“Cartmanland,” the sixth episode of season five of South Park, contains a specific reference to the Book of Job. In the story, Cartman’s grandmother dies and leaves her entire life savings to Cartman, because she believes the rest of her family would just spend the money on crack. Cartman decides to use the money to fulfill his dream of having a theme park all to himself. So, he purchases a theme park that was on the verge of going out of business and renames it Cartmanland. Cartman uses the park solely for his own fun and makes it a point to advertise on television that no one else may enter the park or ride the rides.
Kyle is horrified that a person as despicable as Cartman is experiencing such good fortune and questions his faith in God. Kyle’s faith is further damaged by the discovery that he has a hemorrhoid. Kyle and Stan decide to try to break into the park by climbing the fence, but this only makes Kyle’s situation worse: his hemorrhoid breaks and becomes infected, leaving him hospitalized. Kyle’s parents try to cheer him up by reading him the Book of Job, but they forget to mention the ending, where Job receives more material wealth than he previously had. Kyle is horrified and his health begins to fade as the hemorrhoid infection spreads to his lungs.
Kyle’s health only improves when he discovers that Cartman’s plan to have Cartmanland all to himself fails and he ends up worse off than he was before inheriting the million dollars. Cartman had to allow in guests to defray operating expenses, was fined by the IRS for not keeping tax records, was sued by Kenny’s parents because Kenny died in the park, and ends the show by losing the park and being $13,000 in debt to the IRS, sprayed with mace and crying, restoring Kyle’s faith in God.
In Becoming Ottomans: Sephardi Jews and Imperial Citizenship in the Modern Era, Julia Phillips Cohen examines the ways in which the Jewish community in the Ottoman Empire engaged in image management and identity construction through media, philanthropy and by engaging in patriotic behaviors. Cohen’s goal is to use the Ottoman Jewish example to show that the concept of imperial citizenship emerged earlier than what had been suggested by earlier works. Using newspapers, letters, consular reports, photographs, and postcards, Cohen creates a narrative that shows how the Jewish community conceptualized their place in the Ottoman Empire and how that self-image changed over time.
Cohen argues that prior to her work on the Jewish community’s relationship with the Ottoman state, previous scholarship had created a distorted narrative by relying on a narrow group of Jewish chroniclers who were sympathetic to the Ottoman state. Throughout her work, she gives examples of how the trope of a special relationship existing between the empire and the Jewish community was used to create and maintain an image of loyalty and patriotism, but shouldn’t be taken at face-value, because it oversimplifies a complex and constantly changing dynamic that reflected contemporary issues and needs.
Becoming Ottomans has a narrow focus on the Jewish community, but the narrative Cohen has produced can be used as a basic model for understanding how minority communities and their relationship to the state apparatus changed over time. Initially, Cohen states that the Jewish community was not even included in the imperial government’s considerations, but that oversight does not seem to have been malicious. There were simply too few total Jews and too few in positions of power for the government to have given them any consideration. It is also probably the Jews did not figure into imperial decisions very often because the Ottomans’ primary problem was Christian Europe.
With effort, the Jews were able to make their presence felt and gain recognition for their patriotism and loyalty to the state. Jewish attempts to appear patriotic was initially a response to a fear of being considered “inside outsiders”, a potential threat to the empire. This is an important concept that touches on the tension between Muslims and non-Muslims in the empire and shows that despite official rhetoric about equality, there was always a sense of the empire belonging to Muslims. Cohen did an excellent job of exploring this idea by showing how Jews attempted to adopt the language and symbols of Islam in an effort to fit in. By the end of Cohen’s narrative, Ottoman Jews in other countries identified with the empire, so the constant efforts of the community’s elite to mold Jews into citizens with a sense of loyalty to the empire were successful.
The final chapter of Cohen’s book, dealing with “Contest and Conflict,” was confusing and spent too much time describing competition between Jewish clubs, almost obscuring the more important conflict between pro and anti-Zionists, which has greater implications for later Middle Eastern history. I also felt like Cohen should have spent more time discussing the impact of the Sephardic cooption of the Ottoman Jewish narrative on the Mizrahi, but that may have taken her too far outside the scope of her intended argument. I also received the impression that she intended this book to be consumed by scholars familiar with Jewish history, since she failed to explain issues she brought up that would not be readily comprehended by someone unfamiliar with Judaism. A good example is the problem of the Turkish ice cream seller and eating meat. If one did not understand kosher dietary laws, the entire conflict would make no sense.
In The Butcher’s Tale: Murder and Anti-Semitism in a German Town (2014), Helmut Walser Smith uses the murder of Ernst Winter in Konitz in 1900 as a lens through which to examine the historical place of the Jews in German and Christian society. The narrative is constructed like a murder-mystery novel that contains analysis both of the event itself and historical anti-Semitism. Smith does an excellent job of interjecting his analysis into the narrative in a way that maintains the pace and “action” of the story, with the exception of Chapter 5, “Performing Ritual Murder,” which is necessarily more abstract, but feels out of place, as if it just happened to find itself in the middle of an otherwise fluid narrative.
