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Saving Private Ryan
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Saving Private Ryan
Saving Private Ryan poster.jpg
Theatrical release poster

Directed by
Steven Spielberg
Produced by
Ian Bryce
Mark Gordon
Gary Levinsohn
Steven Spielberg

Written by
Robert Rodat
Starring
Tom Hanks
Edward Burns
Matt Damon
Tom Sizemore

Music by
John Williams
Cinematography
Janusz Kamiński
Editing by
Michael Kahn
Studio
Amblin Entertainment
Mark Gordon Productions
Mutual Film Company

Distributed by
DreamWorks Pictures
(United States)
Paramount Pictures
(International)

Release dates
July 24, 1998

Running time
169 minutes
Country
United States
Language
English
Budget
$70 million[1]
Box office
$481,840,909[2]
Saving Private Ryan is a 1998 American epic war film set during the invasion of Normandy in World War II. It was directed by Steven Spielberg and written by Robert Rodat. The film is notable for its graphic and realistic portrayal of war, and for the intensity of its opening 27 minutes, which depict the Omaha Beach assault of June 6, 1944. The film follows United States Army Rangers Captain John H. Miller (Tom Hanks) and a squad (Tom Sizemore, Edward Burns, Barry Pepper, Vin Diesel, Giovanni Ribisi, Adam Goldberg and Jeremy Davies) as they search for a paratrooper, Private First Class James Francis Ryan (Matt Damon), who is the last-surviving brother of four servicemen.
Rodat conceived the film's story in 1994 when he saw a monument dedicated to eight siblings killed in the American Civil War. Rodat imagined a similar sibling narrative set in World War II. The script was submitted to producer Mark Gordon, who handed it to Hanks. It was finally given to Spielberg, who decided to direct.
Saving Private Ryan was well received by audiences and garnered considerable critical acclaim, winning several awards for film, cast, and crew as well as earning significant returns at the box office. The film grossed US$481.8 million worldwide, making it the highest-grossing domestic film of the year. The Academy of Motion Picture Arts and Sciences nominated the film for eleven Academy Awards; Spielberg's direction won him a second Academy Award for Best Director. Saving Private Ryan was released on home video in May 1999, earning $44 million from sales.

Contents  [hide]
1 Plot
2 Cast
3 Production 3.1 Development
3.2 Portraying history
4 Release 4.1 Reception
4.2 Awards
4.3 Home media
4.4 Television broadcasts
4.5 Australian rating appeal
5 See also
6 References
7 Further reading
8 External links

