At first glance, presumptuous and lazy, it is difficult to say that the same person who directed Tubarão, ET and the four Indiana Jones, is the same director behind Schindler's List, a classic that returns to the selected cinemas, in a short period of time . It's time to celebrate your 25th birthday. However, a deeper look reveals the reflection and active use of much of the ingenuity that Steven Spielberg, one of the creators of what we now call pop culture, used in the avalanche of blockbusters he ordered, and also applies here. Of course, also in 1993, when the technical revolution that was the first Jurassic Park was launched, it is clear that the biggest box office was the impressive dinosaur movie.
By embracing the theme of the Holocaust, Spielberg is once again a master in manipulating our attention, and now he is committed to the magnificent black and white photograph of Janusz Kamiński to set the tone of his work, one of the greatest, watch now the film and enjoy yourself. First, this issue is not, much less wants to be, "another" holocaust movie. Steven Zaillian's script is epic, and Spielberg works so well in context that it would be almost impossible not to lead to a three-hour epic. It is probably longer than you really need to explore the potential of your issues regarding the survival of the victims of incessant political persecution, but the story is concise in all its narrative glory and its power of impact on the viewer is unquestionable. .
Spielberg is Jewish, he understands this universe and its real dramas presented on the screen and, above all, does his key work here as a filmmaker. The way he directs the program is not impartial, but attractive and brutally elegant. An intact address of someone who always has control and knows what he wants. He doesn't use cheap assumptions as he did in Saving Private Ryan, but he's sensitive enough not to judge Jews or Nazis, leaving us on the other side of the screen to do that, and isn't that what we do? If behind the camera Spielberg proves that he is not just a purely commercial director, what we see through his lenses, in a literal sense, is the clash between Liam Neeson and Ralph Fiennes, two monsters that manage to eclipse everything when they are together.
I could dedicate this paragraph, even one paragraph, to each performance of these two actors underestimated by Hollywood (Neeson only won general recognition with his Ra's Al Ghul, in Batman Begins, and Fiennes when he plays Voldemort, in Harry Potter), but I will just let me Know that, for those who have not yet seen the movie, know that it is an anthological moral shock between Oskar Schindler, who represented hope for the Jews, and Amon Goeth, spokesman for the hegemonic "peace" for the Nazis. While Oskar employed Jews in his factory to let them live, generate jobs and profits at the same time, Amon killed them by sport from the top of his fortress. The design of their characters is as strong as it can be, as much as what they themselves do. Men at their limit, dealing with a sick humanity.
I wouldn't say that Schindler's List is, in fact, the definitive film about the Holocaust; Go and See remains unbeatable decades later. Both use the realism of the fact to surprise, rebel and propose basic reflections, however, Spielberg's work uses good times to overcome other entire films, and is successful. Roman Polanski's pianist, for example, years before his debut had already been summed up in Schindler's List in just one scene, which is simply incredible. In addition, the use of war symbols is astute and adapts precisely to the context that beautiful black and white photography exposes us: it is clear that the technical part could not disappoint, being here, one of the most ingenious and stimulating of the The filmmaker's career.
John Williams is a titan who expresses his grandiloquence in the form of music, and we have the enormous privilege of inhabiting the same planet as him. One of the best composers on the market, a genius who even composed a thriller song with just two notes, did a simple and smooth job here, to really touch the hearts, watch online the movie and see it for yourself. We wonder, then, that many entered the theaters hoping to see something fun and unusual, since we got used to seeing something from Spielberg, and many were disappointed to see a much deeper movie, something historically touching and surprisingly ambiguous about something so morally challenging Something that shows what cinema can be capable of when it pretends to be great.