The early life and career of Vito Corleone in 1920s New York is portrayed while his son, Michael, expands and tightens his grip on his crime syndicate stretching from Lake Tahoe, Nevada to pre-revolution 1958 Cuba.
Oskar Schindler is a vainglorious and greedy German businessman who becomes an unlikely humanitarian amid the barbaric Nazi reign when he feels compelled to turn his factory into a refuge for Jews. Based on the true story of Oskar Schindler who managed to save about 1100 Jews from being gassed at the Auschwitz concentration camp, it is a testament for the good in all of us. Written by
Harald Mayr <firstname.lastname@example.org>
When Steven Spielberg first showed 'John Williams' a cut of the film, Williams was so moved he had to take a walk outside for several minutes to collect himself. Upon his return, Williams told Spielberg he deserved a better composer. Spielberg replied, "I know, but they're all dead." See more »
When Schindler goes to kiss the Jewish girl, he puts his hands
on her shoulders. In the next shot, he pulls his hands away from her cheeks. See more »
[a Hebrew prayer is chanted, followed by a flashback to 1940s Poland]
See more »
Polish fonts were used in the credits sequence See more »
The most amazing thing about this film is that it was not made to be an epic or an acclaimed film. Spielberg made it as a personal film for himself and other Jews affected by the Holocaust. There is nothing flashy about the film except for Neeson's bravura performance. Spielberg's usual style is invisible, and the cinematography and editing, although excellent, are not shown off to make a spectacle of the film or give it an epic feel. Yet it is still a compulsive, involving, and utterly heart-wrenchingly moving filming of a part of history that should not be forgotten. The screenplay is one of the best ever written: it captures the stories of so many Holocaust survivors but without distracting from the main story at hand. The black and white photography and editing is perfect, and John Williams provides a perfectly subtle but nice music score. The acting is simply brilliant, with Liam Neeson towering as Oskar Schindler, and Ralph Fiennes bringing out the Nazi character Amon Goeth into full flesh. And Ben Kingsley and Embeth Davidtz give off excellent performances too. The film also has a lot to say about absolute power corrupting and spiraling out of control, and such a message of the film can be applied to any time and crisis, not just the Holocaust. This is not just one of the the ten best films ever produced, but it shall remain so for years to come, because its messages in terms of power and racism are applicable in any age.
164 of 295 people found this review helpful.
Was this review helpful to you?