Feels short at over three hours

Rating: 9/10 (6 April 2014)

Schindler's List is a film that will no doubt forever grace the endless 'Best Movies' lists trumped up by various organisations and movie magazines. It's serious subject matter, black-and-white photography, rousing score and 'directed by Steven Spielberg' tag has cemented it's status as one of the best American movies of all time. But the more hardened movie-goer will more than likely pick holes in it, and tell you that this in fact not even Spielberg's greatest achievement. Which is why, 21 years after it's release, I decided to revisit Schindler's List, and although I would agree that Spielberg has made better (he did make Jaws (1975) after all), this is still a masterful work, a wonderfully mature step-up for the film-maker who had, up to 1993, leaned towards the visual spectacle of David Lean and Howard Hawks.
The Holocaust is now very much a roll-your-eyes focus for a film-maker, easily passed off as a desperate plea for awards and serious recognition, and the Oscar are routinely stacked with movies portraying this appalling historical event. But Spielberg's movie was the first one brave enough to show it for what it was - a sickening, bloody event that humiliated its victims and where the life of a Jew was worth less than the work the Nazi's could squeeze out of them before they were routinely disposed of. Documentaries such as Night and Fog (1955) and Shoah (1985) hit hard, much more so than in this movie, but Schindler's List feels like a documentary come to life, with Janusz Kaminski's cinematography giving the movie a sense of timelessness.
Liam Neeson is Oskar Schindler, a Czechoslovakian opportunist looking to use cheap Jewish labour during World War II to make him enough money to help him retire a very wealthy man. He employs Jewish accountant Itzhak Stern (Ben Kinsley) to hire his workers and run his factory for him, at first making kitchen utensils to be used in the war. After witnessing the liquidation of the Krakow ghetto under the direction of SS- Untersturmfuhrer Amon Goeth (Ralph Fiennes), in which many Jews are massacred, Schindler is profoundly affected. He begins to lavish gifts and bribes upon Goeth in order to protect his workers from being murdered, but as the Germans begin to lose the war, Goeth receives the orders to move the Jews from his camp onto Auschwitz.
Made the same year as his CGI blockbuster Jurassic Park, Schindler's List showed an unseen maturity in Spielberg's work. He had made 'serious' films before, but they were always in the style of classic Hollywood; grand, sweeping epics that were generally homages to better directors. Here, Spielberg is invisible, his hand nowhere to be seen until one of the final scenes. This was film-making closer to Italian neo-realism, with hand-held cameras, bleak cinematography, and a glorious lack of sentimentality. Rather than make you weep into a tissue, he has you looking away from the screen in utter shock. Hundreds of naked Jews are humiliated as decisions are made on their ability to work and Goeth coldly shoots workers with a rifle from his balcony before breakfast. In one of its most famous scenes, a group of women are led into a shower room that may just be a gas chamber. It's one of the most terrifying sequences in recent memory.
Spielberg wisely chose relatively unknown actors to fill the roles. Neeson, now inexplicably an action star, brings a complexity to Schindler as he changes between smug womaniser and Nazi suck-up to a man capable of great kindness and selflessness, and the film isn't afraid to show the darker side of his character. Kingsley, who was known for his Oscar-winning role in Gandhi (1982), is Schindler's consciousness, a constant reminder of the atrocities that were being committed outside of Schindler's comfortable bubble. As Amon Goeth, one of cinema's most memorable villains, Ralph Fiennes steals the film. He is a hypocritical, loathsome psychopath, embodying the sense of self-righteousness of the Nazi power trip. He despises the Jews, and preaches about their extermination, yet falls in love with his servant Helen Hirsch (Embeth Davidtz), only to beat her in his disgust.
Although there are better films out there that focus on World War II or the Holocaust, it is of no surprise that this is still one of Spielberg's most revered films. It is a brave, accomplished film that gives you a sense that this was the film the director was always meant to make. However, he seems unable to resist stamping his recognisable dose of sentimentality at the climax, as Schindler breaks down in front of his workers wishing he did that little bit more. It's an unnecessarily slushy scene, a piece of director self-indulgence in what is damn near a perfect film, that, if anything, lessens the brutal impact of what came before. But this is a staunch reminder of the atrocities that humanity is capable of, and, as all great movies do, feels incredibly short at over three hours.
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