Schindler's List

Schindler's List is a 1993 American epic historical drama film directed and produced by Steven Spielberg and written by Steven Zaillian. It is based on the historical novel Schindler's Ark (1982) by Thomas Keneally. The film follows Oskar Schindler, a German industrialist who saved more than a thousand mostly Polish–Jewish refugees from the Holocaust by employing them in his factories during World War II. It stars Liam Neeson as Schindler, Ralph Fiennes as SS officer Amon Göth, and Ben Kingsley as Schindler's Jewish accountant Itzhak Stern.

Ideas for a film about the Schindlerjuden (Schindler Jews) were proposed as early as 1963. Poldek Pfefferberg, one of the Schindlerjuden, made it his life's mission to tell Schindler's story. Spielberg became interested when executive Sidney Sheinberg sent him a book review of Schindler's Ark. Universal Pictures bought the rights to the novel, but Spielberg, unsure if he was ready to make a film about the Holocaust, tried to pass the project to several directors before deciding to direct it himself.

Principal photography took place in Kraków, Poland, over 72 days in 1993. Spielberg shot in black and white and approached the film as a documentary. Cinematographer Janusz Kamiński wanted to create a sense of timelessness. John Williams composed the score, and violinist Itzhak Perlman performed the main theme.

Schindler's List premiered on November 30, 1993, in Washington, D.C., and was released on December 15, 1993 in the United States. The film received widespread critical acclaim, particularly for the performances of Neeson and Fiennes, Williams' musical score, Kaminski's cinematography, Zaillian's screenplay, and Spielberg's direction. It was a box office success, earning $322.2 million worldwide on a $22 million budget.

Schindler's List earned multiple accolades, including seven Academy Awards (including Best Picture), seven BAFTAs and three Golden Globes. It is often listed as one of the greatest films ever made,Template:SfnTemplate:SfnTemplate:Sfn the film was deemed "culturally, historically or aesthetically significant" by the Library of Congress in 2004 and selected for preservation in the U.S. National Film Registry. In 2007, the American Film Institute ranked Schindler's List 8th on its list of the 100 greatest American films.<ref>Template:Cite web</ref>

Plot

In German-occupied Kraków during World War II, the Nazis force local Polish Jews into the overcrowded Kraków Ghetto. Oskar Schindler, a German Nazi Party member from Czechoslovakia, arrives in the city, hoping to make his fortune. He bribes Wehrmacht (German armed forces) and SS officials, acquiring a factory to produce enamelware. Schindler hires Itzhak Stern, a Jewish official with contacts among black marketeers and the Jewish business community; he handles administration and helps Schindler arrange financing. Stern ensures that as many Jewish workers as possible were deemed essential to the German war effort to prevent them from being taken by the SS to concentration camps or killed. Meanwhile, Schindler maintains friendly relations with the Nazis and enjoys his new wealth and status as an industrialist.

SS-Untersturmführer (second lieutenant) Amon Göth arrives in Kraków to oversee construction of the Płaszów concentration camp. When the camp is ready, he orders the ghetto liquidated: two thousand Jews are transported to Płaszów, and two thousand others are killed in the streets by the SS. Schindler witnesses the massacre and is profoundly affected. He particularly notices a young girl in a red coat who hides from the Nazis and later sees her body on a wagonload of corpses. Schindler is careful to maintain his friendship with Göth and continues to enjoy SS support, mostly through bribery. Göth brutalizes his Jewish maid, Helen Hirsch, and randomly shoots people from the balcony of his villa; the prisoners are in constant fear for their lives. As time passes, Schindler's focus shifts from making money to trying to save as many lives as possible. To better protect his workers, Schindler bribes Göth into allowing him to build a sub-camp at his factory.

As the Germans begin losing the war, Göth is ordered to ship the remaining Jews at Płaszów to Auschwitz concentration camp. Schindler asks Göth for permission to move his workers to a munitions factory he plans to build in Brünnlitz near his hometown of Zwittau. Göth reluctantly agrees but charges a huge bribe. Schindler and Stern prepare a list of people to be transferred to Brünnlitz instead of Auschwitz. The list eventually includes 1,100 names.

As the Jewish workers are transported by train to Brünnlitz, the women and girls are mistakenly redirected to Auschwitz-Birkenau; Schindler bribes Rudolf Höss, the commandant of Auschwitz, for their release. At the new factory, Schindler forbids the SS guards from entering the production area without permission and encourages the Jews to observe the Sabbath. Over the next seven months, he spends his fortune bribing Nazi officials and buying shell casings from other companies. Due to Schindler's machinations, the factory produces no usable armaments. He runs out of money in 1945, just as Germany surrenders.

