Dongshan comeback 489 full scores

Thirteen professional media outlets wrote film reviews as soon as the premiere ended, which is definitely highly anticipated! You must know that there are currently about 40 professional film magazines in North America. Of course, in addition to these professional film media, there are more reports from other general media, but they will not rush to write film reviews after the premiere, but will write film reviews after the premiere weekend or the second week weekend, so that the audience can have more buffer time.

After the premiere of "Schindler's List", there was a frenzy of reviews from thirteen professional media, and it can be seen that professional film critics can't wait to express their inner opinions on this movie after watching the movie, which also proves the fact that the number of people who watched the movie before the release of the movie is countless.

There are a lot of comments, but what about the content? Whether it is praise or disapproval, success or failure, positive or negative......

In the first batch of thirteen media reviews, Roger Ebert, who works for the Chicago Sun, was unexpectedly the first to express his views on the movie, not the "Los Angeles Times" or the "New York Times", not the "Hollywood Reporter" or "Variety", but the "Chicago Sun", which is really very surprising.

Although the Chicago Sun is not one of the four major media in the film industry, Roger has the best level in the industry as a film critic, and even his fellow film critics have a good reputation for Roger, in other words, authority! As the first film critic ever to win the Pulitzer Prize, his film reviews have been published in more than 200 newspapers around the world, and even have his own film review program.

The reason why Roger has such a high authority is because of his aesthetic standards, he describes the way he reviews movies as "relative rather than absolute...... he lets himself comment on movies as an audience of films, so he always considers the overall value of films, including artistic value, commercial value, ornamental value, etc., in other words, he will not blindly pursue art films and belittle commercial films, but he will not attach too much importance to technical 'sex' and ignore entertainment 'sex'.

Generally speaking, he gives four stars to high-quality films, half a star to the worst films, and zero stars unless the film is "artistically 'devoid'" or "morally disgusting."

Roger once said in the 21st century that he vividly described his film review criteria: "When you ask me, 'Hellboy, is 'sexy', my answer is, if 'Superman, is four,' then 'Hellboy' can score three, and 'the.'" punisher), for two points. ”

In addition, Roger insisted that it would be pointless to look at his rating if he didn't look at the reviews, because his ratings would be very mismatched with the reviews. For example, "The Manson family (the. "He gave the film three stars because it served its purpose, but he wouldn't recommend it because it wasn't a work worth going to the cinema to watch."

Roger's style of criticism has earned him a place in the fiercely competitive film criticism industry, and his authoritative 'nature' has also been recognized by many audiences. This time, Roger gave his own review of "Schindler's List" for the first time, for this movie, Roger gave a four-star evaluation, if judged according to the 100-point scale, he gave a hundred points, and the recommendation index is also a full score of four stars, there is no doubt that Roger gave all the praises to "Schindler's List"!

"If Oscar Schindler is a hero who fights for what he believes in in the traditional sense, it would be easier to understand him as a person. But in fact, he was a flawed man, drunk, gambling, emotional, greedy, and extravagant, which made his person a mystery.

At the beginning of World War II, he saw an opportunity to open factories in Nazi-occupied Krakow, where he hired Jews to work for him at extremely low wages, aiming to become a millionaire. Towards the end of the war, he risked his life and sacrificed his personal fortune to save the Jews; He deceived the Nazis for months and set up a non-existent munitions factory.

Why did he convert? What happened to turn him from a victim to a humanitarian? The movie 'Schindler's List' doesn't try to answer this question at all, and that must be attributed to Steven Spielberg. Because any answer can be too simple, it would be an insult to Schindler's life.

The Holocaust is a huge engine of evil, fueled by racism and fanatical fervor. But Schindler overcame it with his wits in his own little corner, but he didn't seem to have any plans in the first place, and he acted purely on impulse with 'sex', and even he couldn't fully 'figure it out' himself. This is Spielberg's best work to date, and he restores the truth of the Holocaust and the miracle that Schindler created. In doing so, he doesn't resort to those simple narratives.

The film is 184 minutes long, and like all great films, it still seems too short.