Plot[edit]
On the morning of June 6, 1944, the beginning of the Normandy invasion, American soldiers prepare to land on Omaha Beach. They struggle against German infantry, machine gun nests, and artillery fire. Captain John H. Miller survives the initial landing and assembles a group of soldiers to penetrate the German defenses, leading to a breakout from the beach.
In Washington, D.C., General George Marshall is informed that three of the four brothers of the Ryan family were killed in action and that their mother is to receive three telegrams to inform her of that. He learns that the fourth son, Private First Class James Francis Ryan, is a paratrooper, and is missing in action somewhere in Normandy. After reading to his staff Abraham Lincoln's Bixby letter, Marshall orders that Ryan be found and sent home immediately.
Three days after D-Day, Miller receives orders to find Ryan. He assembles six men from his company, Horvath, Reiben, Mellish, Caparzo, Jackson, and Wade, plus one man detailed from another unit, Upham, a cartographer who speaks French and German. Miller and his men move out to Neuville. On the outskirts of the town, they meet a platoon from the 101st Airborne Division. After entering the town, Caparzo is shot by a sniper. Jackson is able to kill the sniper, but Caparzo dies. They locate a Private James Frederick Ryan, but soon realize that he is not their man. They find a member of Ryan's regiment who informs them that his drop zone was at Vierville and that his and Ryan's companies had the same rally point. Once they reach it, Miller locates a friend of Ryan's, who reveals that Ryan is defending a strategically important bridge over the Merderet River in the town of Ramelle.
On the way to Ramelle, Miller decides to neutralize a German machine gun position, despite the misgivings of his men. Wade is fatally wounded in the ensuing skirmish. The last surviving German, known only as "Steamboat Willie", incurs the wrath of all the squad members except Upham, who protests to Miller about the proposed execution of the German soldier. "Steamboat Willie" pleads for his life and Miller decides to let him walk away, blindfolded, and surrender himself to the next Allied patrol. No longer confident in Miller's leadership, Reiben declares his intention to desert the squad and the mission, prompting a confrontation with Horvath. The argument heats up, until Miller defuses the situation. Reiben then reluctantly decides to stay.
The squad finally arrives on the outskirts of Ramelle, where they come upon three paratroopers, among whom is Ryan. After entering Ramelle, Ryan is told of his brothers' deaths, the mission to bring him home, and that two men had been lost in the quest to find him. He is distressed at the loss of his brothers, but does not feel it is fair to go home, asking Miller to tell his mother that he intends to stay "with the only brothers [he has] left." Miller decides to take command and defend the bridge with what little manpower and resources are available.
The Germans arrive with infantry and armor. In spite of heavy German casualties, most of the Americans — including Jackson, Mellish, and Horvath — are killed. While attempting to blow the bridge, Miller is shot and mortally wounded by the German prisoner set free earlier. Just before a Tiger tank reaches the bridge, an American P-51 Mustang flies over and destroys it, followed by more Mustangs, American infantry, and M4 Sherman tanks who rout the remaining Germans. Upham, who was cut off and hid in a ditch, comes out of hiding as the Germans flee and orders them to drop their weapons; among them the German that shot Miller. Upham executes him, telling the rest to flee. Ryan is with Miller as he dies and says his last words, "James... earn this. Earn it."
In the present day, elderly Ryan and his family visit the Normandy American Cemetery and Memorial at Colleville-sur-mer in Normandy. Ryan stands at Miller's grave. He asks his wife to confirm that he has led a good life and that he is a "good man" and thus worthy of the sacrifice of Miller and the others.
Cast[edit]
Tom Hanks as Captain John H. Miller
Tom Sizemore as Technical Sergeant Mike Horvath
Edward Burns as Private First Class Richard Reiben, an automatic rifleman
Barry Pepper as Private Daniel Jackson, a sharpshooter
Adam Goldberg as Private Stanley "Fish" Mellish, a rifleman
Vin Diesel as Private First Class Adrian Caparzo, a rifleman
Giovanni Ribisi as Technician Fourth Grade Irwin Wade, a medic
Jeremy Davies as Technician Fifth Grade Timothy E. Upham, a cartographer
Matt Damon as Private First Class James Francis Ryan, a paratrooper
Harrison Young as James Francis Ryan, present day
Kathleen Byron as Mrs. Ryan, present day
Ted Danson as Captain Fred Hamill, a pathfinder
Paul Giamatti as Staff Sergeant William Hill, a paratrooper
Dennis Farina as Lieutenant Colonel Walter Anderson
Harve Presnell as General George C. Marshall, Chief of Staff of the United States Army
Leland Orser as Second Lieutenant DeWindt, pilot of a crashed glider
Bryan Cranston as Colonel I.W. Bryce, an officer at the War Department
Nathan Fillion as Private James Frederick Ryan
Max Martini as Corporal Fred Henderson, ranking paratrooper at Ramelle
Demetri Goritsas as Private Parker, a paratrooper at Ramelle
Joerg Stadler as "Steamboat Willie", a German soldier
Dale Dye as an officer at the War Department
Production[edit]
Development[edit]
In 1994, Robert Rodat saw a monument in Putney Corners, New Hampshire, memorializing those who were killed from the Civil War to Vietnam. He noticed the names of eight siblings who died during the American Civil War. Inspired by the story, Rodat did some research and decided to write a similar story set in World War II. Rodat's script was submitted to producer Mark Gordon, who liked the story but only accepted the text after 11 redrafts. Gordon shared the finished script with Hanks, who liked it and in turn passed it along to Spielberg to direct. A shooting date was set for June 27, 1997.[3] Before filming began, several of the film's stars, including Edward Burns, Barry Pepper, Vin Diesel, Adam Goldberg, Giovanni Ribisi, and Tom Hanks, endured ten days of "boot camp" training led by Marine veteran Dale Dye and Warriors, Inc., a California-based company that specializes in training actors for realistic military portrayals.[4] Matt Damon was intentionally not brought into the camp, to make the rest of the group feel resentment towards the character.[5]
Spielberg had already demonstrated his interest in World War II themes with the films 1941, Empire of the Sun, Schindler's List, and the Indiana Jones series. Spielberg later co-produced the World War II themed television miniseries Band of Brothers and its counterpart The Pacific with Tom Hanks. When asked about this by American Cinematographer, Spielberg said, "I think that World War II is the most significant event of the last 100 years; the fate of the Baby Boomers and even Generation X was linked to the outcome. Beyond that, I've just always been interested in World War II. My earliest films, which I made when I was about 14 years old, were combat pictures that were set both on the ground and in the air. For years now, I've been looking for the right World War II story to shoot, and when Robert Rodat wrote Saving Private Ryan, I found it."[6]
The D-Day scenes were shot in Ballinesker Beach, Curracloe Strand, Ballinesker, just east of Curracloe, Wexford, Ireland.[7][8][9] Filming began June 27, 1997, and lasted for two months.[10][11][12] Some shooting was done in Normandy, for the Normandy American Cemetery and Memorial in Colleville-sur-Mer and Calvados. Other scenes were filmed in England, such as a former British Aerospace factory in Hatfield, Hertfordshire, Thame Park, Oxfordshire, and Wiltshire. Production was due to also take place in Seaham, County Durham, but government restrictions disallowed this.[13]
Portraying history[edit]
Saving Private Ryan has received critical acclaim for its realistic portrayal of World War II combat. In particular, the sequence depicting the Omaha landings was named the "best battle scene of all time" by Empire magazine and was ranked number one on TV Guide's list of the "50 Greatest Movie Moments".[14] The scene cost US$12 million and involved up to 1,500 extras, some of whom were members of the Irish Reserve Defence Forces. Members of local reenactment groups such as the Second Battle Group were cast as extras to play German soldiers.[15] In addition, twenty to thirty actual amputees were used to portray American soldiers maimed during the landing.[16] Spielberg did not storyboard the sequence, as he wanted spontaneous reactions and for "the action to inspire me as to where to put the camera".[17]
The historical representation of Charlie Company's actions, led by its commander, Captain Ralph E. Goranson, was well maintained in the opening sequence. The sequence and details of the events are very close to the historical record, including the seasickness experienced by many of the soldiers as the landing craft moved toward the shoreline, significant casualties among the men as they disembarked from the boats, and difficulty linking up with adjacent units on the shore. The contextual details of the Company's actions were well maintained, for instance, the correct code names for the sector Charlie Company assaulted, and adjacent sectors were used. Included in the cinematic depiction of the landing was a follow on mission of clearing a bunker and trench system at the top of the cliffs which was not part of the original mission objectives for Charlie Company, but which they did undertake after climbing the cliffs at Pointe du Hoc.[18]
The landing craft used included twelve actual World War II examples, 10 LCVPs and 2 LCMs, standing in for the British LCAs that the Ranger Companies rode in to the beach during Operation Overlord.[18][19] The film-makers used underwater cameras to better depict soldiers being hit by bullets in the water. Forty barrels of fake blood were used to simulate the effect of blood in the seawater.[16] This degree of realism was more difficult to achieve when depicting World War II German armored vehicles, as few examples survive in operating condition. The Tiger I tanks in the film were copies built on the chassis of old, but functional Soviet T-34 tanks.[20] The two vehicles described in the film as Panzers were meant to portray Marder III tank destroyers. One was created for the film using the chassis of a Czech-built Panzer 38(t) tank[21] similar to the construction of the original Marder III; the other was a cosmetically modified Swedish SAV m/43 assault gun, which also used the 38(t) chassis.[22]
Inevitably, some artistic license was taken by the filmmakers for the sake of drama. One of the most notable is the depiction of the 2nd SS Panzer Division Das Reich, as the adversary during the fictional Battle of Ramelle. The 2nd SS was not engaged in Normandy until July, and then at Caen against the British and Canadians, one hundred miles east.[23] Furthermore, the Merderet River bridges were not an objective of the 101st Airborne Division but of the 82nd Airborne Division, part of Mission Boston.[24] Much has been said about various "tactical errors" made by both the German and American forces in the film's climactic battle. Spielberg responded, saying that in many scenes he opted to replace sound military tactics and strict historical accuracy for dramatic effect.[25]
To achieve a tone and quality that was true to the story as well as reflected the period in which it is set, Spielberg once again collaborated with cinematographer Janusz Kamiński, saying, "Early on, we both knew that we did not want this to look like a Technicolor extravaganza about World War II, but more like color newsreel footage from the 1940s, which is very desaturated and low-tech." Kamiński had the protective coating stripped from the camera lenses, making them closer to those used in the 1940s. He explains that "without the protective coating, the light goes in and starts bouncing around, which makes it slightly more diffused and a bit softer without being out of focus." The cinematographer completed the overall effect by putting the negative through bleach bypass, a process that reduces brightness and color saturation. The shutter timing was set to 90 or 45 degrees for many of the battle sequences, as opposed to the standard of 180 degree timing. Kamiński clarifies, "In this way, we attained a certain staccato in the actors' movements and a certain crispness in the explosions, which makes them slightly more realistic."[26]
Release[edit]
Saving Private Ryan was a critical and commercial success and is credited with contributing to a resurgence in America's interest in World War II. Old and new films, video games, and novels about the war enjoyed renewed popularity after its release.[27] The film's use of desaturated colors, hand-held cameras, and tight angles has profoundly influenced subsequent films and video games.[28][29] Saving Private Ryan was released in 2,463 theaters on July 24, 1998, and grossed $30.5 million on its opening weekend. The film grossed $216.5 million in North America and $265.3 million on other territories, bringing its worldwide total to $481.8 million and making it the highest grossing domestic film of the year.[1]
Reception[edit]
Critical reception for the film was highly positive, with the film receiving widespread critical acclaim. Much of the praise went for the realistic battle scenes[30] and the actors' performances,[31] but earning some criticism for ignoring the contributions of several other countries to the D-Day landings in general and at Omaha Beach specifically.[32] The most direct example of the latter is that during the actual landing the 2nd Rangers disembarked from British ships and were taken to Omaha Beach by Royal Navy landing craft (LCAs). The film depicts them as being United States Coast Guard-crewed craft (LCVPs and LCMs) from an American ship, the USS Thomas Jefferson (APA-30).[18][33][34] This criticism was far from universal with other critics recognizing the director's intent to make an "American" film.[35] The film was not released in Malaysia after Spielberg refused to cut the violent scenes;[36] however, the film was finally released there on DVD with an 18SG certificate much later in 2005. It currently scores 93% "Certified Fresh" on Rotten Tomatoes[37] and 90% on Metacritic,[38] two film review aggregate sites. Many critics associations, such as New York Critics Circle and Los Angeles Film Critics Association, chose Saving Private Ryan as Film of the Year.[39] Roger Ebert gave it four stars out of four and called it "a powerful experience".[31]
Filmmaker Quentin Tarantino has expressed admiration for the film and has cited it as an influence on his 2009 war epic, Inglourious Basterds.[40] In an interview, Tarantino told interviewer Samuel Blumenfeld, "Spielberg is doing something unheard of with the opening of this movie. When you watch the sequence of the landing, it’s no longer possible to look the same way at The Longest Day, or even Samuel Fuller's The Big Red One... Saving Private Ryan made me aware of some issues raised by the cinema of war that I was unable to ask on my own. The idea that forty men on a boat are exterminated in seconds by a volley of machine gun fire is terrifying. Can you imagine the most atrocious carnage? Obviously, yes. Except that throughout the scene, you are persuaded to attend the worst slaughter in history. The sequence of the knife fight between a U.S. soldier and a Nazi at the end of the film is also as notable as the landing. I hate war movies where they show a soldier killing his opponents without sweating, as if it were insignificant. If I was fighting to save my skin, I think it would be a little more difficult. It's hard to kill someone, it takes sweat, and even with this, you have no guarantee of reaching your goals. Spielberg managed admirably to stage this scene with that dimension."[41]
Filmmaker Oliver Stone, however, has accused the film of promoting "the worship of World War II as the good war," and has lumped it alongside films such as Gladiator and Black Hawk Down that he believes were well-made, but may have inadvertently contributed to Americans' readiness for the 2003 invasion of Iraq.[42] In defense of the film's portrait of warfare, filmmaker Brian De Palma commented, "The level of violence in something like Saving Private Ryan makes sense because Spielberg is trying to show something about the brutality of what happened."[43]
The actor Richard Todd, who performed in The Longest Day and was amongst the first of the Allied soldiers to land in Normandy, said the film was "Rubbish. Overdone."[44] Other WWII veterans, however, stated that the film was the most realistic depiction of combat they had ever seen.[45] The film was so realistic that combat veterans of D-Day and Vietnam left theaters rather than finish watching the opening scene depicting the Normandy invasion. Their visits to posttraumatic stress disorder counselors rose in number after the film's release, and many counselors advised "'more psychologically vulnerable'" veterans to avoid watching it.[46]
The film was later nominated for eleven Academy Awards, with wins for Best Cinematography, Best Sound, Best Sound Effects Editing, Best Film Editing, and Best Director for Spielberg, but lost the Best Picture award to Shakespeare in Love, being one of a few that have won the Best Director award without also winning Best Picture.[47] The film also won the Golden Globes for Best Picture – Drama and Director, the BAFTA Award for Special Effects and Sound, the Directors Guild of America Award, a Grammy Award for Best Film Soundtrack, the Producers Guild of America Golden Laurel Award, and the Saturn Award for Best Action/Adventure/Thriller Film.[39] In June 2008, the American Film Institute revealed its "Ten Top Ten"—the best ten films in ten "classic" American film genres—after polling over 1,500 people from the creative community. Saving Private Ryan was listed as the eighth best film in the "epic films" genre.[48]
American Film Institute lists:
AFI's 100 Years...100 Thrills – #45
AFI's 100 Years...100 Heroes and Villains: Captain John H. Miller – Nominated Hero[49]
AFI's 100 Years...100 Movie Quotes: "Earn this." – Nominated[50]
AFI's 100 Years... 100 Cheers – #10
AFI's 100 Years... 100 Movies (10th Anniversary Edition) – #71
AFI's 10 Top 10 – #8 Epic film
Awards[edit]