As a Nazi Party member and war profiteer, Schindler must flee the advancing Red Army to avoid capture. The SS guards at the factory have been ordered to kill the Jewish workforce, but Schindler persuades them not to do so. Bidding farewell to his workers, he prepares to head west, hoping to surrender to the Americans. The workers give him a signed statement attesting to his role in saving Jewish lives and present him with a ring engraved with a Talmudic paraphrase: "Whoever saves one life saves the world entire". Schindler breaks down in tears, feeling he should have done more, and is comforted by the workers before he and his wife leave in their car. When the Schindlerjuden awaken the next morning, a mounted Soviet officer announces they have been liberated but warns them not to go east because "they hate you there". The Jews then walk into the countryside.

An epilogue reveals that Göth was executed via hanging for crimes against humanity; Schindler and his wife were declared Righteous Among the Nations and a tree was planted in his honor in the Garden of the Righteous Among the Nations. Many of the surviving Schindlerjuden and the actors portraying them visit Schindler's grave and place stones on its marker (a traditional Jewish sign of respect for the dead), after which Liam Neeson lays two roses.

Production

Development

Poldek Pfefferberg, one of the Schindlerjuden, made it his life's mission to tell the story of his savior. Pfefferberg attempted to produce a biopic of Oskar Schindler with Metro-Goldwyn-Mayer (MGM) in 1963, with Howard Koch writing, but the deal fell through.Template:SfnTemplate:Sfn In 1982, Thomas Keneally published his historical novel Schindler's Ark, which he wrote after a chance meeting with Pfefferberg in Los Angeles in 1980.Template:Sfn MCA president Sid Sheinberg sent director Steven Spielberg a New York Times review of the book. Spielberg, astounded by Schindler's story, jokingly asked if it was true. "I was drawn to it because of the paradoxical nature of the character," he said. "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?"Template:Sfn Spielberg expressed enough interest for Universal Pictures to buy the rights to the novel.Template:Sfn At their first meeting in spring 1983, he told Pfefferberg he would start filming in ten years.Template:Sfn In the end credits of the film, Pfefferberg is credited as a consultant under the name Leopold Page.Template:Sfn

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The liquidation of the Kraków Ghetto in March 1943 is the subject of a 15-minute segment of the film.

Spielberg was unsure if he was mature enough to make a film about the Holocaust, and the project remained "on [his] guilty conscience".Template:Sfn Spielberg tried to pass the project to director Roman Polanski, but he refused Spielberg's offer. Polanski's mother was killed at Auschwitz, and he had lived in and survived the Kraków Ghetto.Template:Sfn Polanski eventually directed his own Holocaust drama The Pianist (2002). Spielberg also offered the film to Sydney Pollack 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."Template:Sfn Spielberg offered him the chance to direct the 1991 remake of Cape Fear instead.Template:Sfn Scorsese would later admit in an interview that while he believed his version of the film might've been good, he had no regrets passing it to Spielberg stating that "it would not have been the hit that it became".Template:Sfn Billy Wilder expressed an interest in directing the film as a memorial to his family, most of whom were murdered in the Holocaust.Template:Sfn Brian De Palma also refused an offer to direct.Template:Sfn

Spielberg finally decided to take on the project when he noticed that Holocaust deniers were being given serious consideration by the media. 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.Template:Sfn Sid Sheinberg greenlit the film on condition that Spielberg made Jurassic Park first. Spielberg later said, "He knew that once I had directed Schindler I wouldn't be able to do Jurassic Park."Template:Sfn The picture was assigned a small budget of $22 million, as Holocaust films are not usually profitable.Template:SfnTemplate:Sfn Spielberg forwent a salary for the film, calling it "blood money",Template:Sfn and believed it would fail.Template:Sfn

In 1983, Keneally was hired to adapt his book, and he turned in a 220-page script. His adaptation focused on Schindler's numerous relationships, and Keneally 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.Template:Sfn During his time as director, Scorsese hired Steven Zaillian to write a 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 more focus on the Jews in the story, and he wanted Schindler's transition to be gradual and ambiguous instead of a sudden breakthrough or epiphany. He also extended the ghetto liquidation sequence, as he "felt very strongly that the sequence had to be almost unwatchable."Template:Sfn

Casting

Liam Neeson auditioned as Schindler early on in the film's development. He was cast in December 1992 after Spielberg saw him perform in Anna Christie on Broadway.Template:Sfn 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".Template:Sfn Kevin Costner and Mel Gibson expressed interest in portraying Schindler, but Spielberg preferred to cast the relatively unknown Neeson so that the actor's star quality would not overpower the character.Template:Sfn Neeson felt Schindler enjoyed outsmarting the Nazis, who regarded him as somewhat naïve. "They don't quite take him seriously, and he used that to full effect."Template:Sfn To help him prepare for the role, Spielberg showed Neeson film clips of Time Warner CEO Steve Ross, who had a charisma that Spielberg compared to Schindler's.Template:Sfn He also located a tape of Schindler speaking, which Neeson studied to learn the correct intonations and pitch.Template:Sfn