Through his examination of Winter’s murder and the reaction of the people of Konitz, Smith touches on the idea of nations, nationalism and state formation. Who gets to be German? What are the criteria? In a period of crisis, clear lines were drawn between “us” and “them,” with the Jews being clearly placed outside of German society. Based on Smith’s work, the majority of the Jews in Konitz led what might be called average lives. Many did not see themselves as very different from their neighbors. Some rejected Judaism and Jewishness altogether, like the boy that incriminated his father in an 1882 trial regarding a ritual murder charge in Tisza-Eszlar in Hungary (Kindle location 1801). Reform Judaism was on the rise. Most Jews clearly wanted to separate themselves from their past and become German, to one degree or another. What stopped them was latent anti-Semitism that continued to come to the fore during times of crisis.
Another important force that buttressed anti-Semitism during the early 1900s was the press. Because of Germany’s high literacy rates and the apparent freedom to publish uncensored material, “journalists” like Bruhn were able to cater to a demographic that craved news that satisfied their existing world view that supposed Jews really did commit ritual murders. Bruhn, and others like him, leapt on every opportunity to publish sensational stories, much like modern tabloids, invariably making the situation for Jews worse. It makes one question how free the press should be allowed to be. Why does the free press work in the modern US, but so obviously failed in Germany in 1900? One possibility is that the people were not so far removed from natural, learned behaviors imparted to them by their religious affiliation and past.
Smith attempts to explain this by looking at the history of ritual murder accusations and their relationship to the idea of host desecration. The idea that Jews might desecrate the “host” through desecrating a cracker perpetuated the image of Jews as Christ-killers, as people beyond the pale of civilization. Ritual murders were supposedly re-enactments of the murder of Christ. In a period of secularization, where highly educated people were denouncing ritual murder as a myth from an age of barbarism, average people were still by-and-large defining themselves based on religious affiliation. It is interesting that when it came to Jews, Christians in general united in hatred against them, regardless of their personal denominational affiliation.
One of the weak points of Smith’s work is the failure to more clearly link the events that happened in Konitz with Hitler, whom he discusses in the opening of the book as representing the fringe, rather than the mainstream of German society (Kindle location 152). In fact, Smith’s narrative, which shows a nearly united Christian front, ready to accept and lie to support ritual murder charges, seems to contradict that statement. Like the ritual murder charge, anti-Semitism in general did not die out, but rested “in repose,” both among Catholics and Protestants and served as the unifying factor that excluded Jews from belonging to the nation, which in turn constituted the imagined state (Kindle location 1552).
The ice cream truck. We each got a vanilla sugar cone. It was that kind of day.
A woman doing an oil painting of the scenery.
Jewish kids playing.
A view of the Hudson River.
My wife and I have been taking some time to go out for long walks while I’m not so swamped with classwork. Central Park is nice, but we live a lot closer to Fort Tryon Park, which is also an awesome place to visit. We can walk there from where we live and the park itself has some great views of the Hudson River and The Cloisters, a branch of the Metropolitan Museum of Art that houses a large part of the museum’s medieval collection.
We walked around there on a Saturday afternoon. Since it was a Saturday afternoon, the park was full of Jewish people relaxing for Shabbat. We saw families sitting on benches, walking together, taking in the view, and kids playing. There were groups of people on picnic blankets and some playing games.
My wife and I would like to go back and have a picnic. Maybe we can pull that off this weekend.
Tono Brtko, from The Shop on Main Street*, and Oskar Schindler, from Schindler’s List, are both main characters in Holocaust films that, while similar, have very different impacts on the Jewish communities they interact with. The Shop on Main Street takes place in a small town in Slovakia during 1942, at a time when the fascist government is cracking down on Jewish residents. Schindler’s List** takes place in the latter years of World War II in and around Kraków, Poland. Both characters are non-Jews that are placed in positions of power over Jewish people, one as a shop manager and the other as a factory owner. The roles are similar, but because of the different motivations that guide Tono and Schindler’s actions, their relationships with Jews lead to very different results.
The more complicated of the two characters by far is Tono Brtko. The Shop on Main Street is a highly symbolic film and endless meaning can be read into Tono’s actions, but it is fairly safe to say that Tono represents the Slovakian nation. He is “Mr. Everyman Slovakia” and his behavior in the film can be seen as a critique of how the average Slovakian citizen treated his or her Jewish neighbors. In the film, all of those Jewish neighbors are represented by Mrs. Lautmann, a widow that runs a bankrupt button shop on Main Street.