Award
Category
Nominee
Result
71st Academy Awards Best Cinematography Janusz Kamiński Won
Best Director Steven Spielberg Won
Best Sound Effects Editing Gary Rydstrom and Richard Hymns Won
Best Film Editing Michael Kahn Won
Best Sound Mixing Gary Rydstrom, Gary Summers, Andy Nelson and Ron Judkins Won
Best Actor in a Leading Role Tom Hanks Nominated
Best Art Direction Thomas E. Sanders and Lisa Dean Nominated
Best Makeup Lois Burwell, Conor O'Sullivan and Daniel C. Striepeke Nominated
Original Dramatic Score John Williams Nominated
Best Picture Steven Spielberg, Ian Bryce, Mark Gordon and Gary Levinsohn Nominated
Best Original Screenplay Robert Rodat Nominated
Academy of Science Fiction, Fantasy & Horror Films Best Thriller Film  Won
Best Special Effects  Nominated
Amanda Awards Best Foreign Film Steven Spielberg Nominated
American Cinema Editors Best Edited Feature Film Michael Kahn Won
American Society of Cinematographers Outstanding Achievement in Cinematography in Theatrical Releases  Nominated
Art Directors Guild Feature Film  Nominated
Awards of the Japanese Academy Best Foreign Film  Nominated
BAFTA Awards Best Sound  Won
Best Special Visual Effects  Won
Best Music John Williams Nominated
Best Cinematography Janusz Kamiński Nominated
Best Editing Michael Kahn Nominated
Best Film  Nominated
Best Makeup & Hair  Nominated
Best Actor Tom Hanks Nominated
Best Production Design  Nominated
Best Direction Steven Spielberg Nominated
BMI Film Music Award BMI Film Music Award John Williams Won
Blockbuster Entertainment Award Favorite Actor Tom Hanks Won
Favorite Supporting Actor Jeremy Davies Nominated
Boston Society of Film Critics Awards Best Cinematography  Won
British Society of Cinematographers Best Cinematography  Nominated
Broadcast Film Critics Association Awards Best Director Steven Spielberg Won
Best Picture  Won
Best Score John Williams Won
Camerimage Best Cinematography  Nominated
Casting Society of America Best Casting  Won
Chicago Film Critics Association Awards Best Picture  Won
Best Actor Tom Hanks Nominated
Best Cinematography  Nominated
Best Director Steven Spielberg Nominated
Chlotrudis Awards Best Cinematography  Nominated
Cinema Audio Society Best Sound  Won
Czech Lions Best Foreign Film Steven Spielberg Won
César Awards Best Foreign Film Steven Spielberg Nominated
Dallas-Fort Worth Film Critics Association Awards Best Picture  Won
Best Actor Tom Hanks Nominated
Directors Guild of America Outstanding Directorial Achievement Steven Spielberg Won
Empire Awards Best Actor Tom Hanks Won
Best Director Steven Spielberg Won
Best Film  Nominated
European Film Award Screen International Award Steven Spielberg Nominated
Film Critics Circle of Australia Awards Best Foreign Film  Nominated
Florida Film Critics Circle Awards Best Cinematography  Won
Golden Globes Best Director Steven Spielberg Won
Best Motion Picture  Won
Best Original Score John Williams Nominated
Best Actor Tom Hanks Nominated
Best Screenplay  Nominated
Grammy Awards Best Instrumental Composition Written for a Motion Picture or for Television John Williams Won
Huabiao Film Awards Best Foreign Film  Won
Humanitas Prize Feature Film Category  Nominated
Italian National Syndicate of Film Journalists Best Foreign Director Steven Spielberg Won
Kansas City Film Critics Circle Awards Best Film  Won
Best Director Steven Spielberg Won
Best Supporting Actor Jeremy Davies Won
Key Art Awards Best of Show – Audiovisual  Won
Las Vegas Film Critics Society Awards Best Cinematography  Won
Best Director Steven Spielberg Won
Best Picture  Won
London Critics Circle Film Awards Film of the Year  Won
Actor of the Year Matt Damon Nominated
Actor of the Year Tom Hanks Nominated
Director of the Year Steven Spielberg Nominated
Los Angeles Film Critics Association Awards Best Cinematography  Won
Best Director Steven Spielberg Won
Best Picture  Won
MTV Movie Awards Best Action Sequence Tom Hanks Nominated
Best Male Performance Tom Hanks Nominated
Best Movie  Nominated
Motion Picture Sound Editors Best Sound Editing – Dialogue  Won
Best Sound Editing – Sound Effects  Won
Best Sound Editing – Music  Nominated
National Board of Review Top Ten Films  Won
National Society of Film Critics Awards Best Film  Nominated
New York Film Critics Circle Awards Best Film  Won
Online Film Critics Society Awards Best Cinematography  Won
Best Director Steven Spielberg Won
Best Ensemble  Won
Best Film  Won
Best Film Editing Michael Kahn Won
Best Actor Tom Hanks Nominated
Best Music John Williams Nominated
PGA Awards Motion Picture Producer of the Year Award  Won
Russian Guild of Film Critics Best Foreign Film Steven Spielberg Won
Satellite Awards Best Editing Michael Kahn Won
Best Director Steven Spielberg Nominated
Best Film  Nominated
Best Cinematography  Nominated
Best Original Score  Nominated
Best Original Screenplay  Nominated
Best Supporting Actor – Motion Picture Tom Sizemore Nominated
Best Visual Effects  Nominated
Screen Actors Guild Awards Best Ensemble  Nominated
Best Actor Tom Hanks Nominated
Southeastern Film Critics Association Awards Best Director Steven Spielberg Won
Best Picture  Won
Toronto Film Critics Association Awards Best Director Steven Spielberg Won
Best Picture  Won
Best Male Performance Tom Hanks Nominated
Writers Guild of America Best Screenplay  Nominated
Home media[edit]
The film debuted on home video in May 1999 with a VHS release that earned over $44 million. A later special edition, the D-Day 60th Anniversary Commemorative Edition, was released featuring an extra tape with documentary footage of the actual D-Day landings as well as the making of the film.[51] The DVD was released in November of the same year,[52] and was one of the best-selling titles of the year, with over 1.5 million units sold.[53] The original DVD was released in two separate versions: one with Dolby Digital and the other with DTS 5.1 surround sound. Besides the different 5.1 tracks, the two DVDs are identical. The film was also issued in a very limited 2-disc Laserdisc release in November 1999, making it one of the very last feature films to ever be issued in this format, as Laserdiscs ceased manufacturing and distribution by the year's end, due in part to the growing popularity of DVDs.[54] In 2004, a Saving Private Ryan special edition DVD was released to commemorate the 60th anniversary of D-Day. This two-disc edition was also included in a box set titled World War II Collection, along with two documentaries produced by Spielberg, Price For Peace (about the Pacific War) and Shooting War (about war photographers, narrated by Tom Hanks).[55] The film was released on Blu-ray Disc on April 26, 2010 in the UK and on May 4, 2010 in the US, as part of Paramount Home Video's premium Sapphire Series.[56] However, only weeks after its release, Paramount issued a recall due to audio synchronization problems.[57] The studio issued an official statement acknowledging the problem, which they attributed to an authoring error by Technicolor that escaped the quality control process, and that they had already begun the process of replacing the defective discs.[58] The remastered discs were released to the public on May 18, 2010.
Television broadcasts[edit]
On Veterans Day from 2001–2004, the American Broadcasting Company aired the film uncut and with limited commercial interruption. The network airings were given a TV-MA rating, as the violent battle scenes and the profanity were left intact. The 2004 airing was marred by pre-emptions in many markets because of the language, in the backlash of Super Bowl XXXVIII's halftime show controversy.[59] However, critics and veterans' groups such as the American Legion and the Veterans of Foreign Wars assailed those stations and their owners, including Hearst-Argyle Television (owner of 12 ABC affiliates); Scripps Howard Broadcasting (owner of six); and Belo (the owner of four) for putting profits ahead of programming and honoring those who gave their lives at wartime, saying the stations made more money running their own programming instead of being paid by the network to carry the film, especially during a sweeps period. A total of 65 ABC affiliates—28% of the network—did not clear the available timeslot for the film, even with the offer of The Walt Disney Company, ABC's parent, to pay all fines for language to the Federal Communications Commission.[60] In the end, however, no complaints were lodged against ABC affiliates who showed Ryan, perhaps because even conservative watchdogs like the Parents Television Council supported the unedited rebroadcast of the film.[61] Additionally, some ABC affiliates in other markets that were near affected markets, such as Youngstown, Ohio ABC affiliate WYTV (which is viewable in parts of the Columbus, Cleveland, and Pittsburgh markets, none of which aired the film), still aired the film and gave those nearby markets the option of viewing the film.[62] TNT and Turner Classic Movies have also broadcast the film.[63][64]
Australian rating appeal[edit]
The unedited version of the film was originally classified R (restricted 18+ only) in Australia by the Australian Classification Board, then called the Office of Film & Literature Classification, due to strong violence, adult themes and graphic war scenes. An appeal was lodged amid much public scrutiny at the time on the grounds that the film contains a strong anti-war message and would, if rated R, be unable to be used in schools to educate children about World War II, the Normandy landing, and the significance of its anti-war message would be lost because it would not be able to be shown to students. The appeal was granted, and the film's rating was subsequently reduced to MA15+ (restricted mature 15+ only).
See also[edit]

Portal icon Film in the United States portal
Portal icon World War II portal
Portal icon 1990s portal
List of World War II films
Saving Private Ryan (soundtrack)


