- Lid geworden
- 4 jul 2005
- Berichten
- 72.592
- Waardering
- 38.332
Cinematography
The decision to shoot the film mainly in black and white contributed to the documentary style of cinematography, which cinematographer Janusz Kamiński compared to German Expressionism and Italian neorealism. Kamiński said that he wanted to give the impression of timelessness to the film, so the audience would "not have a sense of when it was made." Spielberg decided to use black and white to match the feel of actual documentary footage of the era. Universal chairman Tom Pollock asked him to shoot the film on a color negative, to allow color VHS copies of the film to later be sold, but Spielberg did not want to accidentally "beautify events."
To Spielberg, the black and white presentation of the film came to represent the Holocaust itself: "The Holocaust was life without light. For me the symbol of life is color. That's why a film about the Holocaust has to be in black-and-white." Robert Gellately notes the film in its entirety can be seen as a metaphor for the Holocaust, with early sporadic violence increasing into a crescendo of death and destruction.He also notes a parallel between the situation of the Jews in the film and the debate in Nazi Germany between making use of the Jews for slave labor or exterminating them outright. Water is seen as giving deliverance by Alan Mintz, Holocaust Studies professor at the Jewish Theological Seminary of America in New York. He notes its presence in the scene where Schindler arranges for a Holocaust train loaded with victims awaiting transport to be hosed down, and the scene in Auschwitz, where the women are given an actual shower instead of receiving the expected gassing.
The girl in red
While the film is shot primarily in black and white, a red coat is used to distinguish a little girl in the scene depicting the liquidation of the Kraków ghetto. Later in the film, Schindler sees her dead body, recognizable only by the red coat she is still wearing. Spielberg said the scene was intended to symbolize how members of the highest levels of government in the United States knew the Holocaust was occurring, yet did nothing to stop it. "It was as obvious as a little girl wearing a red coat, walking down the street, and yet nothing was done to bomb the German rail lines. Nothing was being done to slow down the annihilation of European Jewry," he said. "So that was my message in letting that scene be in color." Andy Patrizio of IGN notes that the point at which Schindler sees the girl's dead body is the point at which he changes, no longer seeing "the ash and soot of burning corpses piling up on his car as just an annoyance." Professor André H. Caron of the Université de Montréal wonders if the red symbolises "innocence, hope or the red blood of the Jewish people being sacrificed in the horror of the Holocaust."
The girl was portrayed by Oliwia Dąbrowska, three years old at the time of filming. Spielberg asked Dąbrowska not to watch the film until she was eighteen, but she watched it when she was eleven, and says she was "horrified". Upon seeing the film again as an adult, she was proud of the role she played. Although it was unintentional, the character is similar to Roma Ligocka, who was known in the Kraków Ghetto for her red coat. Ligocka, unlike her fictional counterpart, survived the Holocaust. After the film was released, she wrote and published her own story, The Girl in the Red Coat: A Memoir (2002, in translation). According to a 2014 interview of family members, the girl in red was inspired by Kraków resident Genya Gitel Chil.
The decision to shoot the film mainly in black and white contributed to the documentary style of cinematography, which cinematographer Janusz Kamiński compared to German Expressionism and Italian neorealism. Kamiński said that he wanted to give the impression of timelessness to the film, so the audience would "not have a sense of when it was made." Spielberg decided to use black and white to match the feel of actual documentary footage of the era. Universal chairman Tom Pollock asked him to shoot the film on a color negative, to allow color VHS copies of the film to later be sold, but Spielberg did not want to accidentally "beautify events."
To Spielberg, the black and white presentation of the film came to represent the Holocaust itself: "The Holocaust was life without light. For me the symbol of life is color. That's why a film about the Holocaust has to be in black-and-white." Robert Gellately notes the film in its entirety can be seen as a metaphor for the Holocaust, with early sporadic violence increasing into a crescendo of death and destruction.He also notes a parallel between the situation of the Jews in the film and the debate in Nazi Germany between making use of the Jews for slave labor or exterminating them outright. Water is seen as giving deliverance by Alan Mintz, Holocaust Studies professor at the Jewish Theological Seminary of America in New York. He notes its presence in the scene where Schindler arranges for a Holocaust train loaded with victims awaiting transport to be hosed down, and the scene in Auschwitz, where the women are given an actual shower instead of receiving the expected gassing.
The girl in red
While the film is shot primarily in black and white, a red coat is used to distinguish a little girl in the scene depicting the liquidation of the Kraków ghetto. Later in the film, Schindler sees her dead body, recognizable only by the red coat she is still wearing. Spielberg said the scene was intended to symbolize how members of the highest levels of government in the United States knew the Holocaust was occurring, yet did nothing to stop it. "It was as obvious as a little girl wearing a red coat, walking down the street, and yet nothing was done to bomb the German rail lines. Nothing was being done to slow down the annihilation of European Jewry," he said. "So that was my message in letting that scene be in color." Andy Patrizio of IGN notes that the point at which Schindler sees the girl's dead body is the point at which he changes, no longer seeing "the ash and soot of burning corpses piling up on his car as just an annoyance." Professor André H. Caron of the Université de Montréal wonders if the red symbolises "innocence, hope or the red blood of the Jewish people being sacrificed in the horror of the Holocaust."