Fiennes was cast as Amon Göth after Spielberg viewed his performances in A Dangerous Man: Lawrence After Arabia and Emily Brontë'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."Template:Sfn Fiennes put on Template:Convert to play the role. He watched historic newsreels and talked to Holocaust survivors who knew Göth. 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."Template:Sfn Doctors Samuel J. Leistedt and Paul Linkowski of the Université libre de Bruxelles describe Göth's character in the film as a classic psychopath.Template:Sfn Fiennes looked so much like Göth in costume that when Mila Pfefferberg met him, she trembled with fear.Template:Sfn

The character of Itzhak Stern (played by Ben Kingsley) is a composite of the accountant Stern, factory manager Abraham Bankier, and Göth's personal secretary, Mietek Pemper.Template:Sfn The character serves as Schindler's alter ego and conscience.Template:Sfn Dustin Hoffman was offered the role but he refused it.<ref>Template:Cite web</ref><ref>Template:Cite web</ref>

Overall, there are 126 parts with dialogue in the film. Thousands of extras were hired during filming.Template:Sfn Spielberg cast Israeli and Polish actors specially chosen for their Eastern European appearance.Template:Sfn Many of the German actors were reluctant to don the SS uniform, but some of them later thanked Spielberg for the cathartic experience of performing in the film.Template:Sfn Halfway through the shoot, Spielberg conceived the epilogue, where 128 survivors pay their respects at Schindler's grave in Jerusalem. The producers scrambled to find the Schindlerjuden and fly them in to film the scene.Template:Sfn

Filming

Principal photography began on March 1, 1993, in Kraków, Poland, with a planned schedule of 75 days.Template:Sfn The crew shot at or near the actual locations, though the Płaszów camp had to be reconstructed in a nearby abandoned quarry, as modern high rise apartments were visible from the site of the original camp.Template:SfnTemplate:Sfn Interior shots of the enamelware factory in Kraków were filmed at a similar facility in Olkusz, while exterior shots and the scenes on the factory stairs were filmed at the actual factory.Template:Sfn The production received permission from Polish authorities to film on the grounds of the Auschwitz-Birkenau State Museum, but objections to filming within the actual death camp were raised by the World Jewish Congress.<ref name="nytimes">Template:Cite news</ref> To avoid filming inside the actual death camp, the film crew constructed a replica of a portion of the camp just outside the entrance of Birkenau.Template:Sfn

There were some antisemitic incidents. A woman who encountered Fiennes in his Nazi uniform told him: "The Germans were charming people. They didn't kill anybody who didn't deserve it."Template:Sfn Antisemitic symbols were scrawled on billboards near shooting locations,Template:Sfn while Kingsley nearly entered a brawl with an elderly German-speaking businessman who insulted the Israeli actor Michael Schneider.Template:Sfn Nonetheless, Spielberg said 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."Template:Sfn

Shooting Schindler's List was deeply emotional for Spielberg, as the subject matter forced him to confront elements of his childhood, such as the antisemitism he faced. He was surprised that he did not cry while visiting Auschwitz; instead, he found himself filled with outrage. He was one of many crew members who could not force themselves to watch during the shooting of the scene where aging Jews are forced to run naked while being selected by Nazi doctors to go to Auschwitz.Template:Sfn Spielberg commented that he felt more like a reporter than a film maker – he would set up scenes and then watch events unfold, almost as though he were witnessing them rather than creating a film.Template:Sfn Several actresses broke down when filming the shower scene, including one who was born in a concentration camp.Template:Sfn Spielberg, his wife Kate Capshaw, and their five children rented a house in suburban Kraków for the duration of filming.Template:Sfn He later thanked his wife "for rescuing me ninety-two days in a row ... when things just got too unbearable".Template:Sfn Robin Williams called Spielberg to cheer him up, given the profound lack of humor on the set.Template:Sfn

Spielberg spent several hours each evening editing Jurassic Park, which was scheduled to premiere in June 1993.Template:Sfn

Spielberg occasionally used German and Polish language dialogue to create a sense of realism. He initially considered making the film entirely in those languages, but decided "there's too much safety in reading Template:Interp. It would have been an excuse Template:Interp to take their eyes off the screen and watch something else."Template:Sfn

Cinematography

Influenced by the 1985 documentary film Shoah, Spielberg decided not to plan the film with storyboards, and to shoot it like a documentary. Forty percent of the film was shot with handheld cameras, and the modest budget meant the film was shot quickly over seventy-two days.Template:Sfn Spielberg felt that this gave the film "a spontaneity, an edge, and it also serves the subject."Template:Sfn He filmed without using Steadicams, elevated shots, or zoom lenses, "everything that for me might be considered a safety net."Template:Sfn 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.Template:Sfn