References[edit]
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29.Jump up ^ Tom Chick (December 8, 2008). "A Close Encounter with Steven Spielberg". Yahoo!. Archived from the original on December 11, 2008. Retrieved December 11, 2008.
30.Jump up ^ Turan, Kenneth (July 24, 1998). "Saving Private Ryan review". Los Angeles Times. Archived from the original on September 29, 2007.
31.^ Jump up to: a b "Saving Private Ryan". Roger Ebert. Retrieved September 5, 2008.
32.Jump up ^ "Saving Private Ryan — Film Review". Total Film. Retrieved September 5, 2008.
33.Jump up ^ "Veterans riled by Ryan". BBC. March 19, 1999. Retrieved September 5, 2008.
34.Jump up ^ "LCM". Saving Private Ryan Online Encyclopedia. Retrieved September 5, 2008.
35.Jump up ^ Reynolds, Matthew. "Saving Private Ryan". Channel 4. Archived from the original on January 6, 2007. Retrieved September 6, 2008.
36.Jump up ^ "Malaysia bans Spielberg's Prince". BBC. January 27, 1999. Retrieved September 5, 2008.
37.Jump up ^ "Saving Private Ryan (1998)". Rotten Tomatoes. Retrieved April 17, 2010.
38.Jump up ^ "Saving Private Ryan reviews". Metacritic. Retrieved April 17, 2010.
39.^ Jump up to: a b "Awards for Saving Private Ryan". Internet Movie Database. Retrieved September 6, 2008.
40.Jump up ^ Quentin Tarantino's favorite WWII movies – Film – Time Out New York. Newyork.timeout.com (August 18, 2009). Retrieved on September 8, 2011.
41.Jump up ^ De Palma a la Mod. Angelfire.com (August 29, 2009). Retrieved on September 8, 2011.
42.Jump up ^ David D'Arcy (May 25, 2010). "The world according to Oliver Stone – The National". Thenational.ae. Retrieved May 11, 2012.
43.Jump up ^ "Film Scouts Interviews". Filmscouts.com. Retrieved 2013-02-01.
44.Jump up ^ Meeke, Kieran. "60 seconds interview: Richard Todd". Metro (British newspaper). Retrieved April 24, 2011.
45.Jump up ^ Basinger, Jeanine (October 1998). "Translating War: The Combat Film Genre and Saving Private Ryan". Perspectives, the Newsmagazine of the American Historical Association.
46.Jump up ^ Halton, Beau (August 15, 1998). "'Saving Private Ryan' is too real for some". The Florida Times-Union (Jacksonville, Florida). Retrieved June 12, 2011.
47.Jump up ^ "Academy Awards, USA: 1999". IMDB. Retrieved September 5, 2008.
48.Jump up ^ "AFI's 10 Top 10". American Film Institute. June 17, 2008. Retrieved June 18, 2008.
49.Jump up ^ AFI's 100 Years...100 Heroes and Villains Nominees
50.Jump up ^ "AFI's 100 Years...100 Movie Quotes Nominees" (PDF). Retrieved 2013-02-01.
51.Jump up ^ Graser, Marc (July 29, 1999). "'Ryan's' next attack: sell-through market". Variety. Retrieved September 6, 2008.
52.Jump up ^ "Dreamworks' Saving Private Ryan DVD press release". September 13, 1999. Retrieved September 6, 2008.
53.Jump up ^ "The Matrix disc soars beyond 3 million mark". January 8, 2000. Archived from the original on August 10, 2007. Retrieved September 6, 2008.
54.Jump up ^ Kelley III, Bill (July 22, 1999). "'Private Ryan' Is A No-Show On DVD Format". Virginian-Pilot.
55.Jump up ^ "Saving Private Ryan: D-Day 60th Anniversary Commemorative Edition review". IGN. May 26, 2004. Retrieved September 6, 2008.
56.Jump up ^ "Saving Private Ryan Blu-ray Announced". Blu-ray.com. February 8, 2010. Retrieved February 10, 2010.
57.Jump up ^ "Paramount Issues RECALL of 'Saving Private Ryan'". Web.archive.org. Retrieved 2013-02-01.
58.Jump up ^ http://www.thedigitalbits.com/mytwocentsa179.html[self-published source]
59.Jump up ^ Oldenburg, Ann (November 11, 2004). "Some stations shelved 'Private Ryan' amid FCC fears". USA Today. Retrieved September 5, 2008.
60.Jump up ^ Martin, Ed (November 17, 2004). "Return of Janet Jackson's Breast; "Saving Private Ryan" Controversy". mediaVillage. Archived from the original on March 26, 2008. Retrieved April 17, 2010.
61.Jump up ^ Sussman, Gary (November 11, 2004). "War of Attrition". EW.com. Retrieved June 7, 2009.
62.Jump up ^ http://businessjournaldaily.com/scaring-private-ryan-20-abc-affiliates-nix-movie-2004-11-12
63.Jump up ^ http://blog.nola.com/mikescott/2008/09/tnt_to_show_saving_private_rya.html
64.Jump up ^ http://www.tcm.com/this-month/article.html?isPreview=&id=444730%7C235832&name=Saving-Private-Ryan
Further reading[edit]
Kershaw, Alex (May 11, 2004). The Bedford Boys: One American Town's Ultimate D-day Sacrifice. Da Capo Press. ISBN 0-306-81355-6.
Lefebvre, Laurent (September 2008). 29th Division ... a division of heroes. American d-Day. ISBN 2-9519963-9-X.
Lefebvre, Laurent (June 1, 2004). They Were on Omaha Beach. American d-Day. ISBN 2-9519963-5-7.
External links[edit]
 Wikiquote has a collection of quotations related to: Saving Private Ryan
Saving Private Ryan at the Internet Movie Database
Saving Private Ryan at allmovie
Saving Private Ryan at Box Office Mojo
Saving Private Ryan at Rotten Tomatoes
American D-day informational web-site
29th Infantry Division Historical Society informational web-site
Omaha Beach at Encyclopædia Britannica

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Schindler's List
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This article is about the film. For the book that inspired this film (published in the US as Schindler's List), see Schindler's Ark. For the actual list, see List of Schindlerjuden.

Schindler's List
Schindler's List movie.jpg
Theatrical release poster

Directed by
Steven Spielberg
Produced by
Steven Spielberg
Gerald R. Molen
Branko Lustig

Screenplay by
Steven Zaillian
Based on
Schindler's Ark 
 by Thomas Keneally
Starring
Liam Neeson
Ben Kingsley
Ralph Fiennes
Caroline Goodall
Jonathan Sagall
Embeth Davidtz

Music by
John Williams
Cinematography
Janusz Kamiński
Editing by
Michael Kahn
Studio
Amblin Entertainment
Distributed by
Universal Pictures
Release dates
November 30, 1993 (Washington, D.C.)
December 15, 1993 (United States)

Running time
197 minutes[1]
Country
United States
United Kingdom
Australia

Language
English
German
Hebrew
Polish
French

Budget
$22 million[2]
Box office
$321.2 million[3]
Schindler's List is a 1993 American epic historical drama film directed and co-produced by Steven Spielberg and scripted by Steven Zaillian. It is based on the novel Schindler's Ark by Thomas Keneally, an Australian novelist. The film is based on the life of Oskar Schindler, a German businessman who saved the lives of more than a thousand mostly Polish-Jewish refugees during the Holocaust by employing them in his factories. It stars Liam Neeson as Schindler, Ralph Fiennes as Schutzstaffel (SS) officer Amon Goeth, and Ben Kingsley as Schindler's Jewish accountant Itzhak Stern. John Williams composed the score.
Ideas for a film about the Schindlerjuden (Schindler Jews) were proposed as early as 1963. Poldek Pfefferberg, one of the Schindlerjuden, made it his life's mission to tell the story of Schindler. Spielberg became interested in the story when executive Sid Sheinberg sent him a book review of Schindler's Ark. Universal Studios bought the rights to the novel, but Spielberg, unsure if he was ready to make a film about the Holocaust, tried to pass the project to several other directors before finally deciding to direct the film himself.
Principal photography took place in Kraków, Poland, over the course of 72 days in 1993. Spielberg shot the film in black and white and approached it like a documentary. Cinematographer Janusz Kamiński wanted to give the film a sense of timelessness. John Williams composed the score, and violinist Itzhak Perlman performs the film's main theme.
Schindler's List premiered on November 30, 1993, in Washington, D.C. and it was released on December 15, 1993, in the United States. Regarded as one of the greatest films ever made, it was also a box office success, earning $321.2 million worldwide on a $22 million budget. It was the recipient of seven Academy Awards (out of twelve nominations), including Best Picture, Best Director, Best Adapted Screenplay, and Best Original Score, as well as numerous other awards ( including seven BAFTAs and three Golden Globes). In 2007, the American Film Institute ranked the film 8th on its list of the 100 best American films of all time. The Library of Congress selected it for preservation in the National Film Registry in 2004.

