With Schindler’s List, Steven Spielberg established a film that is a forbidden show of historical note, an influential and emotional drama, a great moral act and, a motion picture that evades the vaults of conventional assessment. In the accounts of a famous French jurist Maurice Hauriou: “Evil is more abundant, but goodness is more coherent.” This film explains why.
I think Schindler’s List is the greatest picture ever produced. My justification for such a daring statement is profound: I consider we can only rank a film on “a temporal” aesthetic grounds; the instrument that film needs are not “revolutionary” to be the finest.
Schindler’s List did not set up a fresh movement like Pulp Fiction or challenged visual language like Citizen Kane; it rather systemized all the finest that cinema offered: fit German expressionist black and white cinematography, constrained but powerful narrative, mind haunting score, classic Hollywood acting plays, Fellini styled camera moves.
Like all grand films, Schindler’s List is not on the intelligence but also on the soul, to influence through artistic decisions, a sensitive response that joins to provide it substance and purpose beyond its narrative arc.
Schindler’s List tells an unbelievable true tragedy. A description that simultaneously reveals the platitude of wrong and the unimaginable force of mercy. Steven Spielberg made a film which will stay greatest of his work, which communicated the immensity of this history, with no lack to express plenty more.