Spielberg decided to use black and white to match the feel of documentary footage of the era. Cinematographer Janusz Kamiński compared the effect to German Expressionism and Italian neorealism.Template:Sfn Kamiński said that he wanted to give the impression of timelessness to the film, so the audience would "not have a sense of when it was made".Template:Sfn Universal chairman Tom Pollock asked him to shoot the film on a color negative, to allow color VHS copies of the film to later be sold, but Spielberg did not want to accidentally "beautify events".Template:Sfn However, scenes with the girl in the red coat were shot in color, and later rotoscoped over by hand to remove all color except for the coat.<ref>Template:Citation</ref>

Music

Template:Main John Williams, who frequently collaborates with Spielberg, 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 responded, "I know. But they're all dead!"Template:Sfn Itzhak Perlman performs the theme on the violin.Template:Sfn

In the scene where the ghetto is being liquidated by the Nazis, the folk song Oyfn Pripetshik (Template:Langx, 'On the Cooking Stove') is sung by a children's choir. The song was often sung by Spielberg's grandmother, Becky, to her grandchildren.Template:Sfn The clarinet solos heard in the film were recorded by Klezmer virtuoso Giora Feidman.Template:Sfn Williams won an Academy Award for Best Original Score for Schindler's List, his fifth win.Template:Sfn Selections from the score were released on a soundtrack album.Template:Sfn

Themes and symbolism

The film explores the theme of good and evil, using as its main protagonist a "good German", a popular characterization in American cinema.Template:SfnTemplate:Sfn While Göth is portrayed as an almost completely dark and evil person, Schindler gradually evolves from Nazi supporter to rescuer and hero.Template:Sfn Thus a second theme of redemption is introduced as Schindler, a disreputable schemer on the edges of respectability, becomes a father figure responsible for saving the lives of more than a thousand people.Template:SfnTemplate:Sfn

The girl in red

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Schindler sees a girl in red during the liquidation of the Kraków ghetto. The red coat is one of the few instances of color used in this predominantly black and white film.

While the film is shot primarily in black and white, a red coat is used to distinguish a little girl in the scene depicting the liquidation of the Kraków ghetto. Later in the film, Schindler sees her exhumed dead body, recognizable only by the red coat she is still wearing. Spielberg said the scene was intended to symbolize how members of the highest levels of government in the United States knew the Holocaust was occurring, yet did nothing to stop it. He said: "It was as obvious as a little girl wearing a red coat, walking down the street, and yet nothing was done to bomb the German rail lines. Nothing was being done to slow down ... the annihilation of European Jewry. So that was my message in letting that scene be in color."Template:Sfn Andy Patrizio of IGN notes that the point at which Schindler sees the girl's dead body is the point at which he changes, no longer seeing "the ash and soot of burning corpses piling up on his car as just an annoyance".Template:Sfn Professor André H. Caron of the Université de Montréal wonders if the red symbolizes "innocence, hope or the red blood of the Jewish people being sacrificed in the horror of the Holocaust".Template:Sfn

The girl was portrayed by Oliwia Dąbrowska, three years old at the time of filming. Spielberg asked Dąbrowska not to watch the film until she was eighteen, but she watched it when she was eleven, and says she was "horrified".Template:Sfn Upon seeing the film again as an adult, she was proud of the role she played.Template:Sfn Roma Ligocka, who says she was known in the Kraków Ghetto for her red coat, feels the character might have been based on her. 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).Template:Sfn Alternatively, according to her relatives who were interviewed in 2014, the girl may have been inspired by Kraków resident Genya Gitel Chil.Template:Sfn

Candles

The opening scene features a family observing Shabbat. Spielberg said that "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".Template:Sfn When the color fades out in the film's opening moments, it gives way to a world in which smoke comes to symbolize bodies being burnt at Auschwitz. Only at the end, when Schindler allows his workers to hold Shabbat services, do the images of candle fire regain their warmth through color. For Spielberg, they represent "just a glint of color, and a glimmer of hope."Template:Sfn Sara Horowitz, director of the Koschitzky Centre for Jewish Studies at York University, sees the candles as a symbol for the Jews of Europe, killed and then burned in the crematoria. The two scenes bracket the Nazi era, marking its beginning and end.Template:Sfn She points out that normally, the woman of the house lights the Sabbath candles. In the film, it is men who perform this ritual, demonstrating not only the subservient role of women, but also the subservient position of Jewish men in relation to Aryan men, especially Göth and Schindler.Template:Sfn

Other symbolism

To Spielberg, the black and white presentation of the film came to represent the Holocaust itself: "The Holocaust was life without light. For me the symbol of life is color. That's why a film about the Holocaust has to be in black-and-white."Template:Sfn Robert Gellately notes the film in its entirety can be seen as a metaphor for the Holocaust, with early sporadic violence increasing into a crescendo of death and destruction. He also notes a parallel between the situation of the Jews in the film and the debate in Nazi Germany between making use of the Jews for slave labor or exterminating them outright.Template:Sfn Water is seen as giving deliverance by Alan Mintz, Holocaust Studies professor at the Jewish Theological Seminary of America in New York. He notes its presence in the scene where Schindler arranges for a Holocaust train loaded with victims awaiting transport to be hosed down, and the scene in Auschwitz, where the women are given an actual shower instead of receiving the expected gassing.Template:Sfn