Contents  [hide]
1 Plot
2 Cast
3 Themes
4 Production 4.1 Development
4.2 Casting
4.3 Filming
4.4 Cinematography
4.5 Music
5 Symbolism 5.1 The girl in red
5.2 Candles
5.3 Other symbolism
6 Release
7 Reception 7.1 Critical response
7.2 Assessment by other film makers
7.3 Reaction of the Jewish community
8 Accolades
9 Controversies
10 See also
11 Notes
12 Citations
13 References
14 External links

Plot[edit]
In 1939, the Germans move Polish Jews into the Kraków Ghetto as World War II begins. Oskar Schindler, an ethnic German, arrives in the city hoping to make his fortune. A member of the Nazi Party, Schindler lavishes bribes on Wehrmacht (German armed forces) and SS officials and acquires a factory to produce enamelware. To help him run the business, Schindler enlists the aid of Itzhak Stern, a local Jewish official who has contacts with black marketeers and the Jewish business community. Stern helps Schindler arrange loans to finance the factory. Schindler maintains friendly relations with the Nazis and enjoys wealth and status as "Herr Direktor", and Stern handles administration. Schindler hires Jewish workers because they cost less, while Stern ensures that as many people as possible are deemed essential to the German war effort, which saves them from being transported to concentration camps or killed.
SS-Untersturmführer (second lieutenant) Amon Goeth arrives in Kraków to oversee construction of Płaszów concentration camp. When the camp is completed, he orders the ghetto liquidated. Many people are shot and killed in the process of emptying the ghetto. Schindler witnesses the massacre and is profoundly affected. He particularly notices a tiny girl in a red coat – one of the few splashes of color in the black-and-white film – as she hides from the Nazis. When he later sees the red coat on a wagon loaded with bodies being taken away to be burned, he knows the girl is dead. Schindler is careful to maintain his friendship with Goeth and, through bribery and lavish gifts, continues to enjoy SS support. Goeth brutally mistreats his maid and randomly shoots people from the balcony of his villa, and the prisoners are in constant daily fear for their lives. As time passes, Schindler's focus shifts from making money to trying to save as many lives as possible. He bribes Goeth into allowing him to build a sub-camp for his workers so that he can better protect them.
As the Germans begin to lose the war, Goeth is ordered to ship the remaining Jews at Płaszów to Auschwitz concentration camp. Schindler asks Goeth to allow him to move his workers to a new munitions factory he plans to build in his home town of Zwittau-Brinnlitz. Goeth agrees, but charges a huge bribe. Schindler and Stern create "Schindler's List" – a list of people to be transferred to Brinnlitz and thus saved from transport to Auschwitz.
As Schindler's workers begin to arrive at the new site, the train carrying the women is accidentally redirected to Auschwitz. Schindler bribes the commandant of Auschwitz with a bag of diamonds to win their release. At the new factory, Schindler forbids the SS guards to enter the production areas and encourages the Jews to observe the Sabbath. To keep his workers alive, he spends much of his fortune bribing Nazi officials and buying shell casings from other companies; his factory does not produce any usable armaments during its seven months of operation. Schindler runs out of money just as Germany surrenders, ending the war in Europe.
As a Nazi Party member and war profiteer, Schindler must flee the advancing Red Army to avoid capture. The SS guards have been ordered to kill the Jews, but Schindler persuades them to return to their families as men, not murderers. He bids farewell to his workers and prepares to head west, hoping to surrender to the Americans. The workers give Schindler a signed statement attesting to his role saving Jewish lives, together with a ring engraved with a Talmudic quotation: "Whoever saves one life saves the world entire." Schindler is touched but is also deeply ashamed, as he feels he should have done even more. As the Schindlerjuden (Schindler Jews) awaken the next morning, a Soviet soldier announces that they have been liberated. The Jews leave the factory and walk to a nearby town.
After some scenes depicting Goeth's execution and a summary of Schindler's later life, the black-and-white frame changes to a color shot of actual Schindlerjuden at Schindler's grave in Jerusalem. Accompanied by the actors who portrayed them, the Schindlerjuden place stones on the grave. In the final scene, Neeson places a pair of roses on the grave.
Cast[edit]



Liam Neeson (seen here in 2012) was cast as Oskar Schindler in the film.Liam Neeson as Oskar Schindler
Ben Kingsley as Itzhak Stern
Ralph Fiennes as Amon Goeth
Caroline Goodall as Schindler's wife Emilie
Jonathan Sagall as Poldek Pfefferberg
Embeth Davidtz as Helen Hirsch
Mark Ivanir as Marcel Goldberg
Andrzej Seweryn as Julian Scherner
Jerzy Nowak as Investor
Norbert Weisser as Albert Hujar
Anna Mucha as Danka Dresner
Hans-Michael Rehberg as Rudolf Höß
Daniel Del Ponte as Josef Mengele
Themes[edit]
The film explores the theme of good versus evil, using as its main protagonist a "good German", a popular characterization in American cinema.[4][5] While Goeth is characterised as an almost completely dark and evil person, Schindler gradually evolves from Nazi supporter to rescuer and hero.[6] Thus a second theme of redemption is introduced as Schindler, a disreputable schemer on the edges of respectability, becomes a father figure responsible for saving the lives of over a thousand people.[7][8]
Production[edit]
Development[edit]
Poldek Pfefferberg, one of the Schindlerjuden, made it his life's mission to tell the story of his savior. Pfefferberg attempted to produce a biopic of Oskar Schindler with MGM in 1963, with Howard Koch writing, but the deal fell through.[9][10] In 1982, Thomas Keneally published his historical novel Schindler's Ark, which he wrote after a chance meeting with Pfefferberg in Los Angeles in 1980.[11] MCA president Sid Sheinberg sent director Steven Spielberg a New York Times review of the book. Spielberg, astounded by Schindler's story, jokingly asked if it was true. "I was drawn to it because of the paradoxical nature of the character," he said. "What would drive a man like this to suddenly take everything he had earned and put it all in the service of saving these lives?"[12] Spielberg expressed enough interest for Universal Pictures to buy the rights to the novel.[12] At their first meeting in spring 1983, he told Pfefferberg he would start filming in ten years.[13] In the end credits of the film, Pfefferberg is credited as a consultant under the name Leopold Page.[1]



 The liquidation of the Kraków Ghetto in March 1943 is the subject of a 15-minute segment of the film.
Spielberg was unsure if he was mature enough to make a film about the Holocaust, and the project remained "on [his] guilty conscience". Spielberg tried to pass the project to director Roman Polanski, who turned it down. Polanski's mother was killed at Auschwitz, and he had lived in and survived the Kraków Ghetto.[13] Polanski eventually directed his own Holocaust drama, The Pianist, in 2002. Spielberg also offered the film to Sydney Pollack and Martin Scorsese, who was attached to direct Schindler's List in 1988. However, Spielberg was unsure of letting Scorsese direct the film, as "I'd given away a chance to do something for my children and family about the Holocaust."[14] Spielberg offered him the chance to direct the 1991 remake of Cape Fear instead.[15] Billy Wilder expressed an interest in directing the film as a memorial to his family, most of whom died in the Holocaust.[5]
Spielberg finally decided to take on the project when he noticed that Holocaust deniers were being given serious consideration by the media. With the rise of neo-Nazism after the fall of the Berlin Wall, he worried that people were too accepting of intolerance, as they were in the 1930s.[5] Sid Sheinberg greenlit the film on one condition: that Spielberg make Jurassic Park first. Spielberg later said, "He knew that once I had directed Schindler I wouldn't be able to do Jurassic Park."[2] The picture was assigned a small budget of $22 million, as Holocaust films are not usually profitable.[16][2] Spielberg forewent a salary for the film, calling it "blood money", and believed the film would flop.[2]
In 1983, Keneally was hired to adapt his book, and he turned in a 220-page script. His adaptation focused on Schindler's numerous relationships, and Keneally admitted he did not compress the story enough. Spielberg hired Kurt Luedtke, who had adapted the screenplay of Out of Africa, to write the next draft. Luedtke gave up almost four years later, as he found Schindler's change of heart too unbelievable.[14] During his time as director, Scorsese hired Steven Zaillian to write a script. When he was handed back the project, Spielberg found Zaillian's 115-page draft too short, and asked him to extend it to 195 pages. Spielberg wanted more focus on the Jews in the story, and he wanted Schindler's transition to be gradual and ambiguous, not a sudden breakthrough or epiphany. He extended the ghetto liquidation sequence, as he "felt very strongly that the sequence had to be almost unwatchable."[14]
Casting[edit]
Liam Neeson auditioned as Oskar Schindler early on, and was cast in December 1992, after Spielberg saw him perform in Anna Christie on Broadway.[17] Warren Beatty participated in a script reading, but Spielberg was concerned that he could not disguise his accent and that he would bring "movie star baggage".[18] Kevin Costner and Mel Gibson expressed interest in portraying Schindler, but Spielberg preferred to cast the relatively unknown Neeson, so the actor's star quality would not overpower the character.[19] Neeson felt Schindler enjoyed outsmarting the Nazis, who regarded him as a bit of a buffoon. "They don't quite take him seriously, and he used that to full effect."[20] To help him prepare for the role, Spielberg showed Neeson film clips of Time Warner CEO Steve Ross, who had a charisma that Spielberg compared to Schindler's.[21] He also located a tape of Schindler speaking, which Neeson studied to learn the correct intonations and pitch.[22]
Ralph Fiennes was cast as Amon Goeth after Spielberg viewed his performances in A Dangerous Man: Lawrence After Arabia and Emily Brontë's Wuthering Heights. Spielberg said of Fiennes' audition that "I saw sexual evil. It is all about subtlety: there were moments of kindness that would move across his eyes and then instantly run cold."[23] Fiennes put on 28 pounds (13 kg) to play the role. He watched historic newsreels and talked to Holocaust survivors who knew Goeth. In portraying him, Fiennes said "I got close to his pain. Inside him is a fractured, miserable human being. I feel split about him, sorry for him. He's like some dirty, battered doll I was given and that I came to feel peculiarly attached to."[23] Fiennes looked so much like Goeth in costume that when Mila Pfefferberg (a survivor of the events) met him, she trembled with fear.[23]
The character of Itzhak Stern (played by Ben Kingsley) is a composite of accountant Stern, factory manager Abraham Bankier, and Goeth's personal secretary, Mietek Pemper.[24] The character serves as Schindler's alter ego and conscience.[25] Kingsley is well known for his Academy Award winning performance as Gandhi in the 1982 biographical film.[26]
Overall, there are 126 speaking parts in the film. Thousands of extras were hired during filming.[14] Spielberg cast Israeli and Polish actors specially chosen for their Eastern European appearance.[27] Many of the German actors were reluctant to don the SS uniform, but some of them later thanked Spielberg for the cathartic experience of performing in the movie.[18] Halfway through the shoot, Spielberg conceived the epilogue, where 128 survivors pay their respects at Schindler's grave in Jerusalem. The producers scrambled to find the Schindlerjuden and fly them in to film the scene.[14]
Filming[edit]
Principal photography began on March 1, 1993 in Kraków, Poland, with a planned schedule of 75 days.[28] The crew shot at or near the actual locations, though the Płaszów camp had to be reconstructed in a nearby abandoned quarry, as modern high rise apartments were visible from the site of the original camp.[29][30] Interior shots of the enamelware factory in Kraków were filmed at a similar facility in Olkusz, while exterior shots and the scenes on the factory stairs were filmed at the actual factory.[31] The crew was forbidden to do extensive shooting or construct sets on the grounds at Auschwitz, so they shot at a replica constructed just outside the entrance.[32] There were some antisemitic incidents. A woman who encountered Fiennes in his Nazi uniform told him that "the Germans were charming people. They didn't kill anybody who didn't deserve it".[23] Antisemitic symbols were scrawled on billboards near shooting locations,[14] while Kingsley nearly entered a brawl with an elderly German-speaking businessman who insulted Israeli actor Michael Schneider.[33] Nonetheless, Spielberg stated that at Passover, "all the German actors showed up. They put on yarmulkes and opened up Haggadas, and the Israeli actors moved right next to them and began explaining it to them. And this family of actors sat around and race and culture were just left behind."[33]


