Oskar Schindler is a vainglorious and greedy German businessman who becomes an unlikely humanitarian amid the barbaric German 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 to the good in all of us.Written by
Harald Mayr <firstname.lastname@example.org>
The Set Decorator on this film, who shared the Best Art Direction Academy Award with Allan Starski, is named Ewa Braun. Eva Braun was also the name of Adolf Hitler's mistress. Billy Crystal later said that he regretted not being the host of the Oscars that year because he heard the name on television and wanted to call host Whoopi Goldberg right away and point out the odd coincidence. See more »
In the beginning, when the Germans are setting up the tables to record the names, one German clerk puts down a plastic ink pad. Ink pads of that era were encased in metal. See more »
[a Hebrew prayer is chanted, followed by a flashback to 1940s Poland]
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The theatrical version juxtaposed images from the film of the actors portraying certain identified "Schindler Jews" as each actual person placed a stone on Schindler's grave. The VHS version does not use this device, showing only the actual persons, credited by name. See more »
This is one of the worst films I have ever seen. Only Steven Speilberg could take an astonishing story of courage and determination in the face of hideous oppression and turn it into a poorly made schmaltz-fest like this. Chief in a series of tacky, amateurish filming techniques is the legendary "girl in red coat". Having decided on black and white in an attempt to show that he can be serious about something, the paucity of Spielberg's imagination is clear in that he can think of no other way to make the girl stand out and be recognised - he seems to think that his audience is incapable of recognising, say, a face, and has to hammer home the identity of the girl by presenting her in an entirely different way from everybody else in the film. The monumental cheesiness of the closing scenes with the people saved by Schindler goes way beyond the point of tackiness - just more evidence of Spielberg's extraordinarily sentimental side sabotaging what should have been a meaningful film. On the plus side, most of the acting is superb, but on the whole the film sensationalises the violence and oppression which it should have set out to attack. Oskar Schindler was such an extraordinary man that his remarkable story, which everybody should know, deserved far, far better than this.
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