Tono’s relationship with Mrs. Lautmann is essentially predatory. Throughout the film, he acts only in his own interest. Tono’s only purpose in interacting with Mrs. Lautmann is to satisfy his greed. As part of the Aryanization process in Slovakia, Jewish people were required to turn over their businesses to Aryan managers. This is depicted in the film and, because of his brother-in-law’s position, Tono is appointed Arisator of Mrs. Lautmann’s button shop. The idea of stealing the wealth of another person and not having to work for it put Tono in good spirits, which were dashed when he realized Mrs. Lautmann’s store was bankrupt and had nothing to offer him. The only reason he continued to have anything to do with her was because the Jewish community offered him a salary to look after Mrs. Lautmann and her shop. So, Tono was only interested in Mrs. Lautmann when there was an apparent means of profiting from her situation.
Oskar Schindler, in Schindler’s List, is easier to understand. He is the hero of the story and a hero of the Jewish people. His development as a character follows a path similar to Tono’s, but there is a key difference. Unlike Schindler, Tono never has a change of heart. He never wants to help Jewish people because it is the right thing to do. Instead, he is only interested in profit. Schindler is depicted as being far more altruistic. At the beginning of the movie, Schindler is a cold, calculating business man who sees an opportunity to make massive profit off of cheap Jewish slave-labor during wartime conditions. This is similar to Tono’s desire to become wealthy through the acquisition of Mrs. Lautmann’s shop. In both cases, they are stealing the labor of others and converting it into personal profit, but when Schindler comes to understand the brutality of the Nazis, he empathizes with the Jews and expends all of his wealth in an effort to save as many of them as he can.
At the end of The Shop on Main Street, Tono attempts to hide Mrs. Lautmann from fascist soldiers approaching the button shop. It is possible that he does this because, in that moment of crisis, he realizes he actually cares about Mrs. Lautmann and feels guilty about what is going on, but it is more likely that Tono acted out of self-interested fear for his own well-being and a desire to avoid being considered a “Jew-lover.” In contrast, Schindler takes much greater risks than Tono in an effort to save people.
At the end of the two movies, both Tono and Schindler are broke, but while Tono ultimately has nothing to show for his efforts except a town empty of Jews, Schindler has saved over a thousand lives. If Tono had come to the same conclusion as Schindler, he could have saved Mrs. Lautmann, but because he was only thinking of how to profit from her, he caused her death. In the end, Tono and Schindler really aren’t that alike after all. They start out in similar circumstances, profiting from the labor of others, but their motivations and desires set them widely apart.
*For more on The Shop on Main Street, see this post:
(For more on Schindler’s List, also check out this additional post that summarizes common criticism’s of the movie.)
Schindler’s Listis a movie by Steven Spielberg that was released in 1993. The movie is based loosely on a book written by Thomas Keneally, which is also called Schindler’s List. The book, in turn, is based on the eyewitness testimony of Holocaust survivors who were saved by the actions of Oskar Schindler, a German industrialist and member of the Nazi Party who used his position and influence to turn his enamelware manufacturing labor camp into a refuge for Jews. The movie attempts to track the course of these events while also showing Schindler’s inner transformation from a cold, calculating businessman into a savior. The events depicted in the movie take place near the end of World War II in Kraków and later in the Płaszów labor/concentration camp, both of which are in Poland.
Various methods were used to turn this semi-historical information into an entertaining movie. Spielberg’s choice of coloring in the film was very intentional. Schindler’s List was designed in a way to make the audience feel as though they were viewing something historically accurate and making the film (mostly) black and white, rather than color, was a deliberate and effective means of making that connection. This was probably done to connect emotionally with the viewer and pull him or her along as the story progresses. Spielberg also set up his characters in an oppositional way that is simple and easy to understand, probably to appeal to a wider audience, and reinforced this image of good vs. evil through the use of light and dark imagery.
Schindler’s List is almost entirely shot in black and white, but there are scenes that are in color for added effect. The opening scene of the movie is in full color and shows a Jewish family lighting the Shabbat candles on a Friday evening. As the candles burn down and the flame goes out, the film transitions to full black and white. The point of this switch to black and white is to give the movie a documentary-style feel, to impress upon the viewer the historical reality of what is being depicted and more easily elicit an emotional response. I won’t go into the problem of presenting fictionalized material in a way that makes it appear to be completely historically accurate here. Essentially, what Spielberg has done is make it easier for the audience to empathize with people they know are real. The climax of this effective use of color is in the final scenes, when the characters in black and white transition to the actual living survivors when the film was shot. They are shown moving across a field and then moving forward in a line to lay flowers on the grave of Oskar Schindler. That scene completes the emotional connection and reinforces the power of what the audience just saw in the rest of the film.