Release

Schindler's List opened in theaters on December 15, 1993, in the United States and December 25 in Canada. Its premiere in Germany was on March 1, 1994.Template:Sfn Its American network television premiere was on NBC on February 23, 1997. Shown uncut and without commercials, it ranked No. 3 for the week with a 20.9/31 rating/share,Template:Sfn the highest Nielsen rating for any film since NBC's broadcast of Jurassic Park in May 1995. The film aired on public television in Israel on Holocaust Memorial Day in 1998.Template:Sfn

The film was released in a THX widescreen VHS format on September 9, 1997.<ref>Template:Cite news Template:Open access</ref> The DVD was released on March 9, 2004, in widescreen and full screen editions, on a double-sided disc with the feature film beginning on side A and continuing on side B. Special features include a documentary introduced by Spielberg.Template:Sfn Also released for both formats was a limited edition gift set, which included the widescreen version of the film, Keneally's 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.Template:Sfn The laserdisc gift set was a limited edition that included the soundtrack, the original novel, and an exclusive photo booklet.Template:Sfn As part of its 20th anniversary, the film was released on Blu-ray Disc on March 5, 2013.Template:Sfn The film was digitally remastered in 4K, Dolby Vision and Atmos and was reissued into theaters on December 7, 2018, for its 25th anniversary.<ref>Template:Cite magazine</ref> The film was released on Ultra HD Blu-ray on December 18, 2018.<ref>Template:Citation</ref>

Following the success of the film, Spielberg founded the Survivors of the Shoah Visual History Foundation, a nonprofit 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.Template:Sfn Spielberg used proceeds from the film to finance several related documentaries, including Anne Frank Remembered (1995), The Lost Children of Berlin (1996), and The Last Days (1998).Template:Sfn

Reception

Critical response

File:Steven Spielberg by Gage Skidmore.jpg

Steven Spielberg won his first Academy Awards for Best Picture and Best Director with Schindler's List.

Schindler's List received acclaim from both film critics and audiences, with Americans such as talk show host Oprah Winfrey and President Bill Clinton urging others to see it.Template:SfnTemplate:Sfn World leaders in many countries saw the film, and some met personally with Spielberg.Template:SfnTemplate:Sfn On Rotten Tomatoes, the film has received an approval rating of 98% based on 137 reviews, with an average rating of 9.20/10. The website's critical consensus reads, "Schindler's List blends the abject horror of the Holocaust with Steven Spielberg's signature tender humanism to create the director's dramatic masterpiece."<ref>Template:Cite web</ref> Metacritic gave the film a weighted average score of 95 out of 100, based on 30 critics.<ref>Template:Cite web</ref> Audiences polled by CinemaScore gave the film a rare average grade of "A+" on an A+ to F scale.<ref>Template:Cite web</ref>

Stephen Schiff of The New Yorker called it the best historical drama about the Holocaust, a film that "will take its place in cultural history and remain there."Template:Sfn Roger Ebert of the Chicago Sun-Times gave the film four stars out of four and described it as Spielberg's best, "brilliantly acted, written, directed, and seen."Template:Sfn Ebert and Gene Siskel named it the best film of 1993.Template:Sfn Terrence Rafferty, also with The New Yorker, admired the film's "narrative boldness, visual audacity, and emotional directness." He noted the performances of Neeson, Fiennes, Kingsley, and Davidtz as warranting special praise,Template:Sfn and calls the scene in the shower at Auschwitz "the most terrifying sequence ever filmed."Template:Sfn In the 2013 edition of his Movie and Video Guide, Leonard Maltin awarded the picture a four-out-of-four-star rating; he described the film as a "staggering adaptation of Thomas Keneally's best-seller ... with such frenzied pacing that it looks and feels like nothing Hollywood has ever made before ... Spielberg's most intense and personal film to date".Template:Sfn James Verniere of the Boston Herald noted the film's restraint and lack of sensationalism, and called it a "major addition to the body of work about the Holocaust."Template:Sfn In his review for The New York Review of Books, British critic John Gross said his misgivings that the story would be overly sentimentalized "were altogether misplaced. Spielberg shows a firm moral and emotional grasp of his material. The film is an outstanding achievement."Template:Sfn Mintz notes that even the film's harshest critics admire the "visual brilliance" of the fifteen-minute segment depicting the liquidation of the Kraków ghetto. He describes the sequence as "realistic" and "stunning".Template:Sfn He points out that the film has done much to increase Holocaust remembrance and awareness as the remaining survivors pass away, severing the last living links with the catastrophe.Template:Sfn The film's release in Germany led to widespread discussion about why most Germans did not do more to help.Template:Sfn

