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Schindler's List: Myth, Movie, and Memory the Village Voice; Mar 29, 1994~ 39, 13~ Alt-Press Watch (APW) Pg

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Schindler's List: Myth, Movie, and Memory the Village Voice; Mar 29, 1994~ 39, 13~ Alt-Press Watch (APW) Pg , Schindler's List: Myth, movie, and memory The Village Voice; Mar 29, 1994~ 39, 13~ Alt-Press Watch (APW) pg. 24 -:~\ In an aEe when even children understand that the image of an event transcends the event itself, Schindler's List is obviously more than just a movie. As with Platoon more than a half dozen years ago, we are enjoined to see a film and understand-but understand what? If nothing else, Oscar night demonstrated that the existence of Schindler's List justi­ fies Hollywood to Hollywood. The day that Schindler's List opened, New York Times reviewer Janet Maslin declared that "Mr. Spielberg has made sure that neither he nor the Holocaust will ever be thought of in the same way again." That same week, in The Nev.' Yorker, Terrence Rafferty wrote that, with Spielberg dramatizing the liquidation of the Krak6w ghetto. "the Holocaust, 50 years removed from our contemporary con­ sciousness. suddenly becomes overwhelm­ ingly immediate, undeniable." Since then, Schindler ~~ List has been used to prove the extent of Jewish suffering-an object lesson for American school children, Nation of Islam spokespeople, and German digni­ '·Schindl.r'. Li.t puts me in touch wit taries alike. th.t is connected to the part of mys.lf Why does it take a Hollywood fiction to make the Holocaust "undeniable"; Is it with the event. the act of memory with true that movies have the power to perma­ actual participation, Spielberg himself has nently alter history? Does Schindler's List become a heroic and representative figure. refer to anything beyond itseW! From the (In a leHer sent to many members of the liberation of Auschwitz on, the representa­ National Society of Film Critics, he spoke tion of the Holocaust has always been un­ for the totality of the Jewish Holocaust: derstood as problematic. How does one re­ "From the bottom of my heart, and on create unprecedented atrocities? How are behalf of thousands of survivors and six performers to reenact the brutal murder of million spirits. thank you for bringing hon­ thousands upon thousands? Given the eu­ or and attention to Schindler's List.") phoria surrounding Schindler's List, one Over the past two decades, the Holocaust wonders if Spielberg hasn't found some way has become increasingly central to the iden· to circumv¢nt this proll\~. Indeed, given tity of American Jews. Schindler's List ap­ OUT' tende(lcy to-<:9lJfu:;e :the repfes~ntalion pe~rs at a moment when, as James Young tion of evellts." Can we say the same for Schindler's List? Or do the movie's heightened presence and overwhelmillg immediacy suggest. perhaps, something else? -J. HOBERMAN "/ think 'Schindler's List' will wind up being so much more important than a movie, "JEfFey Ka {zen berg, who runs the Walt DiS/l ,?yfilm studios, told me. ''It will affect 110W people on this planet think and act. Ai a momenr in lime. it IS gOl/lg to remind '.is aboUl the dark side, and do it in a way in whiCh. H'henel'er that little green monster is lurking somewhere, fJus marie is glJing (0 press it dm'v'n again. I don't wanl to burden rhe movie too milch. but I think it will bring peace on earth, good will (,) men. Enough a/the right peo­ ple willoSe!' It that [/ ~\ ill acLUally set the courseo!world affairs. Ste~'en isa nation­ al treasure l'rn breakin' my neck lookin' up at this guy.'­ h the part of myself that is childlike, -Stept,en Schiff. "Seriously Spiel­ that is Jewi.h.ff-Richard Goldstein berg," The NeVI.' Yorker writes in his catalogue for The Art of Mem­ ory: Holocazw Memorials in History, the JAMES YOUNG; There are a couple of gi­ current exhibition at the Jewish Museum, gantic institutions now, Spielberg being one "Holocaust memory has begun to find its and the U.~. Holocaust Memorial Museum critical mass in something akin to a Holo­ being another, which are defining a kind of caust 'museum boom.'" Citing "the differ­ public consciousness of the Holocaust. ence between avowedly public art and art How they do it is what we need now to produced almost exclusively for the art address. BUl beyond that 1 worry about any world," Young observes that "people do single memory of the Holocaust becoming not come to Holocaust memorials because totally predominant. The critics all want to they are new, cutting edge, or fashionable . know of Schindler's List, "Is this the last . Holocaust memorials are produced spe­ word on the Holocaust? [5 this going to cifically to be hislorically referential, to come to stand for all other Holocaust to films?" If it does, then it is a great tragedy, lead viewers an understanding, , J .