The most famous use of color in the film is the “girl in the red coat” in the Kraków ghetto liquidation scene. In this scene, everything is black and white except for the coat a little girl is wearing. The camera follows her as she walks down a street and adults are gunned down behind her and in front of her. This is meant to draw the audience’s attention and probably to emphasize the innocence of the children who suffered through this event. The next time the audience sees the red coat the little girl was wearing is when it is in a pile in a wheelbarrow. The audience is left to draw the conclusion that she no longer needs it anymore, because she is dead. Another instance of coloring in the film is during the Friday Shabbat candle lighting ceremony in Schindler’s factory. Schindler not only gives permission to, but insists that the rabbi in the factory welcome the Sabbath. During this scene, the flames of the candle are in color again, like they were in the opening scene of the movie. This may indicate a restoration of the Jewish people, through Schindler’s respect for them as human beings.
Color also plays an important role in the depiction of characters in the film, primarily in the use of shadows on their faces. This ties in with the essentially oppositional nature of the main characters in the film: Oskar Schindler and Amon Goeth. To make this film more easily understood by a wider audience, Spielberg created a good vs. evil paradigm that posits Schindler as the hero and Goeth as the bad guy. Schindler is the troubled hero who starts out selfish and uninterested in others, much like Spiderman. Like Peter Parker, Schindler has to experience a traumatic event before he changes his mind about the Jewish people and uses his power for good. Like Parker’s uncle Ben, Schindler has the one-armed man and the girl in the red coat, among others. Schindler’s path to heroism is painted in a very easily understood way. Goeth is presented as an ultimate evil, a man that is beyond the bounds of sanity. He even has an evil sounding accent and an army of evil henchmen (the camp guards). To take the comic-book reference a bit further, we can think of Helen Hirsch as the damsel in distress that the hero, Schindler, rescues from the bad guy, Goeth.
This set-up of hero and villain is reinforced throughout the film by facial lighting effects. When Schindler is introduced, he is dark and mysterious and his face isn’t shown in full. When he is doing something negative, his face is in shadows. For example, when a Jewish woman shows up at his office to ask for his help, he is shown at the top of a staircase, in the distance and completely in shadows. Why? Because this scene shows him bowing to his dark impulses. In this case, he is acting on his lust for attractive women and because this woman is dressed conservatively, he sends her away. When she comes back dressed in a sexually appealing way, he agrees to meet her. When Schindler does something good, his face is shown fully lighted. An example is when he gives a chocolate bar to Helen Hirsch when questioning her in the basement, to reveal his good will toward her.
Fascism is not really addressed in this film, because it focuses more on Oskar Schindler and his transformation from Nazi party-man to Jewish savior. Oddly enough, the same can be said about the role of Jewish people in the film. There are many opportunities for character development, but the only Jew that really gets any serious screen-time is Yitzchak Stern. The Jewish people in Schindler’s List are essentially part of the backdrop of the Holocaust and act as supporting players to tell Schindler’s story. Not to belittle Schindler’s efforts, but it is odd that a film dedicated to the memory of six million dead Jews gives them so little time to tell their own stories, or act in any meaningful way.
Despite any flaws the movie has, Schindler’s List is an important part of the film industry’s portrayal of the Holocaust. It is the top rated Holocaust movie according to IMDB.com and has and will expose more people to the Jewish tragedy of World War II than any history book is likely to do, as sad as that may be. The use of color and the portrayal of the characters is very effective in drawing in and holding the attention of the viewer, allowing them to experience the film without having to think too hard about it.
(For more on Life is Beautiful, also take a look at this paper I did on general criticisms of the movie.)
Life is Beautiful, an Italian movie that was originally released in 1997 under the title “La vita è bella,” is a drama and romantic comedy. The story takes place in 1930s Arezzo, Italy and focuses on the life of a Jewish man named Guido Orefice, who arrives in town with plans to open a bookshop. Almost immediately after arriving in town, he becomes interested in a woman named Dora that he keeps running into (sometimes quite literally) around town. He begins to pursue her romantically, eventually winning her away from her fiancé and starting a family with her. Years later, Guido and Giosué are rounded up and deported to a death camp during World War II. Dora, who is not Jewish, demands to be placed on the train along with her husband and son, because she can’t stand to be apart from them. Ironically, she ends up as a prisoner in an adjacent death camp for women and is still separated from her family. For the remainder of the movie, Guido spends all of his time trying to convince his son that the entire experience is part of an elaborate game where the winner takes home a brand new tank.