"I was hit in the face with my personal life. My upbringing. My Jewishness. The stories my grandparents told me about the Shoah. And Jewish life came pouring back into my heart. I cried all the time."
—Steven Spielberg on his emotional state during the shoot[34]
Shooting Schindler's List was deeply emotional for Spielberg, the subject matter forcing him to confront elements of his childhood, such as the antisemitism he faced. He was surprised that he did not cry while visiting Auschwitz; instead he found himself angry and filled with outrage. He was one of many crew members who could not force themselves to watch during shooting of the scene where aging Jews are forced to run naked while being selected by Nazi doctors to go to Auschwitz.[35] Spielberg commented that he felt more like a reporter than a film maker – he would set up scenes and then watch events unfold, almost as though he were witnessing them rather than creating a movie.[29] Several actresses broke down when filming the shower scene, including one who was born in a concentration camp.[18] Spielberg, his wife Kate Capshaw, and their five children rented a house in suburban Kraków for the duration of filming.[36] He later thanked his wife "for rescuing me ninety-two days in a row ... when things just got too unbearable."[37] Robin Williams called Spielberg to cheer him up, because there was very little humor on the set.[37] Spielberg spent several hours each evening editing Jurassic Park, which was scheduled to premiere in June 1993.[38]
Spielberg occasionally used German and Polish language in scenes to recreate the feeling of being present in the past. He initially considered making the film entirely in those languages, but decided "there's too much safety in reading. It would have been an excuse to take their eyes off the screen and watch something else."[18]
Cinematography[edit]
Influenced by the 1985 documentary film Shoah, Spielberg decided not to plan the film with storyboards, and to shoot it like a documentary. Forty percent of the film was shot with handheld cameras, and the modest budget meant the film was shot quickly over seventy-two days.[39] Spielberg felt that this gave the film "a spontaneity, an edge, and it also serves the subject."[40] He "got rid of the crane, got rid of the Steadicam, got rid of the zoom lenses, got rid of everything that for me might be considered a safety net."[40] This matured Spielberg, who felt that in the past he had always been paying tribute to directors such as Cecil B. DeMille or David Lean.[33]
The decision to shoot the film mainly in black and white lent to the documentary style of cinematography, which cinematographer Janusz Kamiński compared to German Expressionism and Italian neorealism.[40] 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."[29] Spielberg decided use black and white to match the feel of actual documentary footage of the era.[40] 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."[40]
Music[edit]
See also: Schindler's List (soundtrack)
John Williams composed the score for Schindler's List. The composer was amazed by the film, and felt it would be too challenging. He said to Spielberg, "You need a better composer than I am for this film." Spielberg responded, "I know. But they're all dead!"[41] Itzhak Perlman performs the theme on the violin.[1]
Regarding Schindler's List, Perlman said:

Perlman: "I couldn't believe how authentic he [John Williams] got everything to sound, and I said, 'John, where did it come from?' and he said, 'Well I had some practice with Fiddler on the Roof and so on, and everything just came very naturally' and that's the way it sounds."
Interviewer: "When you were first approached to play for Schindler's List, did you give it a second thought, did you agree at once, or did you say 'I'm not sure I want to play for movie music'?
Perlman: "No, that never occurred to me, because in that particular case the subject of the movie was so important to me, and I felt that I could contribute simply by just knowing the history, and feeling the history, and indirectly actually being a victim of that history."[42]
In the scene where the ghetto is being liquidated by the Nazis, the folk song "Oyfn Pripetshik" ("On the Cooking Stove") (Yiddish: אויפֿן פּריפּעטשיק) is sung by a children's choir. The song was often sung by Spielberg's grandmother, Becky, to her grandchildren.[43] The clarinet solos heard in the film were recorded by Klezmer virtuoso Giora Feidman.[44] Williams won an Academy Award for Best Original Score for Schindler's List, his fifth win.[45]
Symbolism[edit]
The girl in red[edit]