#. ! , or evoca­ especially if it wipes out 34 years of other But in terms of its long-range hold on the really interesting films on the Holocaust. public mind. I think it is much too soon to The U.S. Holocaust Memorial Museum reckon that. I don't think in the long run it has done a very good job at what it set out will have any more bearing than Gone U/ith to do. I was one who wished it wouldn't be the Wind. One looks at Gone With the built because I was desperately afraid that Wind now as a movie made in 1939, and this would become all that a Jewish Ameri­ eventually people will look at this picture as can community would begin to know of a movie made in' 1991 itself, reducing a thousand years of Europe­ HOBERMAN: I think the implication of an civilization to 12 terrible years. In fact, what Maslin was saying is that the Holo­ I'm still afraid. It is not the museum's fault, caust will be changed by this movie, be­ it was already happening, but it has af­ cause people will perceive it differently for­ firmed that. In the case of Schindler's List, I ever after. I wonder if that isn't a sort of hope that the great numbers that are going longing. People say that now that the sub­ to see it will have their curiosity piqued ject has been done, and is very successful, about what was lost. But I fear that they there's no need to think about it further. will come away sated now that they have ART SPIEGELMAN: Janet Maslin, like Jef­ seen the last word on the Holocaust. frey Katzenberg, like Spielberg, lives in ANNETTE INSDORF: I don't really believe such close proximity to the movie screen that Schindler's List is perceived as the last that she confuses it with reality. Of course, word or even the last image for filmgoers, considering that America spent billions on especially in the U.S. In fact, a similar a defense system named after Star Wars, argument arose when Holocaust premiered she may be tragically correct. on NBC and was then shown in other coun­ WANDA BERSHEN: 1 was struck with how tries; but it turned out that Holocaust be­ so many leading film critics are totally came a spur to more and better films about fudging the difference between a dramatic the subject. movie, which is a re-presentation, and his­ Those who have seen Schindler's List are torical reality. One of the few places it came more likely to see other films that deal with up was in Philip Gourevltch's Commentary the Holocaust. And Spielberg has demon­ piece. where he finally toward the end says, strated that it is possible to make a markel· HOh, there is a difference." I'm wondering, able film on this subject. I tend to be some­ why this insistence upon making this movie thing of a Pollyanna in looking at films that into something real, rather than one repre­ deal with difficult subject matter, but I do sentation, one powerful monument, as in believe that Schindler's List can function as the exhibit here at the museum? What's a spur not only to historical awareness but going on here? My concern is that this to more cinematic expression. critics' chorus win make it almost impossi­ KI:N JACOBS. Well, I have never seen a ble for the general audience to make that good movie, or a drama with actors, that I distinction themselves. respect as a worthy depiction of the gen<r JACOBS: Well, it is probably things like cide of Jews. So this is another movie. Terrence Rafferty confusing Schindler's heroism with Spielberg's. for weighing the implications and conse­ YOUNC: Actually, what Rafferty has done is quences of the gen'Kide was 1945. [f the ! unpack something interesting, because it world didn't slow down then. why should was Schindler's hunger for power which we expect it to be clpable of sorting things partly led to his goodness. And this in the out after 50 blurri:lg years have passed? movie is very interesting. That is, J would GERTRUD KOCH: Wanting lO have the last have expected Spielberg to lake a hero of word means wanting to be the summarizing the Warsaw ghetto uprising or one of the speaker. And I think what the film is doing great heroes or one of the great villains, but is pretending that Spielberg has a kind of instead he has taken somebody whose master narrative of the events and empha­ goodness is very ambiguous, what Saul sizing thal it is a so-cal.led "realist" film. By Friedlander once called the ambiguity of using all the quotations from European good.
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