Criticism of the film also appeared, mostly from academia rather than the popular press.Template:Sfn Sara Horowitz points out that much of the Jewish activity seen in the ghetto consists of financial transactions such as lending money, trading on the black market, or hiding wealth, thus perpetuating a stereotypical view of Jewish life.Template:Sfn Horowitz notes that while the depiction of women in the film accurately reflects Nazi ideology, the low status of women and the link between violence and sexuality is not explored further.Template:Sfn History professor Omer Bartov of Brown University notes that the physically large and strongly drawn characters of Schindler and Göth overshadow the Jewish victims, who are depicted as small, scurrying, and frightened – a mere backdrop to the struggle of good versus evil.Template:Sfn

Horowitz points out that the film's dichotomy of absolute good versus absolute evil glosses over the fact that most Holocaust perpetrators were ordinary people; the film does not explore how the average German rationalized their knowledge of or participation in the Holocaust.Template:Sfn Author Jason Epstein commented that the film gives the false impression that if people were smart enough or lucky enough, they could survive the Holocaust.Template:Sfn Spielberg responded to criticism that Schindler's breakdown as he says farewell is too maudlin and even out of character by pointing out that the scene is needed to drive home the sense of loss and to allow the viewer an opportunity to mourn alongside the characters on the screen.Template:Sfn

Bartov wrote that the "positively repulsive kitsch of the last two scenes seriously undermines much of the film's previous merits". He describes the humanization of Schindler as "banal", and is critical of what he describes as the "Zionist closure" set to the song "Jerusalem of Gold".Template:Sfn

Assessment by other filmmakers

Schindler's List was very well received by many of Spielberg's peers. Filmmaker Billy Wilder wrote to Spielberg saying, "They couldn't have gotten a better man. This movie is absolutely perfection."Template:Sfn Polanski, who turned down the chance 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."Template:Sfn He cited Schindler's List as an influence on his 1994 film Death and the Maiden.Template:Sfn Martin Scorsese, who passed the film back to Spielberg and stated his version had different ideas from the final film including a different ending, would later comment "I admired the film greatly."Template:Sfn The success of Schindler's List led filmmaker Stanley Kubrick to abandon his own Holocaust project, Aryan Papers, which would have been about a Jewish boy and his aunt who survive the war by sneaking through Poland while pretending to be Catholic.Template:Sfn According to scriptwriter Frederic Raphael, when he suggested to Kubrick that Schindler's List was a good representation of the Holocaust, Kubrick commented, "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."Template:SfnTemplate:Efn

Filmmaker Jean-Luc Godard accused Spielberg of using the film to make a profit out of a tragedy while Schindler's wife, Emilie Schindler, lived in poverty in Argentina.Template:Sfn Keneally disputed claims that she was never paid for her contributions, "not least because I had recently sent Emilie a check myself."Template:Sfn He also confirmed with Spielberg's office that payment had been sent from there.Template:Sfn Filmmaker Michael Haneke criticized the sequence in which Schindler's women are accidentally sent off to Auschwitz and herded into showers: "There's a scene in that film when we don't know if there's 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. It's not an appropriate use of the form. Spielberg meant well – but it was dumb."Template:Sfn

Claude Lanzmann, the director of the nine-hour Holocaust documentary Shoah (1985), called Schindler's List a "kitschy melodrama" and a "deformation" of historical truth. "Fiction is a transgression, I am deeply convinced that there is a ban on depiction [of the Holocaust]", he said. Lanzmann also criticized Spielberg for viewing the Holocaust through the eyes of a German, saying "it is the world in reverse". He said: "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."Template:Sfn

Reaction of the Jewish community

At a 1994 Village Voice symposium about the film, historian Annette Insdorf described how her mother, a survivor of three concentration camps, felt gratitude that the Holocaust story was finally being told in a major film that would be widely viewed.Template:Sfn Hungarian Jewish author Imre Kertész, a Holocaust survivor, feels it is impossible for life in a Nazi concentration camp to be accurately portrayed by anyone who did not experience it first-hand. While commending Spielberg for bringing the story to a wide audience, he found the film's final scene at the graveyard neglected the terrible after-effects of the experience on the survivors and implied that they came through emotionally unscathed.Template:Sfn Rabbi Uri D. Herscher found the film an "appealing" and "uplifting" demonstration of humanitarianism.Template:Sfn Norbert Friedman noted that, like many Holocaust survivors, he reacted with a feeling of solidarity towards Spielberg of a sort normally reserved for other survivors.Template:Sfn Albert L. Lewis, Spielberg's childhood rabbi and teacher, described the film as "Steven's gift to his mother, to his people, and in a sense to himself. Now he is a full human being."Template:Sfn