Life is Beautiful is a complicated movie to analyze or compare with anything else because of how unusual the genre is for the subject. Comedy is not usually part of the Holocaust discussion, because there’s really nothing funny about it, in terms of the scope, the scale and the end result. When I think of the scene from Night and Fog where the camera pans out and then up, showing a mountain of hair, I think about how many people had to have died for that pile of hair to be created. It is both powerful and subtle and clearly indicates the nature and scale of the tragedy and it does so in a manner that I find wholly more appropriate to the subject. Nonetheless, comedy is used as an important plot driver in Life is Beautiful. Specifically, the main character, Guido, engages in slapstick comedy antics throughout the movie. In the first half of the movie, when Guido is attempting to woo Dora away from her fiancé, Guido’s antics seem to serve no real purpose, other than to entertain and endear himself to the audience. In the second half of the movie, the use of comedy is more questionable given the subject matter, but it is used to better effect as part of the plot. Guido uses comedy as a tool, along with distraction and elaborate stories, to distract his son from what’s going on in the camp. The problem with this use of comedy is that Guido sometimes ignores the well-being of himself, his son and everyone around him in an attempt to keep his son entertained, causing the situation to become unbelievable.
Comedy aside, one of the important themes in Life is Beautiful is the effect of the Holocaust on families. The first part of the movie builds up an almost fantasy-like love story where the “hero” gets the girl and settles down to raise his son and run his own business. It doesn’t get much better than that, does it? Then, the fascists arrive, and everything Guido has managed to accomplish, the fairy-tale existence that is meant to appeal emotionally to the audience, is suddenly destroyed, simply because Guido and his son are Jewish. To maximize the emotional effect on the audience, Dora is presented as being willing to sacrifice herself to remain close to her family. During his time in the death camp, Guido puts himself and his son at risk to find opportunities to let his wife know that they are still alive. The idea that anyone could have actually pulled off the stunts portrayed by Guido in the movie is ridiculous, but the inclusion of these scenes in the movie is probably meant to call attention to the fact that families were ripped apart during the Holocaust in a way that would be emotionally appealing to the audience. The moment that truly symbolizes this loss, however contrived the plot, is when Guido dies while attempting to find and save his wife from the guards’ final extermination efforts before abandoning the camp.
The presentation of Jews in this movie is two-sided. On the one hand, “the Jews” in the movie are a faceless mass that acts in a supporting role to the main story of Guido and his son. They are shown as docile followers of orders in a rather two-dimensional way. On the other hand is Guido, who is the main character. The story of Life is Beautiful could almost be said to be Guido-driven, rather than character or plot driven. He is a one man show that overwhelms the narrative with monologue. He manipulates people, takes risks and actively engages in his survival and the survival of his son and wife. So, this movie presents both popular narratives of Jewish people during the Holocaust: passive sheep allowing themselves to be led to the slaughter and active resisters in any way possible.
Because of its use of comedy, Life is Beautiful is difficult to take seriously and, in light of the seriousness of the historical events the movie uses as a backdrop, many people find it offensive. More than that, some people find it insulting to the victims of the Holocaust. Not everything in the movie is emotional fluff, however. There are still worthwhile messages and themes that can be pulled from the movie, though it’s probably not something I will watch again.
Au Revoir Les Enfants is a 1987 film directed by Louis Malle. The film is a biographical war drama that focuses on events at a French boarding school run by priests during World War II. The film follows the developing relationship between two students, Julien Quentin and Jean Bonnet, who is actually named Jean Kippelstein. Father Jean, the school’s principal, has been hiding Jewish children in the school to save their lives. As the story develops, Julien realizes that Jean isn’t like everyone else. To hide his identity and excuse the fact that he doesn’t know the Catholic prayers, Jean Bonnet claims to be Protestant, but Julien discovers the truth. Instead of driving a wedge between them, this shared secret brings them closer together.
Based on a true story, this film demonstrates the level of common knowledge of Jews in France and how they were seen by their French neighbors. The relationship in France between Jews and non-Jews is presented as being complex, rather than black and white. This can best be seen in the restaurant scene, where an older man is sitting alone and Vichy government officials come in and ask him for his papers. When the official discovers the old man is a Jew the official begins to harass him. Some of the restaurant’s patrons express feelings similar to the official’s, but the majority believe the official’s actions are a disgrace and an affront to human dignity, including Julien’s mother.
But, how much did the average French person really know about Jews? When Julien asks his brother to explain what makes a person Jewish, his response is that a Jew is a person who doesn’t eat pork. When Julien asks why everyone hates the Jews, his brother tells him it is because Jewish people are smarter than non-Jews, and because they killed Christ, which Julien dismisses as an obvious lie, since the Romans were responsible for crucifying Christ. Perhaps this scene is meant to convey the idea that there really aren’t any significant differences between Jews and non-Jews, since Julien continues his friendship with Jean. It is interesting that Jean was at the top of his class, along with Julien, and they manage to develop a strong friendship, while their less intelligent peers are still spouting stereotypes and comparing Jews to Communists and Germans. Perhaps the message here is that a little intelligence and thought leads to peaceful coexistence.
