Respond to these rapid questions in our Schindlers List quiz and we will tell you which Schindlers List character you are. Play it now.
Oskar Schindler would have been a simpler man to understand if he’d been a conventional hero, fighting for his beliefs. His life is a mystery because of his flaws as a drinker, a gambler, a womanizer, motivated by greed, and a desire for high living.
Here is a man who, at the start of World War II, seized his opportunity and fled to Nazi-occupied Poland to establish a factory and hire Jews at starvation pay. He wanted to be a billionaire. By the end of the war, he had put his life in danger, spent his wealth trying to save those Jews, and had spent months defrauding the Nazis with a munitions factory that never turned out a single usable shell.
How come he changed? What transpired for him to change from being a victimizer to a humanitarian? The fact that Steven Spielberg’s movie “Schindler’s List” makes no effort to provide an answer to that query speaks highly of him. Any solution would be too obvious and a disservice to the intrigue surrounding Schindler’s life. Racism and insanity put the Holocaust’s vast evil machine in motion. In his own small area of the war, Schindler outwitted it, but he appears to have had no strategy and instead improvised based on impulses that were still unclear to him. Spielberg handles the reality of the Holocaust and the miracle of Schindler’s List without resorting to the convenient fiction formulas in this film, which is his best to date.
The movie lasts for 184 minutes, but like all excellent films, it seems to end too soon. Liam Neeson’s Schindler, a tall, powerful guy with a commanding physical presence, introduces the story. He wears expensive clothing, frequents nightclubs, and enjoys getting his photo taken with the top brass while purchasing caviar and champagne for Nazi officers and their female companions. He boldly sports a Nazi party insignia in his buttonhole. He is the right person to know because he has excellent connections in the black market and can locate brandy, cigarettes, and nylons. The authorities are delighted to assist him in opening a factory to produce enameled kitchenware for army kitchens. His satisfaction at hiring Jews stems from the fact that their lower pay will make Schindler wealthier.
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Schindler excels at plotting, planning, and conning. He hires Itzhak Stern (Ben Kingsley), a Jewish accountant, to take care of that aspect because he has no experience managing a plant. Stern hires Jews for Schindler as he travels through the streets of Krakow.
A position at the factory may ensure a longer life because it is a protected war industry.
Schindlers List Quiz
Spielberg develops the connection between Schindler and Stern with great nuance. Schindler only wants to earn money at the start of the war and only wants to save “his” Jews at the end. Stern knows this, we know that. But there is never a point where Schindler and Stern are frank about what is occurring, possibly because saying some things out loud could be fatal.
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Throughout the entire movie, Spielberg excels at nuance. The novel by Thomas Keneally served as the inspiration for Steven Zaillian’s screenplay, which is not founded on manufactured melodrama. Instead, Spielberg depends on a number of incidents that are witnessed honestly and without the use of any editing, and it is through these incidents that we learn what little there is to know about Schindler and his plan.
We also see the Holocaust in a vivid and terrible manner. Goeth, a Nazi prison camp commandant played by Ralph Fiennes, is a study in the evil stupidity that Spielberg offers us. He uses the veranda of his “villa,” which overlooks the jail yard, as a target range for shooting Jews. (Schindler is able to talk him out of this custom with an appeal to his vanity so obvious it is almost an insult.) Goeth is one of those feeble hypocrites who supports a principle but disregards it when it comes to themselves; he preaches the extermination of Jews while choosing Helen Hirsch (Embeth Davidtz) to be his maid and developing feelings for her. He does not think it is horrifying that her people are being wiped out, and he spares her out of kindness. In his eyes, what is right or wrong, life or death, is less significant than his own requirements. After studying him, we understand how important it was for people to believe like Jeffrey Dahmer for Nazism to exist.
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Spielberg depicts Schindler coping with the insanity of the Nazi system by filming on many of the actual places where the events in the story occurred (including Schindler’s original factory and even the gates of Auschwitz). He uses coercion, groveling, bluffing, and other methods to avoid detection. When a trainload of his workers is inadvertently diverted to Auschwitz in the film’s most audacious scene, he boldly enters the concentration camp and talks the authorities out of their victims, saving them from certain death and putting them back on the train to his factory.
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The best thing about this movie is how well Spielberg tells his tale. The film features masterful acting, writing, directing, and viewing. The art direction, cinematography, special effects, and crowd control in particular sequences are masterworks. However, Spielberg, a stylist whose movies frequently praised shots meant for us to notice and recall, blends into his creation. The acting skills of Neeson, Kingsley, and the other performers are lacking. The business exhibits an awesome single-mindedness.
The actual people who were saved by Schindler are featured in an intensely moving sequence at the conclusion of the movie. We discover that “Schindler’s Jews” and their descendants today number about 6,000 and that the Jewish population of Poland is 4,000. The lesson here seems to be that Schindler went above and beyond what a whole country would have done to protect its Jews. That would be far too easy. The message of the movie is that one guy took action while others remained helpless in the face of the Holocaust. Maybe it required a Schindler to do what he did—someone mysterious, careless, heedless of risk, a con artist. No sensible man with a rational strategy could have progressed as far.
According to a statement made by the French author Flaubert, he did not like Uncle Tom’s Cabin because it was filled with anti-slavery sermons. Does one need to draw conclusions about enslavement, he questioned. Draw it; that’s all you need to do. “An author in his book must be like God in the universe, present everywhere and invisible everywhere,” he continued. That is how Spielberg, who wrote this movie, might be described. He illustrates the horror of the Holocaust and relates a remarkable tale about how some of its intended victims were taken from it. He accomplishes this without using his trade secrets, the theatrical and directing devices that would usually lead to melodramatic payoffs. Spielberg isn’t present in this movie. But his control and fervor can be seen in each frame.
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