1993, the film crew of Schindler's List, led by the famous American director Steven Allan Spielberg, arrived in Poland for the first time. Just as they were preparing to camp in Krakow during World War II, they suddenly received an urgent telegram from the National Jewish Association of new york: "Don't disturb the dead, let them rest in peace." Spielberg read this message and said nothing. He immediately ordered the film crew to evacuate the Krakow concentration camp and move to a place dozens of kilometers away to set up the shooting set. At the same time, he left the film crew alone and flew directly to new york. Spielberg crossed the Atlantic Ocean and went to new york to apologize to the Jewish Association without sending a representative or using modern communication tools such as telephone, telegraph and telex. His humility and sincerity touched all the members of the Jewish Association. No wonder international film critics later praised Schindler's List as "a humanitarian film made by a director".
Schindler's List shocked the world-this film deeply exposed the terrorist crime of German Nazi massacre of Jews, which premiered in Frankfurt, Germany on March 1994, and the German President personally attended the premiere of the film.
American President Bill Clinton was deeply impressed after seeing this film. He shouted at the press conference, "I urgently ask you to see this film."
The reason why Schindler's List has such a great influence and profound and painful artistic charm should be related to Spielberg's Jewish ancestry and the pain of discrimination experienced by Jews in his childhood. 17 members of his extended family from Ukraine were murdered in Nazi concentration camps in Poland; His deep-rooted gratitude to Schindler, the great benefactor of the Jews, is inseparable from a series of inescapable facts.
As early as 1982, Spielberg received Schindler's List written by Australian novelist Thomas Conea Reyes from the producer. Spielberg, who never read the novel seriously, not only read the novel seriously, but also decided to buy its adaptation and production rights immediately. He realized that this was a subject he had been longing for for for a long time, but he knew that the time was not yet ripe. It was not until 10 years later, that is, in the spring of 1993, that some important people in the film industry advised him to give up the filming plan of this non-commercial film. A leader of his film company even suggested: "Instead of filming this film, it is better to donate money to the Holocaust Museum." This sentence angered Spielberg and made him determined to make this film at all costs. The film company finally gave in and had to let this "children" director, who has always been famous for shooting thrillers, horror films and science fiction films with a game mentality, realize his dream. For this film, Spielberg gave up his usual movie stunts for the first time, refused to invite Hollywood stars to play, and only invited a survivor of Auschwitz as an assistant director and a Jew rescued by Schindler as a film consultant. In this case, he only spent $23 million to make this three-hour 15-minute film. The filming of this film is a brand-new experience for Spielberg. Suddenly, the floodgates of repressed emotions opened. He said: "What matters to me this time is not my imagination, but my conscience. Suddenly, I faced reality with a camera that used to escape from reality. I cried when I was filming, and I shed tears every day. "
For the convenience of work, Spielberg took his family to Poland, but after 14 hours of intense shooting every day, his relatives could not free him from his thoughts during the day. During the filming process, Spielberg forced to stop filming more than once because he couldn't control his feelings. When he gestured to the public, he felt like a Nazi-healthy on the right and sick on the left; His heart broke when he ordered women to shave their hair, strip off their clothes and trousers and drive them away like animals. He said, "This is the most terrible experience of my life." For several weeks, he didn't shake hands with the German actors in the crew or greet the actors in Nazi uniforms. He thought he lived in a Nazi concentration camp. Four months later, the film ended in Poland, and Spielberg finally showed a smile on his face. ..... After filming this film, Spielberg declined the film payment and decided to donate all his personal income to the American Holocaust Museum.
Schindler's List is still a large-scale color production, 126 characters and 30,000 extras. In Poland, in addition to 30 location stations, 40 sets of/kloc-0 have been built. More than 100 Jews participated in the work before and after this scene, which made them relive a bloody nightmare of Nazi terror. The plot of the film is choppy, the momentum is tragic, and the picture-a documentary with black-and-white photography as the main tone-shows the horror of the German Nazis' crazy extermination of Jews, which makes people cry. ……
Schindler's List has become the most striking film in the world, and its ideological seriousness and extraordinary artistic expression temperament have reached an almost insurmountable depth. There have been many movies about the mass slaughter of Jews during World War II, but this is the first real feature film about Germans awakening their conscience, risking their lives to resist the Nazis and save Jews. In the film, Schindler was not a hero at first. Why did he become a hero in the end? The film didn't answer-it just showed his behavior. Spielberg used a symbolic little effect foil:
Schindler saw a little girl in red walking through atrocities and massacres almost unscathed between the stormtroopers who were shooting wildly with sticks and the driven Jews when cleaning up the Jewish residential area in Krakow. This scene shocked Schindler. Spielberg regards this girl as a key figure in the transformation of the whole movie. In black and white photography, only the little girl used red. In Schindler's eyes, the little girl was the highlight of the whole black-and-white massacre scene-later, the girl appeared again-she was lying in a corpse truck and sent to the crematorium.