Box office

The film grossed $96.1 million ($Template:Formatprice in Template:Inflation-year dollars)Template:Inflation-fn in the United States and Canada and over $321.2 million worldwide.Template:Sfn In Germany, the film was viewed by over 100,000 people in its first week alone from 48 screensTemplate:Sfn<ref>Template:Cite magazine</ref> and was eventually shown in 500 theaters (including 80 paid for by municipal authorities),<ref>Template:Cite magazine</ref> with a total of six million admissions and a gross of $38 million.Template:SfnTemplate:Sfn<ref>Template:Cite magazine</ref> Its 25th anniversary showings grossed $551,000 in 1,029 theaters.<ref>Template:Cite web</ref>

Accolades

Spielberg won the Directors Guild of America Award for Outstanding Directing – Feature Film for his work,Template:Sfn and shared the Producers Guild of America Award for Best Theatrical Motion Picture with co-producers Branko Lustig and Gerald R. Molen.Template:Sfn Steven Zaillian won the Writers Guild of America Award for Best Adapted Screenplay.Template:Sfn The film also won the National Board of Review for Best Film, along with the National Society of Film Critics for Best Film, Best Director, Best Supporting Actor, and Best Cinematography. Awards from the New York Film Critics Circle were also won for Best Film, Best Supporting Actor, and Best Cinematographer. The Los Angeles Film Critics Association awarded the film for Best Film, Best Cinematography (tied with The Piano), and Best Production Design.Template:SfnTemplate:SfnTemplate:Sfn The film also won numerous other awards and nominations worldwide.Template:Sfn

Major awards

Category	Subject	Result
Academy AwardsTemplate:Sfn
Best Picture	Template:Plainlist	Template:Won
Best Director	Steven Spielberg	Template:Won
Best Adapted Screenplay	Steven Zaillian	Template:Won
Best Original Score	John Williams	Template:WonTemplate:Efn
Best Film Editing	Michael Kahn	Template:Won
Best Cinematography	Janusz Kamiński	Template:Won
Best Art Direction	Template:Plainlist	Template:Won
Best Actor	Liam Neeson	Template:Nom
Best Supporting Actor	Ralph Fiennes	Template:Nom
Best Makeup	Template:Plainlist	Template:Nom
Best Sound	Template:Plainlist	Template:Nom
Best Costume Design	Anna B. Sheppard	Template:Nom
ACE Eddie AwardTemplate:Sfn
Best Edited Feature Film	Michael Kahn	Template:Won
BAFTA AwardsTemplate:Sfn
Best Film	Template:Plainlist	Template:Won
Best Direction	Steven Spielberg	Template:Won
Best Supporting Actor	Ralph Fiennes	Template:Won
Best Adapted Screenplay	Steven Zaillian	Template:Won
Best Music	John Williams	Template:Won
Best Editing	Michael Kahn	Template:Won
Best Cinematography	Janusz Kamiński	Template:Won
Best Supporting Actor	Ben Kingsley	Template:Nom
Best Actor	Liam Neeson	Template:Nom
Best Makeup and Hair	Template:Plainlist	Template:Nom
Best Production Design	Allan Starski	Template:Nom
Best Costume Design	Anna B. Sheppard	Template:Nom
Best Sound	Template:Plainlist	Template:Nom
Chicago Film Critics Association AwardsTemplate:Sfn
Best Film	Template:Plainlist	Template:Won
Best Director	Steven Spielberg	Template:Won
Best Screenplay	Steven Zaillian	Template:Won
Best Cinematography	Janusz Kamiński	Template:Won
Best Actor	Liam Neeson	Template:Won
Best Supporting Actor	Ralph Fiennes	Template:Won
Golden Globe AwardsTemplate:Sfn
Best Motion Picture – Drama	Template:Plainlist	Template:Won
Best Director	Steven Spielberg	Template:Won
Best Screenplay	Steven Zaillian	Template:Won
Best Actor – Motion Picture Drama	Liam Neeson	Template:Nom
Best Supporting Actor – Motion Picture	Ralph Fiennes	Template:Nom
Best Original Score	John Williams	Template:Nom

American Film Institute recognition

Year	List	Result
1998	AFI's 100 Years ... 100 Movies	#9Template:Sfn
2003	AFI's 100 Years ... 100 Heroes and Villains	Oskar Schindler – #13 hero; Amon Göth – #15 villainTemplate:Sfn
2006	AFI's 100 Years ... 100 Cheers	#3Template:Sfn
2007	AFI's 100 Years ... 100 Movies (10th Anniversary Edition)	#8Template:Sfn
2008	AFI's 10 Top 10	#3 epic filmTemplate:Sfn

Controversies

File:Commemorative plaque Schindler's Emalia Factory in Krakow.JPG

Commemorative plaque at Emalia, Schindler's factory in Kraków

In Malaysia, the film was initially banned.Template:Sfn The Film Censorship Board of Malaysia wrote to the film's distributor, saying:

