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post #31 of 38 Old 03-25-2013, 02:31 PM
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Originally Posted by Will2007 View Post

I'm coming to this late, but +1. I thought about posting the very same criticism when someone else posted that this film was Spielberg's least sentimental, or words to that effect. That may be true, but he did manage to "Spielberg" even this one. He did it with that "I could have done more" bogus and uncharacteristic scene at the train, and he did it with the red coat on the little girl. To me, those detract seriously from the impact of the film and are unnecessary devices designed to appeal to sentiment.

The facts and the story stand on their own, in this instance. No embellishment is needed or warranted.

Frankly, as riveting and as moving as the story and film proper were, I was far more moved, and stunned even, at the coda to the film: the in color footage of the real life Schindler Jews and their descendants each taking their turn to place a stone on Schindler's grave. Without words, with that single action standing alone but in context, that coda drove home the powerful message that each of those persons understood and acknowledged that he or she literally owed their lives to Oskar Schindler's efforts to save them from the death camps. I think including that footage was brilliance on Spielberg's part. It moved me to tears. I wish he had had the good sense to leave out the manipulative red coat and "I could have done more" nonsense. To me, those stain his otherwise flawless masterpiece of a film.
Despite what I said earlier, I agree completely.
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post #32 of 38 Old 03-27-2013, 07:44 AM
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"Sentimentality" is something that infects most of Spielbergs work. Saving Private Ryan was marred by it enough for me not to want to watch it a second time. And that's a shame, because when he concentrated on the actual mission of the movie, it was great. I count him a little slack with SL, because after all he had a dog in the fight. OTOH, SPR's jewish soldier subplot felt preachy, contrived and self serving. If you want Spielberg without the corn syrup lathered on, watch his early masterpiece Duel.

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post #33 of 38 Old 03-27-2013, 08:53 PM
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Originally Posted by ratpacker View Post

OTOH, SPR's jewish soldier subplot felt preachy, contrived and self serving.
That barely took any screen time at all. It doesn't even register with me when I consider the sentimentality issues with that movie.
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post #34 of 38 Old 03-27-2013, 10:48 PM
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Originally Posted by Deviation View Post

That barely took any screen time at all. It doesn't even register with me when I consider the sentimentality issues with that movie.

I guess we have different levels of tolerance with it then. But it may be that with all the other syrup that lathered it, it was just the last straw for me with it by then. Everybody's mmv ya'know.

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post #35 of 38 Old 03-28-2013, 04:01 AM
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Originally Posted by Deviation View Post

That barely took any screen time at all. It doesn't even register with me when I consider the sentimentality issues with that movie.
I tend to agree...that slice of the movie doesn't affect me at all either. However, I agree with ratpacker on the over sentimentality elsewhere in SPR, at least towards the end, I mean they really shove it down your throat, it gets rediculous at one point (for me), so much so that I always catch myself reaching for the remote to skip past it, I even dubbed it "the back home, storytelling mode" portion of the movie (and I LOVE this movie regardless, lol). We get the medic kid telling a story about pretending to be asleep when his mom comes home from work; then we get Damon telling a story about his brother with the ugly chick in the barn; then we get the dude on the steps telling a story about the woman with the big cans; then we get Hanks telling a story about his wife and garndening, etc, etc. And I prolly left a few out I can't recall, lol. I know we need a little calm breathing room before the action can pick up again, but those stories get told to us too close together, basically one right after another. Yeesh. Brutal section of the movie for me every time. Wish they would've done something else to distract us before the battle takes off instead of that nursery time, "storytelling" 20 minutes. Just my 0.2

As for SL and the final coda, felt a little off the first time I saw it, kinda a little out of place for that character or something, I dunno, but it doesn't seem to bother me because it's so short and then of course the cut to the living decendents paying tribute, welp, it puts it all back in order - brilliant.


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post #36 of 38 Old 03-28-2013, 10:16 AM
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Regardless of the Steven Spielberg Sentimentality Syndrome in SPR (and his other movies), it still works for me.

The guy is, simply, one of the greatest filmmakers of all time.

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post #37 of 38 Old 03-28-2013, 11:07 AM
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I think both propositions can be simultaneously true: Spielberg is a master filmmaker, and Spielberg often succumbs to cloying sentimentality.

I think his "factual" films tend to reveal the latter flaw more obviously because real life (and historical fact) doesn't nicely jibe with storytelling sentimentality--or even just the requisite mechanisms of storytelling, period. That's why movies like E. T. and sci-fi/fantasy films suit his gifts better. IMHO. YMMV. YOLO. BFD.
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post #38 of 38 Old 03-28-2013, 01:58 PM
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Quote:
Originally Posted by Penman View Post

I think both propositions can be simultaneously true: Spielberg is a master filmmaker, and Spielberg often succumbs to cloying sentimentality.

I think his "factual" films tend to reveal the latter flaw more obviously because real life (and historical fact) doesn't nicely jibe with storytelling sentimentality--or even just the requisite mechanisms of storytelling, period. That's why movies like E. T. and sci-fi/fantasy films suit his gifts better. IMHO. YMMV. YOLO. BFD.

That about sums it up perfectly.

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