At the beginning of the film, Schindler played by Liam Nissen appeared, he was tall and horsey, giving people a feeling of not being angry and arrogant; He dressed smartly, often spent the night buying caviar and elephant soldiers for Nazi officers and the 'girls' around them, and liked to take pictures with senior officers. He proudly pinned the Nazi emblem on his clothes. He also eats well on the black market, and can get nylon, cigarettes, and brandy. The authorities were happy to help him set up a factory to make kitchen utensils for the military cooking class. He was also glad to hire Jews, believing that their wages were lower than those of the 'Bolans', so that he could make a fortune.

Schindler's genius lies in bribery, scheming, and deception. He didn't know anything about running a factory, so he approached Isaac Steyn, a Jewish accountant played by Ben Kingsley, to take charge of it. Steyn walked the streets of Krakow, employing Jews for Schindler's factory. Because this is a protected military industrial enterprise, if you can work there, you can save your life.

The relationship between Schindler and Steyn is handled by Spielberg very delicately, at the beginning of the war, Schindler is bent on making money, and at the end of the film review, he is bent on saving 'his' Jews. We know that Steyn is well aware of this, but we never see the two talking about it in the film; This may have been due to the fact that in the circumstances, talking loudly about something could lead to death.

This delicacy is the strength of Spielberg throughout the film. The script of this film is adapted by Steven Zelian based on Thomas Keneally, and it is not at all pretentious about the main drama, on the contrary, Spielberg chooses a series of events, which are presented clearly and unmistakably, and there is no problem of deliberately '' and 'making' love. Seeing these times, we also understand how secretive Schindler and his plans were.

He also presented the Holocaust to us in a vivid, horrific way. In the movie, the Nazi officer named A'Mon' and Goss played by Hugo Lancaster can be called the best case of studying the stupidity of evil. Standing on the Yantai side of his villa, overlooking the concentration camp, he 'shot' Jews at will just to practice marksmanship. Schindler was able to persuade him to abandon the habit by pandering to his vanity, which Schindler did so obviously that it was almost as if he were insulting him.

Goss is one of those fragile hypocrites who strive to defend an ideal but exclude himself; On the one hand, he preached the practice of killing Jews; On the other hand, he chose Helen, a Jew played by Alberts Davidz, as a 'maid', and fell in love with her. He was not surprised that her compatriots were in the midst of a catastrophe, but she had been spared by his whimsical love. In his opinion, his own personal needs are more important than right and wrong, survival and ruin.

The film uses black-and-white cinematography, and many of the locations used are real locations where this scene was staged, and Spielberg shows us how Schindler 'deals' with the madness of the Nazi system. He bribes, he coaxes, he brags, and he is not easily recognized. In one of the film's most daring passages, the train full of his hired workers is mistakenly directed at Auschwitz, and Schindler himself goes to the death camp and boldly convinces the administrators to spare the Jews and save them from the brink of death and put them on a train bound for his factory.

The most surprising thing about this film is that Spielberg does so completely serve the story. This film can be played with 'color', written with 'color', and derived from 'color', and it looks very 'colorful'. Each individual scene is a masterpiece of art direction, cinematography, special effects, and extras management. But Spielberg himself, with his outstanding personal style, and he has deliberately made us pay attention to and remember the gorgeous shots in his previous works, but this time he disappeared from the works. Neeson, Kingsley, Lancaster and other actors don't have that kind of showy performances, everyone is just working for the same goal.

At the end of the film, there is a passage full of overwhelming 'sexual' emotional impact, and the people who were rescued by Schindler themselves appear. We learn that Schindler's Jews and their descendants now number 6,000, while the Jews of Poland as a whole number of only 4,000. This seems to tell us an obvious truth that Schindler did more alone than a nation when it came to saving the Jews. But this conclusion alone is too simplistic. The message of the film is that in the face of the Holocaust, one person did something and others were insensitive.

French writer Gustave Flaubert. F1aubert once wrote that he did not like 'Uncle Tom's Cabin' because the author was constantly preaching against slavery. 'Do you have to comment on slavery?' he asked, 'Describe it; That's enough. He added that the 'author writes the book' must be like the God of the universe, ubiquitous yet imperceptible. , this can also be applied to Spielberg, the author of this film.

He describes the evil of the Holocaust, and he tells an incredible story of how certain people who should have been victims survived. In this process, he did not use the 'tricks' of the film industry, the directorial methods and theatrical 'sex' methods that would only attract ordinary drama-like reactions. In this film, you can't detect Spielberg's existence, but in every shot, his restraint and 'excitement' are everywhere. ”

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