The Masterful Direction of Schindler's List

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Schindler's list. It is a 1993 biographical film directed by Steven Spielberg based on real events, and it is a film that portrays or shows how the Holocaust was, set in the middle of World War II, amid the high power of the Nazis, tells the story of Oskar Schindler, a man of enormous cunning and talent for public relations, organizes an ambitious plan to win the sympathy of the Nazis, and save the Jews from being sent to a concentration camp (Holocaust), With the help of his accountant he manages to save To a thousand Jews.

Schindler's list 'is a compelling and complex narrative that disarms the viewer before the vision of almost unbearable anguish, not exempt from a hopeful vision of man.

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Spielberg plays with the mystery, and with the cameras diverting these moments from the plot and filming everything that can attract attention. The use of black and white is another way of giving the film in a disguised way the documentary tone to provide it with the truth. The moment in color without a doubt most remembered, since it is the only one that is glimpsed throughout the film, is the one in which a girl with a red coat appears, which Schindler observes from the heights. The most characteristic of this sequence is that if we compare it with reality, the girl's coat is not red, but a white skin coat that is wholly dyed red by the blood emanating from her dying body with the use of a camera in hand also photographed under the hand of Janusz Kaminski. The use of color is used in few situations, especially in this scene that identifies the girl of the group of Jews who arrives at a concentration camp and makes it the symbol that sums up what happened to millions of people. Spielberg showed the horror and barbarism of the Nazi army, where thousands of people were killed indiscriminately. It is in this chilling sequence, in which Schindler sees the little girl in red, who would become the symbol of the film.

Besides, there are only a few qualities of the photographic image that are captured much more here than anywhere else. Things like soft focus, camera movement, negative space. With Subjective Camera Angle and wide shot. Another significant cinematic effect on Schindler's list is the use of parallel editing. This effect, more commonly known as a cross-section, weaves several different scenes and, in a broader sense, feelings among themselves. This technique of this scene helps to show us with precision the bitter and paradoxical period of world history that cannot be forgotten. The soundtrack also contributes its share of drama, with the melancholic melodies created by John Williams and the marvelous solos of the heartbreaking violin from Itzhak Perlman.

The Schindler's list opens in a color image. A hand lights a match and lights the candles on Saturday. A Jewish family prays around the dining room table, and then, when Spielberg dissolves from a boy's close-up to a larger table plane, the family disappears, a rehearsal, perhaps, for the disappearance of a whole Town told later in the movie. There are many reasons for the tradition of lighting Shabbat candles. Mainly, candles are meant to prevent those who honor Saturday from stumbling in the dark. From that perspective, the lighting of the candles could be a metaphor for the film: the denial or forgetfulness of the Holocaust, Spielberg is trying to illuminate a historical trauma with Subjective Camera Angle and a wide-angle. We are obliged to remember, and also wants to be a figurative light in the dark. At the end of the opening scene, when the final candle burns to the end, the camera tilts upward, following a trail of smoke that rises from the extinguished flame. And then comes the first hard cut of the film, to undulating smoke in granulated black and white while the camera reverses the tilt, now down, to reveal a train.

The graphic coincidence facilitates the transition of the Shabbat sequence, which seems to exist outside of history: to a fictional world rooted in a specific timeline world the camera travels the train tracks, and words later appear on the screen: 'September of 1939, in two weeks German forces defeated the Polish army ' In the narrative context of Poland in 1939, the train and smoke gain strength, foreshadowing forced relocations, extermination camps, and the crematorium to come. The metaphorical relationship between the smoke of the candle and that of the train is less determined than its visual relationship. It can even be wrong to waste the effort when trying to discern the intellectual intention behind the graphic coincidence that ends the books and launches the narrative; One has the feeling that Spielberg approaches cinema first cinematically, through image, sound, camera movement, editing, rather than intellectually. What is Steven Spielberg bringing here? Perhaps it is little more than attracting the audience to the narrative world of the film Schindler's list, with elegance.

Not everyone dares to be like Schindler, since he opposed the ideals of an entire Nazi dynasty, so his cooperation and consideration with the Jewish people of those days are admired if at this time all egocentric millionaires take the initiative. Helping those who need it most would make a significant change in the world or for certain people, as Schindler did. Schindler's list is one of a classic movie, moved and successful., it is rare to combine music and the frame so subtly and even more rarely to obtain such laurels, especially for black and white films. The charm of the thematic movie music is everywhere, like giving the public a deep impression, promoting the public faces the Nazi brutality of hatred and the misery of sympathy towards the Jews, and strengthens the sense of reality, history, and humanistic feelings.

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