounded by cigarette smoke. Schindler may not be a romantic hero, but he knows how to charm party officials who are easily swayed by lavish dinners and are open to profiting from the war. As the Nazis take over the city and force Jews into ghettos, Schindler takes advantage by using cheap labor for his enamelware factory and giving all the wages to the Germans.
With Schindler providing the “glamour”, the actual business operations are carried out by Itzhak Stern, a Jewish man with strong connections in the city and the authority to deem certain individuals as “essential workers” in order to exploit their vulnerability. It is not until Schindler witnesses the forced relocation of Jews from the ghetto to the Płaszów camp that his conscience begins to shift. Up until that point, his decision to shelter Jewish workers, including Stern, is merely a byproduct of maintaining his profits. However, balancing both objectives requires appeasing figures like Amon Göth, an SS camp leader and ruthless war criminal who takes pleasure in randomly shooting people from his balcony. Göth’s relationship with his Jewish maid, Helen Hirsch, reveals a suppressed affection that he expresses through acts of brutality.
Using Steven Zaillian’s screenplay, which is based on Thomas Keneally’s historical fiction novel “Schindler’s Ark,” director Spielberg expertly portrays Schindler’s realization of the atrocities being committed around him. Through patience and skill, Spielberg shows how even seemingly respectable businessmen can turn a blind eye to these horrors in order to benefit their own interests. Despite feeling shame, Schindler struggles with the idea that his actions may not be enough to truly make him a good man. The film daringly draws parallels between Schindler and Göth, highlighting their contrasting moral compasses. At one point, Schindler tries to manipulate Göth into granting pardons to those he oppresses, but it ultimately fails as bribes continue to be paid.
Although the movie pays tribute to the significant number of 1,100 individuals saved by Schindler, with countless more connected to them, its journey towards redemption does not mean it disregards the lives that were lost. In fact, Spielberg meticulously portrays the progression of the Nazi extermination machine from the ghettos to the construction of Płaszów and the trains leading to Auschwitz-Birkenau. He highlights the everyday bureaucracy and logistics of evil, as well as the ruthless plundering of Jewish property and the systematic humiliation, torture, and murder that ensued. Even a seemingly sentimental moment, such as Schindler noticing a little girl in a red coat, ends with yet another life callously taken away.
Five years later, Spielberg once again used a heart-wrenching approach to depict World War II in Saving Private Ryan. However, in both this film and Schindler’s List, the uplifting aspect serves as a Trojan horse to expose the brutal reality of events such as Operation Overlord and the Holocaust to a wider audience without sugarcoating them. Once Spielberg and Kamiński move away from the cheerful atmosphere of Schindler’s parties, the camera takes on a newsreel-like quality that is reminiscent of Gillo Pontecorvo’s iconic documentary The Battle of Algiers. It aims to present the truth in a straightforward manner and refute anyone who denies or downplays the unfathomable genocide that occurred.
Schindler’s List has its flaws. Spielberg’s masterful ability to manipulate emotions backfires in a disturbing scene where women are forced into a shower for disinfection, fearing they will be gassed, only to have water come out instead. While the movie later depicts another group of women facing a darker fate, the suspense of a “close call” seems distasteful, similar to Indiana Jones escaping danger. Additionally, while Schindler’s guilt over exploiting Jewish labor is evident, his speech about how he could have saved more lives by selling his watch or car feels excessive. A simple scene like the liberation of slaves in Sansho the Bailiff would have been sufficient.
Schindler’s List serves as a strong defense against conspiracy theorists and those who spread anti-Semitic beliefs, as well as individuals who try to erase or distort past atrocities. Spielberg not only received the Best Picture award, along with six other Oscars, for the film, but it was also a huge success at the box office, adding to his already successful year with Jurassic Park. He transformed a dark subject into a must-see film, serving as a powerful reminder of the cruel capabilities of humans. It is a work of art that also serves as a public service.
Source: theguardian.com
