Schindler's List (1993)
Directed by Steven Spielberg
The true story of how businessman Oskar Schindler saved over a thousand Jewish lives from the Nazis while they worked as slaves in his factory during World War II.
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What critics compared Schindler's List to
Here is an endeavor so brutal, so honest and stirring, that it inspires a collective pause akin to what “Schindler’s List” did for the subject of the Holocaust.
While Epps isn't written with much more depth than Django Unchained 's flamboyantly cruel Calvin Candie, Fassbender imbues him with a mercurial mania that's more reminiscent of Ralph Fiennes's Amon Goeth in Schindler's List.
I’m tempted to compare 12 Years a Slave to Schindler’s List, but that would be wrong, because there are far fewer films about slavery than there have been about the Holocaust.
The film, directed by British filmmaker Steve McQueen, has been compared to Schindler’s List, a comparison that, in some ways, does it a disservice.
It's easy to compare McQueen's movie to Spielberg's "Schindler's List" and how it portrayed the Holocaust, but in this case "12 Years a Slave" seems somewhat dangerous in its efforts to stir up a long dormant blemish on our own country's past and one wonders why anyone would want to experience that period in the graphic way it's portrayed here.
The starkness and the realism of “12 Years” even makes films like Steven Spielberg’s exemplary Holocaust drama “Schindler’s List” seem “Hollywood” in comparison.
So be warned: This isn't "Schindler's List" (or even a remake of 1978's "The Inglorious Bastards," which provided little more than title inspiration).
I was reminded of the first time I ever saw Ralph Fiennes, coincidentally also playing a Nazi in Schindler's List.
Inspired by everything from the German cinema of Murnau, Pabst and Josef von Sternberg (Emil Jannings even shows up for the premiere!) to Hogan’s Heroes and (most glaringly) Paul Verhoeven’s fabulous Nazi saga The Black Book, Mr. Tarantino borrows and steals so many clichés from other people’s movies that I’m surprised he didn’t throw in the little girl in the red coat from Schindler’s List.
Who needs bummers like "Schindler's List" and "The Diary of Anne Frank," or even the historically based "Defiance," which featured Jews killing Nazis but was mucked up by all those pesky debates about morality?
Laurent, an unconventional beauty whose performance is aided greatly by the magnificent costume choices by Anna Sheppard (who, not so ironically, has been nominated for Oscars for two other Nazi-themed movies, “Schindler’s List” and “The Pianist’), might disarm Daniel Bruhl’s young war hero with her charm, but this bitch means business when she decides to get her revenge.
Set a melodrama in a concentration camp ( Schindler’s List ), and the result is sentimental kitsch that wins seven Oscars.
And this one ends up being betrayed by its homages to Apocalypse Now (there’s an “Ape-ocalypse Now” scrawled on a dilapidated wall at the midpoint, just in case viewers missed the other references), Schindler’s List , The Great Silence , and other classics; the sum of their ambitions can’t help but cast the formulaic, over-extended wartime prison-break that is War’s third act in an unflattering light.
Cool shout-outs to Schindler’s List though, bro.
Some "Schindler's List."
It’s more Schindler’s List than Hogan’s Heroes.
The Colonel himself stands on the balcony, looking down on the suffering apes just in the way that Ralph Fiennes’ Amon Göth took stock of the prisoners in Schindler’s List.
Spielberg, of course, might be the worst major filmmaker in the world at understanding what makes his own movies work, and I must strenuously disagree with the idea that Schindler's List is the greatest film about the Holocaust (Shoah is certainly better, and so is Night and Fog ), or even the greatest non-documentary (right off the top of my head, The Pianist is clearly more serious about its topic).
The film, in its own way, is as compelling an account of the Holocaust as "Schindler's List."
The holocaust was the worst crime against humanity and a race ever committed; the concept as to the extermination of the Jewish race and it’s allies is simply ridiculous and thus a thought is shown in “The Pianist” a film that rivals every one of the greatest Holocaust films ever made, including the best “Schindler’s List”.
There's never much in Brody's performance to suggest what's going through his mind, so the higher lessons of his story come through only vaguely, and with none of the insight or inspiration of a "Schindler's List."
"The Pianist" will constantly be compared to "Schindler's List," but where that film accentuated its horrors, this one instills them more deeply by presenting their everydayness.
