Sunday, April 08, 2018
Schindler's List, Gilliam, Porter
I watched SCHINDLER'S LIST tonight for what I realized was the first time in 21 years, the last time being when it aired, uncut, on NBC in 1997. I had picked up the DVD recently on a trip to Barnes & Noble, and was interested in revisiting the film as I've re-watched many of Spielberg's films in the past few years. I don't know why it's taken me so long to come back to this one, though. It's undoubtedly one of the strongest works in Spielberg's filmography -- powerful and moving while only very occasionally (near the end of the film) moving toward the kind of manipulative sentimentality that often mars his work. Technically it's brilliant, and in terms of the ideas, certainly one of Spielberg's most sophisticated (and sincere) films.
I remembered that Terry Gilliam had criticized SCHINDLER'S LIST for what he saw as Spielberg's neat and reassuring conclusion to the events of the film, and quoted Stanley Kubrick as saying that SCHINDLER'S LIST “is about success. The Holocaust was about failure”.
Without disputing his point, I'm not sure it's fair to criticize Spielberg for not making the film that Kubrick would have made.
There's also a very powerful visual touch -- the young girl in the red coat seen early on in the film, whose reappearance later on is made all the more visceral by the standalone use of color. This device recalls Edwin S. Porter's use of the hand-colored red coat worn by a little girl in his film, THE GREAT TRAIN ROBBERY, where the selective use of color was also an effective form of visual punctuation.
Posted by Matt Barry at 12:56 AM