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Chapter Fifteen - Searching for Schindler: A Memoir

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Liam Neeson Presents the Schindler's List 25th Anniversary Curriculum for Educators

Ships in 15 business days. Link Either by signing into your account or linking your membership details before your order is placed. Description Product Details Click on the cover image above to read some pages of this book! More Books in Memoirs See All. The Book of Bitch. In Stock. Something to Believe In. Then It Fell Apart. Indeed, since Gandhi I had felt affronted whenever producers decided to use him as a villain.

There was something in his performances as villains which lacked dimension, and in such a fine actor this could only be the fault of writers, directors and casting agents. Then Steven began to tell me how he meant to film it. In a more documentary style, and with a feel of authenticity, and so in black and white, he said, like the old newsreels from the war, with just a few points of color a few times in the film.

Perhaps it was only the candle flame at the start of the film which would be colored, and all else grainy white and black and shades of dun. I nodded. Secretly, I thought it was a crazy idea. For one thing, to the people in the newsreel, what was happening involved far too vivid and brutal color. Later I heard the rumor that highly placed people in Universal were uneasy too, except that Steven had the authority, on the basis of how often he had made them look good, to film it the way he chose.

Steven said he intended to send his producer Branko Lustig, who himself was a childhood Auschwitz survivor, looking for an appropriate city. But then he achieved in Brinnlitz something that the good, respectable executives of many leading German companies, including Krupps, IG Farben and Mercedes-Benz, could not manage. He kept his people alive. That was the document, mentioned earlier, which Schindler submitted to the Joint Distribution Committee when impoverished in the late s. In lunchtime conversation we revisited the issue of where in Oskar altruism ended and opportunism began.

He said he would do it except that he wanted to use lists throughout. From start to finish it would be a matter of lists. All at once it was midafternoon, and Steven made an arrangement for one further meeting. They visited all the places associated with the tale, including an excursion into the Nazi-established ghetto from the hill beyond it. Spielberg made a record of everything with an eight-millimeter video camera.

Then they raced out to Auschwitz. The visit seems to have greatly stimulated Steven. Branko Lustig, a bearish, efficient fellow, spent longer periods in Poland, and although there was some delay over demands that Polish extras be heavily insured, it was ultimately decided the film would go ahead there early the next year. That had pretty much become the plan by the time Judy and I went home to Australia in the North American spring, our autumn.

I was kept informed of further developments by Amblin and by an exhilarated and hopeful Poldek. And places less associated with pleasure—the Pomorska and Montelupich prisons. The production designer who would ultimately do the job was Allan Starski, an expert in designing concentration camps, since he had been the designer for Europa Europa and Escape from Sobibor.

I still did not quite believe it would all happen. Poldek, however, was exultant. Tom with Ben Kingsley. In the back left of the picture is Jonathan Sagall, who played the young Poldek, showing an uncanny likeness to the original subject.


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It was on one such excursion with his mistress that he was said to have witnessed one of the first and fiercest ghetto raids to round up those Jews seen to be unproductive, for the purpose of systematic extermination. Schindler left with an Abwehr officer, said to be Lieutenant Martin Plathe, with whom Oskar collaborated against the rival SS officers. The Destiny Thief. Richard Russo. The Ministry of Truth.

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