The Prime Minister of Malaysia at the time, Mahathir Mohamad, said that Malaysians "have the right to ban any movie". He went on to say, "I'm not antisemitic... I'm anti-Zionist expansion (and) the conquest of Arab territories by Zionists".Template:Sfn

The film was also banned in Indonesia, where the Committee for World Muslim Solidarity described it as "nothing but Zionist propaganda."<ref>Template:Cite web</ref>

In the Philippines, chief censor Henrietta Mendez ordered cuts of three scenes depicting sexual intercourse and female nudity before the film could be shown in cinemas. Spielberg refused, and pulled the film from screening in Philippine cinemas, which prompted the Senate to demand the abolition of the censorship board. President Fidel V. Ramos himself intervened, ruling that the film could be shown uncut to anyone over the age of 15.Template:Sfn

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 film Zastihla mě noc (The Night Overtakes Me, 1986). Herz wanted to sue, but was unable to fund the case.Template:Sfn

The song "Yerushalayim Shel ZahavTemplate:-" ("Jerusalem of Gold") is featured in the film's soundtrack and plays near the end of the film. This caused some controversy in Israel, as the song (which was written in 1967 by Naomi Shemer) is widely considered an informal anthem of the Israeli victory in the Six-Day War. In Israeli prints of the film, the song was replaced with "Halikha LeKesariyaTemplate:-" ("A Walk to Caesarea") by Hannah Szenes, a World War II resistance fighter.Template:Sfn

For the 1997 American television showing, the film was broadcast virtually unedited. The telecast was the first to receive a TV-M (now TV-MA) rating under the TV Parental Guidelines that had been established earlier that year.Template:Sfn 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 it was an insult to "decent-minded individuals everywhere".Template:Sfn Under fire from both Republicans and Democrats, Coburn apologized, 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 clarified his opinion, stating that the film ought to have been aired later at night when there would not be "large numbers of children watching without parental supervision".Template:Sfn

Controversy arose in Germany for the film's television premiere on ProSieben. Protests among the Jewish community ensued when the station intended to televise it with two commercial breaks of 3–4 minutes each. Ignatz Bubis, head of the Central Council of Jews in Germany, said: "It is problematic to interrupt such a movie by commercials".Template:Sfn Jerzy Kanal, chairman of the Jewish Community of Berlin, added "It is obvious that the film could have a greater impact [on society] when broadcast unimpeded by commercials. The station has to do everything possible to broadcast the film without interruption."Template:Sfn As a compromise, the broadcast included one break consisting of a short news update framed with commercials. ProSieben was also obliged to broadcast two accompanying documentaries to the film, showing "The daily lives of the Jews in Hebron and New York" prior to broadcast and "The survivors of the Holocaust" afterwards.Template:Sfn

Legacy

Schindler's List featured on a number of "best of" lists, including the TIME magazine's Top Hundred as selected by critics Richard Corliss and Richard Schickel,Template:Sfn Time Out magazine's 100 Greatest Films Centenary Poll conducted in 1995,Template:Sfn and Leonard Maltin's "100 Must See Movies of the Century".Template:Sfn The Vatican included Schindler's List in its list of 45 important films – the latest-released entry to make the list.Template:Sfn A Channel 4 poll named Schindler's List the ninth greatest film of all time,Template:Sfn and it ranked fourth in their 2005 war films poll.Template:Sfn The film was named the best of 1993 by critics such as James Berardinelli,Template:Sfn Roger Ebert,Template:Sfn and Gene Siskel.Template:Sfn Deeming the film "culturally, historically or aesthetically significant", the Library of Congress selected it for preservation in the National Film Registry in 2004.Template:Sfn The film was shown at the Berlinale Film Festival in February 2023, at which Spielberg received an honorary Golden Bear award.<ref>Template:Cite news</ref>

Due to the increased interest in Kraków created by the film, the city bought Oskar Schindler's Enamel Factory in 2007 to create a permanent exhibition about the German occupation of the city from 1939 to 1945. The museum opened in June 2010.Template:Sfn

See also

• 1993 in film
• List of Holocaust films

General sources

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External links

• Schindler's List essay by Jay Carr at National Film Registry
• Template:IMDb title
• Template:AFI film
• Template:TCMDb title
• Template:Mojo title
• Template:Rotten Tomatoes
• Template:Metacritic film
• The Shoah Foundation, founded by Steven Spielberg, preserves the testimonies of Holocaust survivors and witnesses
• Through the Lens of History: Aerial Evidence for Schindler's List at Yad Vashem
• Voices on Antisemitism Interview with Ralph Fiennes from the United States Holocaust Memorial Museum
• Voices on Antisemitism interview with Sir Ben Kingsley from the United States Holocaust Memorial Museum
• Template:Cite news