Jean spends most of the film trying to blend in with his classmates, for obvious reasons, but throughout the film he’s shown as being slightly different. He stands out, not necessarily because he looks different, but because of his demeanor. He carries himself differently from the other students. In many scenes he appears to be hunched over slightly, or he walks differently. It almost looks like he’s physically struggling with the mental burden of staying hidden. He does tell Julien that he is afraid all the time. Jean’s desperate need to fit in causes him to attempt to take communion, perhaps to prove to his friend that he is not so different from him, or perhaps because he feared that since Julien noticed that he is Jewish, he should redouble his efforts to appear Protestant. That could also explain why he hid during choir practice, to avoid revealing his unfamiliarity with Christian hymns.
The scene I found most interesting in the film was when Jean was removed from the classroom, because of how his classmates reacted. After the schoolyard repetition of stereotypes and expressions of dislike for Jews, the students did not react violently when they discovered that Jean was Jewish. When the priest came in and asked the boys to say a prayer for their classmates, there wasn’t any rowdiness. In other scenes that involve prayer, there is rough-housing, mocking or laughter. But in this scene, there is solidarity, and later, the non-Jewish students are proud that Negus was able to avoid capture, implying that familiarity dispels ignorance and breeds acceptance and friendship. I wonder if, when producing this scene, the director was specifically thinking of laïcité, the French conception of secularism, which states that religion doesn’t matter because the French are French first.
Au Revoir Les Enfants is an interesting film that depicts the French response to German occupation and fascist doctrine regarding the Jewish community. Some collaborated, some resisted, some were apathetic and some profited from exposing Jews in hiding. But, the film also shows that understanding and familiarity are important tools to overcoming stereotypes. The acting in the film is excellent and the director’s portrayal of Jean Bonnet and his classmates expresses the emotions and ideas buried in the story of Julien of Jean’s friendship excellently.
The Pianist, released in the United States in 2003, is a biographical, historical drama about the struggle of a Polish Jew to survive the destruction of the Warsaw ghetto during World War II. The movie is based on the autobiographical book of the same name, written by Wladyslaw Szpilman about his own experiences surviving the Holocaust in Warsaw. The film also incorporates some of the childhood memories of the director, Roman Polanski, who also survived the Holocaust. In the film, Szpilman is a brilliant pianist living in Warsaw who, along with his family, suffers the increasing restrictions placed on Jews under Nazi occupation. Eventually, he is forced into the Warsaw ghetto along with his family and the rest of the Jewish community. Later, during the liquidation of the ghetto, he manages to evade deportation, but his family isn’t as lucky. He briefly survives as part of a work detail and then escapes and remains in hiding in various places in the city until the war is over. //pagead2.googlesyndication.com/pagead/js/adsbygoogle.js
One of the main themes in the film is the degradation and dehumanization of the Jewish people who suffered through the Holocaust. Szpilman, who begins the film as an accomplished pianist, epitomizes the gradual slide into a state of inhumanity as the film progresses. The first restriction of his status as a human being is the implementation of the racial laws that restrict Jewish people from entering or using public facilities, which sets Jews apart from and below the non-Jewish residents. The next step down occurs during the ghettoization of the Warsaw Jews, restricting their ability to interact with “normal” people. Jewish businesses are seized. Jews are placed in a situation where they have to fight over food and living space like animals competing for territory.
When the Jewish population in the ghetto is rounded up to be exterminated, Szpilman is attached to a work crew that is, presumably, left alive to deconstruct the Warsaw ghetto. At this point, he has been completely devalued except insofar as he is able to labor, a long fall from where he began as a cultured and talented pianist. Ironically, after he escapes the ghetto, he becomes caged up in an apartment, first out of fear of leaving and then because he is literally locked in, like a caged animal. When that situation falls apart, the last vestiges of humanity slip away and he is depicted as an animal scavenging for food wherever he can find it, first in the abandoned hospital and then in the bombed out wrecks of houses. It is only after the war that the restoration of his humanity occurs, which is demonstrated by the closing scene of Szpilman playing in concert to a crowded room.
An interesting recurring theme in the film is the depiction of city streets. The streets in this film are definitely used as a visual tool to indicate status or mood. The increasing violence against Jewish people after the Nazi invasion is shown through the scene where the old man is struck by the Nazi patrolman and is made to walk in the gutter. In the Warsaw ghetto, the dehumanization of the Jews is shown through the crossing guards that make random Jews dance with each other in the street, while waiting to cross over the road for non-Jews. The worsening situation is shown through the constant appearance of bodies in the street in different stages of decay. After Szpilman escapes the deportation, a long shot is shown of him walking, alone, down a street littered with luggage, clothing and furniture, perhaps to emphasize the scale of the deportation and how alone he is.
When Szpilman is on the work detail, the plight of the Jews is emphasized by the abundance of food and vibrant life in the Warsaw street market. Even the colors seem brighter in that scene, as if to emphasize the vitality of local life compared to the gray drudgery of what Szpilman endures. This isn’t the only scene where color is important. As Szpilman’s situation worsens, the colors in the film get progressively darker, until the war ends and golden light floods the scene when Szpilman and his colleague go back to the farm to try to find the Nazi officer that helped Szpilman survive.
