Sexy, Sex and Nude Scenes
Oskar is seen having sex with his mistress in a darkly lit room. There is moaning, some thrusting and you can see a side-view of his lover's breast.
A woman lies in Goeth's bed. Her breasts are clearly seen in various shots each lasting for 5-10 seconds.
A man kisses one woman after another
A woman wears a shirt that allows the form of her nipples to be seen at times.
A man fondles a woman's clothed breast.
A man kisses a woman who does not want to be kissed
Many Jewish prisoners are seen being forced to strip, run, and be examined. Full-frontal nudity of both women and men. Most times, the nudity is shown quite briefly. Non-sexual.
Oskar's mistress is reclining on the bed, and her breasts are seen clearly, including nipples and areola.
Jewish women are seen getting into a shower. There is full-frontal nudity. Non-sexual.
The sexuality and nudity in this film is very explicit
Violent and Bloody Scenes
Although not a great deal of violence is portrayed, it remains difficult to watch because of its realism. Much of it is directed in such a way that it is not as intense as you may imagine. Many instances are depicted by long or medium shots, and together with the sequences being shot in black-and-white, the impact is somewhat reduced.
A one-armed man struggles to dig a hole. Two Nazis shoot him; blood is seen pooling on the ground.
A woman is shot through the back of the head, shown from a distance. A small bullet wound hole is shown, with blood briefly spurting and pouring on the ground.
A man is pulled away from the other Jews leaving their homes, and is shot in the back of the head; the top of his head explodes and tears apart, blood pools and spurts around him.
A man with an ill wife tries to tell a Nazi about her condition. Instead, she is shot in the head. Blood splatters on the man's face from the shot, and spurts from the wife's head while the man cries.
A group of people hiding in a bedroom are shot (including children), one by one. The shots are off-screen, as a German Nazi official plays a cheery tune on the piano.
Amon wakes up and and nonchalantly executes Jews through a window with a sniper rifle.
When Amon deems a worker to be unproductive, he marches him outside and attempts to execute him. However, despite trying two pistols, both mechanisms jam and he ends up beating the worker instead.
A pile of bloody bodies is seen outside a building.
A group of hospital patients are executed by Nazis with machine guns. The nurses give out cyanide to patients so they don't die from being shot.
A large group of children and women are put into one room where they are all shot to death by two Nazis with machine guns.
Amon intimidates a young woman; she cries, and then he beats her. Amon pushes a shelf of wine on top of her, but she is not killed.
A soldier shoots a little boy in the chest while two other solders hold the boy up. There is no blood: only feathers from his jacket.
Dead bodies are dug up to be burned. There is a heap of them already being incinerated.
Amon Goeth is executed by hanging. The entire scene is shown in one shot.
Scary and Disturbing Scenes
The sequence of the ghetto being liquidated contains continual violence, which viewers could find emotionally disturbing.
The sequence of a worker surviving an attempted execution by Amon Goeth is suspenseful.
This film is considered to be a significant depiction of the Holocaust. Because of its subject matter, it can be emotionally taxing and difficult to watch.
The entire sequence at Auschwitz is extremely disturbing. Especially the shower scene.
The most amazing thing about this film is that it was not made to be an epic or an acclaimed film. Spielberg made it as a personal film for himself and other Jews affected by the Holocaust. There is nothing flashy about the film except for Neeson's bravura performance. Spielberg's usual style is invisible, and the cinematography and editing, although excellent, are not shown off to make a spectacle of the film or give it an epic feel. Yet it is still a compulsive, involving, and utterly heart-wrenchingly moving filming of a part of history that should not be forgotten. The screenplay is one of the best ever written: it captures the stories of so many Holocaust survivors but without distracting from the main story at hand. The black and white photography and editing is perfect, and John Williams provides a perfectly subtle but nice music score. The acting is simply brilliant, with Liam Neeson towering as Oskar Schindler, and Ralph Fiennes bringing out the Nazi character Amon Goeth into full flesh. And Ben Kingsley and Embeth Davidtz give off excellent performances too. The film also has a lot to say about absolute power corrupting and spiraling out of control, and such a message of the film can be applied to any time and crisis, not just the Holocaust. This is not just one of the the ten best films ever produced, but it shall remain so for years to come, because its messages in terms of power and racism are applicable in any age.