 Schindler sees a girl in red during the evacuation. The red coat is one of the few instances of color used in this predominantly black-and-white film.
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 symbolise 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."[46] 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."[47] 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."[48]
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 was "horrified."[49] Upon seeing the film again as an adult, she was proud of the role she played.[49] 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).[50]
Candles[edit]
The opening scene features a family observing the Shabbat. Spielberg said that "to start the film with the candles being lit ... would be a rich bookend, to start the film with a normal Shabbat service before the juggernaut against the Jews begins."[14] When the color fades out in the film's opening moments, it gives way to a world in which smoke comes to symbolize bodies being burnt at Auschwitz. Only at the end, when Schindler allows his workers to hold Shabbat services, do the images of candle fire regain their warmth. For Spielberg, they represent "just a glint of color, and a glimmer of hope."[14] Sara Horowitz, director of the Koschitzky Centre for Jewish Studies at York University, sees the candles as a symbol for the Jews of Europe, killed and then burned in the crematoria. The two scenes bracket the Nazi era, marking its beginning and end.[51] She points out that normally the woman of the house lights the Sabbath candles and intones the Kiddush. In the film it is men who perform these rituals, demonstrating not only the subservient role of women, but also the subservient position of Jewish men in relation to Aryan men, especially Goeth and Schindler.[52]
Other symbolism[edit]
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."[53] 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.[54] 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 some cattle cars 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.[55]
Release[edit]
The film opened on December 15, 1993. By the time it closed in theaters on September 29, 1994, it had grossed $96.1 million in the United States and over $321.2 million worldwide.[56] In Germany, where it was shown in 500 theaters, the film was viewed by over 100,000 people in its first week alone[57] and was eventually seen by six million people.[58] It remained number one in box office receipts in Germany for some time and was a success worldwide.[59]
Schindler's List made its US network television premiere on NBC on February 23, 1997. Shown without commercials, it gained the highest Nielsen rating for any film since NBC's broadcast of Jurassic Park in May 1995. The broadcast was viewed by an estimated 65 million people.[60] The film aired on public television in Israel on Holocaust Memorial Day in 1998.[61]
The DVD was released on March 9, 2004 in widescreen and fullscreen editions, on a double-sided disc with the feature film beginning on side A and continuing on side B. Special features include a documentary introduced by Spielberg.[62] Also released for both formats was a limited edition gift set, which included the widescreen version of the film, Keneally's novel, the film's soundtrack on CD, a senitype, and a photo booklet titled Schindler's List: Images of the Steven Spielberg Film, all housed in a plexiglass case.[63] The laserdisc gift set was a limited edition, with only 10,000 copies manufactured. The set included the soundtrack, the original novel, and an exclusive photo booklet.[64] As part of its 20th anniversary, the movie was released on Blu-ray Disc on March 5, 2013.[65]
Following the success of the film, Spielberg founded the Survivors of the Shoah Visual History Foundation, a nonprofit organization with the goal of providing an archive for the filmed testimony of as many survivors of the Holocaust as possible, to save their stories. He continues to finance that work.[66] Spielberg used proceeds from the film to finance several related documentaries, including Anne Frank Remembered (1995), The Lost Children of Berlin (1996), and The Last Days (1998).[67]
Reception[edit]
Critical response[edit]
Schindler's List is widely acclaimed as a remarkable achievement by film critics and audiences.[68] Notable Americans such as talk show host Oprah Winfrey and President Bill Clinton urged their countrymen to see it.[69][3] World leaders in many countries saw the film, and some met personally with Spielberg.[3] Stephen Schiff of The New Yorker called it the best fiction feature about the Holocaust, a movie that "will take its place in cultural history and remain there."[70] Roger Ebert described it as Spielberg's best, "brilliantly acted, written, directed, and seen."[71] Terrence Rafferty, also with The New Yorker, admired the film's "narrative boldness, visual audacity, and emotional directness." He noted the performances of Neeson, Fiennes, Kingsley, and Davidtz as warranting special praise,[72] and calls the scene in the shower at Auschwitz "the most terrifying sequence ever filmed."[73] James Verniere of the Boston Herald noted the film's restraint and lack of sensationalism, and called it a "major addition to the body of work about the Holocaust."[74] In his review for the New York Review of Books, British critic John Gross said his misgivings that the story would be overly sentimentalized "were altogether misplaced. Spielberg shows a firm moral and emotional grasp of his material. The film is an outstanding achievement."[75] Mintz notes that even the film's harshest critics admire the "visual brilliance" of the fifteen-minute segment depicting the liquidation of the Kraków ghetto. He describes the sequence as "realistic" and "stunning".[76] He points out that the film has done much to increase Holocaust remembrance and awareness as the remaining survivors pass away, severing the last living links with the catastrophe.[77] The film's release in Germany led to widespread discussion about why most Germans didn't do more to help.[78]
Criticism of the film also appeared, mostly from academia rather than the popular press.[79] Horowitz points out that much of the Jewish activity seen in the ghetto consists of financial transactions such as lending money, trading on the black market, or hiding wealth, thus perpetuating a stereotypical view of Jewish life.[80] Horowitz notes that while the depiction of women in the film accurately reflects Nazi ideology, the low status of women and the link between violence and sexuality is depicted unremarked.[81] History professor Omer Bartov of Brown University notes that the physically large and strongly drawn characters of Schindler and Goeth overshadow the Jewish victims, who are depicted as small, scurrying, and frightened – a mere backdrop to the struggle of good versus evil.[82] Horowitz points out that the film's dichotomy of absolute good versus absolute evil glosses over the fact that the vast majority of Holocaust perpetrators were ordinary people; the movie does not explore how the average German rationalized their knowledge of or participation in the Holocaust.[83] Author Jason Epstein commented that the movie gives the impression that if people were smart enough or lucky enough, they could survive the Holocaust; this was not actually the case.[84] Spielberg responded to criticism that Schindler's breakdown as he says farewell is too maudlin and even out of character by pointing out that the scene is needed to drive home the sense of loss and to allow the viewer an opportunity to mourn alongside the characters on the screen.[85]
Assessment by other film makers[edit]
Schindler's List was very well received by many of Spielberg's peers. Filmmaker Billy Wilder wrote a long letter of appreciation to Spielberg in which he proclaimed, "They couldn't have gotten a better man. This movie is absolutely perfection."[5] Polanski, who turned down the chance to direct the film, later commented, "I certainly wouldn't have done as good a job as Spielberg because I couldn't have been as objective as he was."[86] He cited Schindler's List as an influence on his 1995 film Death and the Maiden.[87] The success of Schindler's List led filmmaker Stanley Kubrick to abandon his own Holocaust project, Aryan Papers, which would have been about a Jewish boy and his aunt who survive the war by sneaking through Poland while pretending to be Catholic.[88] When scriptwriter Frederic Raphael suggested that Schindler's List was a good representation of the Holocaust, Kubrick commented, "Think that's about the Holocaust? That was about success, wasn't it? The Holocaust is about 6 million people who get killed. Schindler's List is about 600 who don't."[88]
Filmmaker Jean-Luc Godard accused Spielberg of using the film to make a profit of tragedy while Schindler's wife, Emilie Schindler, lived in poverty in Argentina.[89] Keneally disputed claims that she was never paid for her contributions, "not least because I had recently sent Emilie a check myself."[90] He also confirmed with Spielberg's office that payment had been sent from there.[90] Filmmaker Michael Haneke criticized the sequence in which Schindler's women are accidentally sent off to Auschwitz and herded into showers: "There's a scene in that film when we don't know if there's gas or water coming out in the showers in the camp. You can only do something like that with a naive audience like in the United States. It's not an appropriate use of the form. Spielberg meant well – but it was dumb."[91]
The film was attacked by filmmaker and professor Claude Lanzmann, director of the nine-hour Holocaust documentary Shoah, who called Schindler's List a "kitschy melodrama" and a "deformation" of historical truth. Lanzmann was especially critical of Spielberg for viewing the Holocaust through the eyes of a German. Believing his own film to be the definitive account of the Holocaust, Lanzmann complained, "I sincerely thought that there was a time before Shoah, and a time after Shoah, and that after Shoah certain things could no longer be done. Spielberg did them anyway."[92] Spielberg accused him of wanting to be "the only voice in the definitive account of the Holocaust. It amazed me that there could be any hurt feelings in an effort to reflect the truth."[93]
Reaction of the Jewish community[edit]
At a 1994 Village Voice symposium about the film, historian Annette Insdorf described how her mother, a survivor of three concentration camps, felt gratitude that the Holocaust story was finally being told in a major film that would be widely viewed.[94] Hungarian Jewish author Imre Kertész, a Holocaust survivor, feels it is impossible for life in a Nazi concentration camp to be accurately portrayed by anyone who did not experience it first-hand. While commending Spielberg for bringing the story to a wide audience, he found the film's final scene at the graveyard neglected the terrible after-effects of the experience on the survivors and implied that they came through emotionally unscathed.[95] Rabbi Uri D. Herscher found the film an "appealing" and "uplifting" demonstration of humanitarianism.[96] Norbert Friedman noted that, like many Holocaust survivors, he reacted with a feeling of solidarity towards Spielberg of a sort normally reserved for other survivors.[97] Albert L. Lewis, Spielberg's childhood rabbi and teacher, described the movie as "Steven's gift to his mother, to his people, and in a sense to himself. Now he is a full human being."[96]
Accolades[edit]
Schindler's List featured on a number of "best of" lists, including the Time magazine's Top Hundred as selected by critics Richard Corliss and Richard Schickel,[98] Time Out magazine's 100 Greatest Films Centenary Poll conducted in 1995,[99] and Leonard Maltin's "100 Must See Movies of the Century".[100] The Vatican named Schindler's List among the most important 45 films ever made.[101] A Channel 4 poll named Schindler's List the ninth greatest film of all time,[102] and it ranked fourth in their 2005 war films poll.[103] Deeming the film "culturally significant", the Library of Congress selected it for preservation in the National Film Registry in 2004.[104]
Major awards

Category
Subject
Result

Academy Awards[45]

Best Picture
Steven Spielberg
Gerald R. Molen
Branko Lustig
 Won
Best Director
Steven Spielberg Won
Best Adapted Screenplay
Steven Zaillian Won
Best Original Score
John Williams Won[a]
Best Film Editing
Michael Kahn Won
Best Cinematography
Janusz Kamiński Won
Best Art Direction
Ewa Braun
Allan Starski
 Won
Best Actor
Liam Neeson Nominated
Best Supporting Actor
Ralph Fiennes Nominated
Best Sound
Andy Nelson
Steve Pederson
Scott Millan
Ron Judkins
 Nominated
Best Makeup and Hairstyling
Christina Smith
Matthew Mungle
Judy Alexander Cory
 Nominated
Best Costume Design
Anna B. Sheppard Nominated
ACE Eddie Award[105]

Best Editing
Michael Kahn Won
BAFTA Awards[106]

Best Film
Steven Spielberg
Branko Lustig
Gerald R. Molen
 Won
Best Direction
Steven Spielberg Won
Best Supporting Actor
Ralph Fiennes Won
Best Adapted Screenplay
Steven Zaillian Won
Best Music
John Williams Won
Best Editing
Michael Kahn Won
Best Cinematography
Janusz Kamiński Won
Best Actor
Liam Neeson Nominated
Best Makeup and Hair
Christina Smith
Matthew W. Mungle
Waldemar Pokromski
Pauline Heys
 Nominated
Best Production Design
Allan Starski Nominated
Best Costume Design
Anna B. Sheppard Nominated
Best Sound
Charles L Campbell
Louis L Edemann
Robert Jackson
Ronald Judkins
Andy Nelson
Steve Pederson
Scott Millan
 Nominated
Golden Globe Awards[107]

Best Motion Picture – Drama
Steven Spielberg
Gerald R. Molen
Branko Lustig
 Won
Best Director
Steven Spielberg Won
Best Screenplay
Steven Zaillian Won
Best Actor – Motion Picture Drama
Liam Neeson Nominated
Best Supporting Actor – Motion Picture
Ralph Fiennes Nominated
Best Original Score
John Williams Nominated
American Film Institute recognition

Year
List
Result

1998
AFI's 100 Years...100 Movies #9[108]
2003
AFI's 100 Years...100 Heroes and Villains Oskar Schindler – #13 hero; Amon Goeth – #15 villain[109]
2005
AFI's 100 Years...100 Movie Quotes "The list is an absolute good. The list is life." – nominated[110]
2006
AFI's 100 Years...100 Cheers #3[111]
2007
AFI's 100 Years...100 Movies (10th Anniversary Edition) #8[112]
2008
AFI's 10 Top 10 #3 epic film[113]
Controversies[edit]