After escaping the work detail, in both apartments and when he is in the hospital, Szpilman’s view of the world is restricted to what he can see on the streets outside his window. The last dramatic view of the streets in the film is when Szpilman is escaping the hospital and the camera pans up to give us a top-down, long shot of bombed-out buildings. When compared to the long shot of the street full of luggage and empty buildings after the deportation, this scene of bombed out buildings is probably meant to indicate the difference of degree in Szpilman’s isolation. Now, there really is no one around, not other Jews and not even Poles. //pagead2.googlesyndication.com/pagead/js/adsbygoogle.js
One of the great ironies of the story is that Szpilman found his greatest security when he was literally sitting on top of the Nazi headquarters. As the film progresses, Szpilman receives help from various people. In the beginning, he is helped by his family. In the ghetto, he is helped by other Jews. When he escapes the deportation, he is helped by a Jewish collaborator. When he escapes the work detail, he is helped by ordinary Poles and then the Polish resistance. At the end of that road, he was given the food that kept him alive until the end of the war by a Nazi military officer. What does it mean? Being a true story, it probably doesn’t mean anything, but it’s an interesting coincidence and a window onto the complexity of the situation. Schindler wasn’t the only Nazi with a kind heart, though it may be argued, especially because of the scene where the Nazi captain is in the Russian POW camp, that he may have been kind to Szpilman specifically because he realized he was a man with influence that could possibly help him if he were captured.
In The Pianist, Jews are portrayed as victims of an outside ideology. In the beginning of the film, Szpilman seems to fit in quite well with non-Jewish members of his community and was in the process of developing a relationship with a non-Jewish woman. Though I’m unfamiliar with World War II history in Poland, the Poles in the film do not generally seem to be favorably disposed towards fascism and an underground resistance movement is shown as active and willing to help Jews escape into hiding. The Pianist is an outstanding film that helps explain the horrors and dehumanization of the Holocaust. //pagead2.googlesyndication.com/pagead/js/adsbygoogle.js
Schindler’s List, a movie directed by Steven Spielberg,was released in 1993 in the United States. The movie is loosely based on a book of the same title by Thomas Keneally, which in turn is based on the testimony of the true events surrounding Oskar Schindler. In Schindler’s List, Schindler is a German industrialist who uses World War II as an opportunity to reap massive profits. To accomplish this, he develops relationships with German military officers that he later exploits to secure a cheap Jewish labor force from the nearby Kraków ghetto, and later, when they are moved, from the Płaszów labor/concentration camp. About halfway through the movie, Schindler begins to care about the lives of Jews, especially those that work at his factory, so he uses his status as a Nazi industrialist to turn his factory into a refuge for Jews, eventually bankrupting himself to save the lives of approximately 1,100 Jewish people.
Schindler’s List is number eight of the top two hundred and fifty movies of all time on the Internet Movie Database. In 1994, Schindler’s List won seven Oscar’s, including Best Art Direction-Set Decoration; Best Cinematography; Best Director; Best Film Editing; Best Music, Original Score; Best Picture; and Best Writing, Screenplay Based on Material Previously Produced or Published. The film won seventy other awards and was nominated for an additional twenty-four. The film has been heaped with praise and positive reviews, but not everyone is pleased with the movie. It has also received a fair share of criticism and having researched negative reviews for recurring themes and patterns, this paper will present and explore the most commonly cited reasons why people did not enjoy the movie. Complaints about Schindler’s List are not as varied as those for Life is Beautiful. People are primarily disappointed by the directorial style, bad acting and the way characters and groups of people are portrayed in the movie. All of these issues are interconnected and perhaps the real issue behind all of the complaints is that this movie is presented in a way that pretends to be historically accurate instead of entertainment, which is misleading and manipulative. //pagead2.googlesyndication.com/pagead/js/adsbygoogle.js
The most common refrain among negative reviews is that Steven Spielberg, director of popular entertainment flicks like Jurassic Park, The Goonies and Back to the Future, should have stuck to directing “kid’s movies”, because he was out of his depth when it came to creating a proper film about the Holocaust. Many reviewers did not elaborate, simply calling the movie shallow, simple and predictable, but others cited specific complaints regarding Spielberg’s style.
The first complaint was that Spielberg’s use of black and white to mimic historical footage is problematic in two ways: first, it creates an association in the viewer’s mind with historical documentary footage, in an attempt to more easily elicit emotional responses to violence portrayed in the movie; and second, it gives the viewer the impression that what they’re watching is historically accurate, which isn’t necessarily the case. Also regarding color choice, Spielberg was criticized for what is one of the most memorable scenes in the film: the girl with the red dress. Some reviewers found this use of color as symbolism to be too heavy handed an approach and wondered why Spielberg couldn’t be more subtle and allow the viewer to make these connections in a different way, instead of “bludgeoning” the audience into getting his message.