The treatment of history in The Pianist is different from, say, Schindler’s List in a way that I mentioned at the beginning.
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Spielberg approaches this by using a hand held camera to thrust us inside the Warsaw ghetto in Schindler's List, but the strongest Holocaust films generally use the historical period as background: The Pawnbroker; Cabaret ; Sophie's Choice ; Europa, Europa ; The Counterfeiters.
Though not as epic as Schindler's List, this story about the wartime experiences of two children is more haunting and moving than 1997's Life Is Beautiful and is reminiscent of 1987's Au Revoir, Les Enfants, directed by Louis Malle.
Taut, spare and ultimately devastating, this sincere adaptation of John Boyne's novel is Disney's Schindler's List.
Seeing The Passion of the Christ is akin to seeing Schindler’s List or Saving Private Ryan for the first time.
It's as if instead of the wide scope of Schindler's List, Steven Spielberg had decided to make a movie showing a single Jewish prisoner being stripped and sent to the showers.
Waititi is trying to exploit the tension between our suspicion that nothing here is to be taken seriously—including Sam Rockwell and Rebel Wilson, among others, as cartoonish Nazi recruiters tossing off anti-Semitic slurs to their underaged protégé—and our knowledge that the movie is working through some of the most sensitive subject matter imaginable, including horrific incidents and ideologies previously explored in landmark works from The Pawnbroker and Schindler’s List to Night and Fog and Shoah.
Incluso cuando tratan de complejizar paradigmas morales (como Spielberg en Schindler’s List ), las representaciones del nazismo como el mal absoluto no dejan espacio a ningún matiz.
As seemingly improbable as Schindler‘s List with an added laugh track or Wes Anderson’s Moonrise Kingdom subbing in Hitler Youth for Boy Scouts, Taika Waititi’s Jojo Rabbit’s very premise is a bold thought experiment: how do you make modern audiences (notoriously sensitive modern audiences, that is) comfortable laughing at WWII-era Nazism?
That’s not only crass but disingenuous, a feature-length variation of the shower-scene fake-out in “Schindler’s List.”
There’s something about evil that accentuates reactions, either dramatic – Steven Sielberg’s 1993 film “Schindler’s List,” for example – or comedic, as Chaplin, Brooks and now Taita Waititi’s film “Jojo Rabbit” demonstrate.
The Zone of Interest acts as a complimentary piece to the films that are about the suffering of the genocide, such as Steven Spielberg’s Schindler’s List, painting the inhumanity of those whom imprisoned, tortured, and killed, the millions of Jews.
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Scorsese and his “Schindler’s List” screenwriter frame the story with a lonely, elderly mobster, Frank Sheeran, voice-over-narrating from his wheelchair, trying to give meaning or at least importance (thus his extraordinary claims) to his awful life.
Adapted by momentous screenwriter Steve Zaillian (Schindler’s List) from Charles Brandt’s book I Heard You Paint Houses – which featured interviews with the real Sheeran himself – The Irishman weaves through Frank’s cherished friendship with Hoffa, his mobtastic affairs at Russell’s side, as well as the prolific guilt and stalling he exhibits as the two are steadily stitched together.
The story, written by Steven Zallian (“Schindler’s List”) based on a book by Charles Brandt, follows Frank from the 1950s to the 1970s, with flashbacks to his World War II days and a framing story when he is an elderly man in a nursing home recalling his life — seemingly to nobody.
Based on the Charles Brandt’s disputed account “I Heard You Paint Houses” adapted by Oscar-winning Schindler’s List screenwriter Steve Zaillian, The Irishman chronicles the long road of a northeastern Pennsylvania union driver who, to match the vague job description, colors walls with the crimson spray of his gunshot kills.
Scorsese and screenwriter Steven Zaillian (Moneyball, Gangs of New York, Schindler’s List), adapting the book I Hear You Paint Houses by Charles Brandt, trace Sheeran’s involvement in the corruption of American life that eventually spills into the public arena.
Written by San Francisco State graduate Steven Zaillian (“Schindler’s List”), “The Irishman” is based on Charles Brandt’s non-fiction book “I Heard You Paint Houses.”
His overdramatic and redundant themes sound like a parody of his earlier work, ripping off Schindler's List (the main theme is only a few notes different), Star Wars, Indiana Jones, and above all, Hook.