This picture has become a classic pen, and its profound connotation and artistic value far exceed that of ordinary film works. From the beginning of the film to the Nazi surrender, black and white photography was used to enhance the sense of reality and symbolize the dark ages of the Jews. Later, when the Nazis surrendered and the Jews walked out of the concentration camp, bright colors suddenly appeared on the screen, which made the audience feel that they had walked from darkness to sunshine and could appreciate the cheerful mood of the people in the play to lift the death threat.
Zanussi Nikolaus Stein von Kamienski, the film's photography director, has mastered the picture texture of black-and-white photography, with a heavy flavor in it, especially in the poverty-stricken areas of Poland, where the low walls, bricks and damp atmosphere restore the true flavor of the times.
Meanwhile, Schindler, played by Irish movie star liam neeson, and Stern, a Jew, played by Ben Kingsley who once appeared in Gandhi, are also indispensable factors for the success of this film.
It is difficult for a good movie to be as perfect as Schindler's List. It should be said that its existence is an eternity of the film. The Academy Awards are just a faded foil.
Schindler's List, the Best Film of the 66th Academy Awards
The film won seven Oscars-best picture, best director, best screenwriter, best cinematography, best art direction, best editing and best music. This film is also Steven Allan Spielberg's humanitarian work reflecting on the historical catastrophe, which is the first time that he has been recognized by film critics since his filming.
I find that excellent historical films all avoid or ridicule the serious view of history in the plot, either adding a little joke to the seriousness or adding a little seriousness to the joke. In short, deliberately let the audience see that this is a fabricated story, aiming to show something unrelated to history. However, in performance, art design and narrative, it seriously and harshly restored history. At the end of Braveheart, the protagonist solemnly shouted the joke of "freedom", reminding the audience that Wallace is only a character written by an American screenwriter, so don't take it seriously. The scene where father and son meet Hitler in raiders of the lost ark is serious in the joke, reminding the audience not to always think that Indiana Jones is a character written by an American screenwriter. I think the movie that is best at teasing history is Rome. Jokes and official history have been combined together regardless of you and me, reaching the realm of carrying the truth and carrying the falsehood. A more thorough approach: historical figures try not to show their faces. Xu Ben's Jesus deliberately covered his face with his hair. The legendary Qin Shihuang only patted the hand of an old man wearing a ring, and Napoleon in the quill pen only patted two short feet that could not reach the ground. Whether slapping or poking fun at history is a way for directors to evade historical responsibility: why should they be responsible if they have no responsibility?
Some directors take the initiative to take the responsibility of history and make historical films seriously, which is actually flattering. Because it is too serious, the ultimate ambition becomes to restore history, which leads to two endings: if the historical film is successful, future generations will think that history is the lens in the film, and their understanding of history is distorted or their imagination of history is lost. This is the case in Nanjing. It's as good as the Journey to the West. I haven't read the original, and I thought the Monkey King was a six-year-old boy. In the second case, if the shooting fails, the serious tone will become funny and eventually be laughed at by history. Chow Yun Fat's version of Confucius probably belongs to the second ending. A serious attitude is always risky. Might as well make a mother-in-law TV series. I failed, and my mother-in-law laughed at me at most. The task of restoring history, especially serious history, is best left to museums, archives and parties to dictate.
Lu Chuan doesn't like telling stories, but likes awkward shapes. Of course, the shape is beautiful and sincere, and it will be more sincere to add some red to the anklet of a female corpse. Nanjing Nanjing's fly in the ointment is that it is too obsessed with copying history. If Rabe changed his name, everything else would be the same, and the film would be more artistic.