Steven Spielberg
Schindler's List

It is certainly a great responsibility to review in a page or a little more this impressive and vivid historical-social fresco directed by the ingenious, practical, and precise mentality of director Steven Spielberg. I must say that I am not a film critic at all, just a guy whose soul has been deeply touched by the emotional power of this film.

Poland, during the Second World War. The SS confine the Jews in a single ghetto divided into two zones, one of which is inhabited only by the elderly. The Germans are in need of labor to exploit and then kill.

Meanwhile, the focus shifts to the seemingly harsh and bad figure of German entrepreneur Oskar Schindler, a man who arrived in Poland with the desire to take over a failed pots and pans factory, closed by a Jew, and bring it back to its former profitable glory. He meets that sweet, meek, and shy man who will inevitably become his physical conscience: the Jew Isaak Stern, who suggests that he hire only Jewish workers, naturally with the aim of saving them from the terrible death that the Nazis would reserve for them. Oskar doesn’t need to be told twice, his intentions are purely for profit for now, he is not yet aware of the danger facing the Jewish race; they are about to die because of their origin. And indeed the massacres begin. Impressive scenes: blood slowly staining the snow red; heads bursting under the fury of a barrage of bullets like balloons pricked by violent needles; the total cremation near a great mass of fire, which will send the cremated ashes of thousands of innocent men aloft (toward the good God probably), a bit like when grass is burned in the countryside and the wind sends little black strips to every house that crumble in your hand, dirtying it all.

And Oskar?

Finally, he wakes up, understands the gravity of the situation but must play his cards right with the ruthless Nazi officer Goethe. Thus, he hires all the Jews who survive the extermination using the excellent excuse of money. He manages to complete his work just in time. And the survivors, of course, would thank him endlessly if it weren't for the fact that he has to leave for another country. Before leaving, however, he receives a letter from his workers praising him masterfully, and he, in a scene of deep emotion, breaks down and cries desperately. A little later comes the gesture symbolizing the deep brotherhood between him and them: he is dressed as a Jew and thus leaves, making himself unreachable. Goethe meets his rightful end at the Nuremberg Trials, which denounce the Jewish Holocaust: a sturdy rope is fastened around his neck and the chair that previously supported him is broken, leaving him hanging with the terrible experience of feeling his trachea tightening, quickly, so as to emit oppressed, occluded sounds.

Until this moment, the scenes have been shot in a risky but bold black and white (except for the initial prayer of the Jewish family and the red dress of the girl). For the last few moments, chromatic film takes its place. It has the arduous task of capturing almost a procession of today's Jews going to lay stones on the grave of the German benefactor.

A true story, splendidly shot with a certain rawness that stirs the viewer's heart muscle. A film one becomes attached to, almost wishing to play all the roles in order to witness the event. But this entire project would not have been possible without a fundamental element, on which I pause: the actors.

Liam Neeson: he is Oskar, the charismatic protagonist, brazen, gruff, lover of beautiful women, at times jolly, generous, altruistic. Perfectly, masterfully, paradisiacally portrayed, with an emotional strength difficult to possess, almost congenital, a natural talent, the tip of the diamond. He manages to immerse himself in the role almost without effort (and perhaps it is just so), so much so that in our collective imagination Oskar is like this, imposing and good.

Ben Kingsley: no actor could be more suitable to personify this challenging role as Schindler's economic and spiritual aide. His charisma makes this stellar performance possible, seemingly cold and detached at first, to be further explored. We are moved by his composure, his willpower in not wanting to cry.

Ralph Fiennes: credit to him too, absolutely. He was given the most bastard, harsh, cold-hearted, evil, diabolical role. And he obeyed instantly, displaying a static personality, always evil, yet so fascinating as to almost elicit admiration. Incredible, right? Cinematic magic.

And naturally, a huge round of applause goes to the rest of the cast, which faithfully depicts the two social factions: Aryan and Jewish.

Certainly a film not for everyone, both for several very strong scenes that leave a real mental stamp, and for the plot and its extended duration which could seem quite heavy.

Long, agreed, but spending over 2 hours is worth more than anything else. Incredible, moving, pragmatic.