Other aspects of the movie were also considered to be manipulative and contrived. For example, in the scene where Stern is mistakenly put on the train, what was the point of the train starting to move out of the station while they were still searching? In a realistic situation, wouldn’t the Nazi military official run directly to the front of the train and tell the conductor to wait while they find Stern? Instead, the train is stopped at the last moment, after they find Stern, artificially building suspense to get a quick reaction from the audience, rather than to progress the storyline. Other reviewers complained that the music is used in a manipulative way as well, starting before the action, to let you know how you should feel about what is about to happen. Essentially, Spielberg presents his material in a highly dramatized way that is intended to take the audience for an emotional journey, rather than an intellectual one, and tricks the viewer into thinking they’ve learned something historical, when in reality they’ve simply watched a fictional recreation of a fictional recreation of historical events.
Also problematic is the way the characters are depicted in the film, which ties in with complaints about Spielberg oversimplifying a complicated topic and manipulating his audience. In his presentation of the story, Spielberg takes a complex, morally ambiguous Schindler and turns him into an absolute hero. He then props up Goeth as an ultimate evil, giving the audience an easy good-guy/bad-guy dichotomy so they can enjoy the movie without having to strain themselves intellectually and ponder the deeper questions that a story like Schindler’s poses. For example, how is it that a man many would call morally bankrupt was able to pull off something as grand as saving the lives of over one-thousand people while other people one would label “good” sat back and did nothing? Or worse, contributed to the Nazi extermination effort? What causes a man like Goeth to be compassionate to his friends and perhaps his family, while being casually violent and indifferent to the suffering of the Jews? What causes that sort of emotional and mental disconnect? None of these questions are adequately addressed. There is no gray area in this movie, just black and white, like the choice of filming color. //pagead2.googlesyndication.com/pagead/js/adsbygoogle.js
By presenting Schindler as an absolute saint and Goeth as an absolute evil, Spielberg deprives the audience of the ability to understand the Holocaust. Goeth was a bad guy, but he wasn’t the ultimate evil, and he wasn’t the only evil. He didn’t do bad things because that’s what Nazis do and the Holocaust wasn’t caused by someone who, as Goeth is depicted in this film, went mad. It was a bureaucratized, systematized, planned and scheduled genocidal extermination of an entire population of people, characterized by dehumanization and casual violence. At the outbreak of World War II, Germany was the most educated and cultured country in Europe, so what is it about Jews that makes Goeth so angry he discharges his weapon into a pile of dead bodies? Why does he casually shoot at Jews from his balcony in Plaszow? These are issues that should have been addressed in a movie that Spielberg presents as epitomizing the Holocaust by sending the movie to schools around the country, as if it were documentary and instructional rather than entertainment.
Also, why does Schindler’s List have so little to say about the Jews themselves? Isn’t this movie about the Holocaust and the destruction of 6 million Jews? Why are the roles afforded to Jews in the movie so passive and two-dimensional? The only significantly complex Jewish character in the film is Stern, and he serves only a supporting role to Schindler’s character development. By denying the Jewish victims of the Holocaust an active role in their own survival, it instead becomes a story about Schindler’s redemption, a sort of good guy vs. bad guy fairy tale.
The last major complaint about the movie ties into the simplified portrayal of Schindler and Goeth: it just wasn’t historically accurate. All of the other problems are tied to this complaint about historical accuracy, and that’s probably because the Holocaust was such a defining moment in history, especially for the Jewish people. It should be translated into film in a way that respects the actual events, and like I previously mentioned, the conversion of Schindler into a savior figure and the role of Goeth as the evil arch-nemesis reduces this complicated event into a fable. Schindler was a much more ambiguous person and he wasn’t exactly a saint. When asked why he felt the need to help the Jewish people, he didn’t say it was because he suddenly realized that all people are equal, he said that if you see a dog that is going to be crushed by a car, wouldn’t you help it? Schindler still considered the Jews to be something less than human.
Schindler’s List is certainly an outstanding achievement that is not without value as an entertaining film that can potentially introduce people to the subject of the Holocaust that otherwise would never have known anything about it, but it has deep flaws. What some people consider to be the greatest Holocaust movie of all time, others feel is a shallow movie that turns a real tragedy into a fairy tale between good and evil, black and white. But perhaps the most serious problem with this film is that it poses as a historically accurate educational tool, making the defining movie about the Holocaust a Hero story about a Nazi instead of a film depicting the dehumanization, suffering and death of millions of Jews. And that’s not even counting the disservice it does to the millions of non-Jews who died in the Holocaust that it doesn’t even mention. //pagead2.googlesyndication.com/pagead/js/adsbygoogle.js