 Commemorative plaque at Emalia, Schindler's factory in Kraków
For the 1997 American television showing, the film was broadcast virtually unedited. The telecast was the first to receive a TV-M (now TV-MA) rating under the TV Parental Guidelines that had been established earlier that year.[60] Senator Tom Coburn, then an Oklahoma congressman, said that in airing the film, NBC had brought television "to an all-time low, with full-frontal nudity, violence and profanity", adding that it was an insult to "decent-minded individuals everywhere".[114] Under fire from both Republicans and Democrats, Coburn apologized, saying: "My intentions were good, but I've obviously made an error in judgment in how I've gone about saying what I wanted to say." He clarified his opinion, stating that the film ought to have been aired later at night when there wouldn't be "large numbers of children watching without parental supervision".[115]
Controversy arose in Germany for the film's television premiere on ProSieben. Heavy protests ensued when the station intended to televise it with two commercial breaks. As a compromise, the broadcast included one break, consisting of a short news update and several commercials.[58]
In the Philippines, chief censor Henrietta Mendez ordered cuts of three scenes depicting sexual intercourse and female nudity before the movie could be shown in theaters. Spielberg refused, and pulled the film from screening in Philippine cinemas, which prompted the Senate to demand the abolition of the censorship board. President Fidel V. Ramos himself intervened, ruling that the movie could be shown uncut to anyone over the age of 15.[116]
According to Slovak filmmaker Juraj Herz, the scene in which a group of women confuse an actual shower with a gas chamber is taken directly, shot by shot, from his film Zastihla mě noc (Night Caught Up with Me, 1986). Herz wanted to sue, but was unable to come up with the money to fund the effort.[117]
The song Yerushalayim Shel Zahav ("Jerusalem of Gold") is featured in the film's soundtrack and plays near the end of the film. This caused some controversy in Israel, as the song (which was written in 1967 by Naomi Shemer) is widely considered an informal anthem of the Israeli victory in the Six-Day War. In Israeli prints of the film the song was replaced with Halikha LeKesariya ("A Walk to Caesarea") by Hannah Szenes, a World War II resistance fighter.[118]
See also[edit]
List of films considered the best
Notes[edit]
a.Jump up ^ Williams also won a Grammy for the film's musical score. Freer 2001, p. 234.
Citations[edit]
1.^ Jump up to: a b c Freer 2001, p. 220.
2.^ Jump up to: a b c d McBride 1997, p. 416.
3.^ Jump up to: a b c McBride 1997, p. 435.
4.Jump up ^ Loshitsky 1997, p. 5.
5.^ Jump up to: a b c d McBride 1997, p. 427.
6.Jump up ^ McBride 1997, p. 428.
7.Jump up ^ Loshitsky 1997, p. 43.
8.Jump up ^ McBride 1997, p. 436.
9.Jump up ^ McBride 1997, p. 425.
10.Jump up ^ Crowe 2004, p. 557.
11.Jump up ^ Palowski 1998, p. 6.
12.^ Jump up to: a b McBride 1997, p. 424.
13.^ Jump up to: a b McBride 1997, p. 426.
14.^ Jump up to: a b c d e f g h Thompson 1994.
15.Jump up ^ Crowe 2004, p. 603.
16.Jump up ^ Palowski 1998, p. 27.
17.Jump up ^ Palowski 1998, pp. 86–87.
18.^ Jump up to: a b c d Susan Royal interview.
19.Jump up ^ Palowski 1998, p. 86.
20.Jump up ^ Entertainment Weekly, January 21, 1994.
21.Jump up ^ McBride 1997, p. 429.
22.Jump up ^ Palowski 1998, p. 87.
23.^ Jump up to: a b c d Corliss 1994.
24.Jump up ^ Crowe 2004, p. 102.
25.Jump up ^ Freer 2001, p. 225.
26.Jump up ^ Palowski 1998, pp. 87–88.
27.Jump up ^ Mintz 2001, p. 128.
28.Jump up ^ Palowski 1998, p. 48.
29.^ Jump up to: a b c McBride 1997, p. 431.
30.Jump up ^ Palowski 1998, p. 14.
31.Jump up ^ Palowski 1998, pp. 109, 111.
32.Jump up ^ Palowski 1998, p. 62.
33.^ Jump up to: a b c Ansen & Kuflik 1993.
34.Jump up ^ McBride 1997, p. 414.
35.Jump up ^ McBride 1997, p. 433.
36.Jump up ^ Palowski 1998, p. 44.
37.^ Jump up to: a b McBride 1997, p. 415.
38.Jump up ^ Palowski 1998, p. 45.
39.Jump up ^ McBride 1997, pp. 431–432, 434.
40.^ Jump up to: a b c d e McBride 1997, p. 432.
41.Jump up ^ Gangel 2005.
42.Jump up ^ Perlman video interview.
43.Jump up ^ Rubin 2001, pp. 73–74.
44.Jump up ^ Medien 2011.
45.^ Jump up to: a b 66th Academy Awards 1994.
46.Jump up ^ Schickel 2012, pp. 161–162.
47.Jump up ^ Patrizio 2004.
48.Jump up ^ Caron 2003.
49.^ Jump up to: a b Gilman 2013.
50.Jump up ^ Logocka 2002.
51.Jump up ^ Horowitz 1997, p. 124.
52.Jump up ^ Horowitz 1997, pp. 126–127.
53.Jump up ^ Palowski 1998, p. 112.
54.Jump up ^ Gellately 1993.
55.Jump up ^ Mintz 2001, p. 154.
56.Jump up ^ Freer 2001, p. 233.
57.Jump up ^ Loshitsky 1997, pp. 9, 14.
58.^ Jump up to: a b Berliner Zeitung 1997.
59.Jump up ^ Loshitsky 1997, pp. 11, 14.
60.^ Jump up to: a b Chuang 1997.
61.Jump up ^ Meyers, Zandberg & Neiger 2009, p. 456.
62.Jump up ^ Amazon, DVD.
63.Jump up ^ Amazon, Gift set.
64.Jump up ^ IMDb, Laserdisc.
65.Jump up ^ Amazon, Blu-ray.
66.Jump up ^ Freer 2001, p. 235.
67.Jump up ^ Freer 2001, pp. 235–236.
68.Jump up ^ Mintz 2001, p. 126.
69.Jump up ^ Horowitz 1997, p. 119.
70.Jump up ^ Schiff 1994, p. 98.
71.Jump up ^ Ebert 1993.
72.Jump up ^ Rafferty 1993.
73.Jump up ^ Mintz 2001, p. 132.
74.Jump up ^ Verniere 1993.
75.Jump up ^ Gross 1994.
76.Jump up ^ Mintz 2001, p. 147.
77.Jump up ^ Mintz 2001, p. 131.
78.Jump up ^ Houston Post 1994.
79.Jump up ^ Mintz 2001, p. 134.
80.Jump up ^ Horowitz 1997, pp. 138–139.
81.Jump up ^ Horowitz 1997, p. 130.
82.Jump up ^ Bartov 1997, p. 49.
83.Jump up ^ Horowitz 1997, p. 137.
84.Jump up ^ Epstein 1994.
85.Jump up ^ McBride 1997, p. 439.
86.Jump up ^ Cronin 2005, p. 168.
87.Jump up ^ Cronin 2005, p. 167.
88.^ Jump up to: a b Goldman 2005.
89.Jump up ^ Ebert 2002.
90.^ Jump up to: a b Keneally 2007, p. 265.
91.Jump up ^ Haneke 2009.
92.Jump up ^ Lanzmann 2007.
93.Jump up ^ McBride 1997, p. 434.
94.Jump up ^ Mintz 2001, pp. 136–137.
95.Jump up ^ Kertész 2001.
96.^ Jump up to: a b McBride 1997, p. 440.
97.Jump up ^ Mintz 2001, p. 136.
98.Jump up ^ Corliss & Schickel 2005.
99.Jump up ^ Time Out Film Guide 1995.
100.Jump up ^ Maltin 1999.
101.Jump up ^ Greydanus 1995.
102.Jump up ^ Channel 4 2008.
103.Jump up ^ Channel 4 2005.
104.Jump up ^ Library of Congress 2004.
105.Jump up ^ Giardina 2011.
106.Jump up ^ BAFTA Awards 1993.
107.Jump up ^ Golden Globe Awards 1993.
108.Jump up ^ American Film Institute 1998.
109.Jump up ^ American Film Institute 2003.
110.Jump up ^ American Film Institute 2005.
111.Jump up ^ American Film Institute 2006.
112.Jump up ^ American Film Institute 2007.
113.Jump up ^ American Film Institute 2008.
114.Jump up ^ Chicago Tribune 1997.
115.Jump up ^ CNN 1997.
116.Jump up ^ Branigin 1994.
117.Jump up ^ Kosulicova 2002.
118.Jump up ^ Bresheeth 1997, p. 205.
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Gangel, Jamie (May 6, 2005). "The man behind the music of 'Star Wars'". NBC. Retrieved October 17, 2013.
Gellately, Robert (1993). "Between Exploitation, Rescue, and Annihilation: Reviewing Schindler's List". Central European History (Cambridge: Cambridge University Press) 26 (4): 475–489. doi:10.1017/S0008938900009419. JSTOR 4546374.
Giardina, Carolyn (February 7, 2011). "Michael Kahn, Michael Brown to Receive ACE Lifetime Achievement Awards". The Hollywood Reporter (Lynne Segall). Retrieved December 7, 2013.
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External links[edit]
 Wikiquote has a collection of quotations related to: Schindler's List
Schindler's List at the Internet Movie Database
Schindler's List at the TCM Movie Database
Schindler's List at Box Office Mojo
Schindler's List at Rotten Tomatoes
Schindler's List at Metacritic
The Shoah Foundation, founded by Steven Spielberg, preserves the testimonies of Holocaust survivors and witnesses
Through the Lens of History: Aerial Evidence for Schindler’s List at Yad Vashem
Schindler's List bibliography at UC Berkeley
Voices on Antisemitism Interview with Ralph Fiennes from the U.S. Holocaust Memorial Museum
Voices on Antisemitism interview with Sir Ben Kingsley from the United States Holocaust Memorial Museum
"Schindler's List: Myth, movie, and memory". The Village Voice: 24–31. March 29, 1994.

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