Word: oskar
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Dates: during 1990-1999
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...late 1930s, an Austrian businessman named Oskar Schindler (Liam Neeson) arrives in Krakow, Poland, intent on making his fortune. He aims, in his own words, to leave with "two steamer trunks full of money." Schindler is a dazzlingly charismatic man, the ultimate seducer, who, according to Spielberg, "romances the entire city of Krakow,...romances the Nazis,...romances the politicians, the police chiefs, the women...
...this movie didn't need my strengths as a storyteller because the story's already been told." Here he is being too modest. It was surely the screen storyteller in him who responded to the compelling narrative strength of Thomas Keneally's novelized life of a German- Czech named Oskar Schindler, who came to Poland to make money out of its - occupation by the Nazis and stayed to preserve 1,100 Jews -- workers in the enamelware factory he established -- from the death camps...
...profiteer and a war hero. He was chummy with the Nazis; he saved many Jews. Oskar Schindler, the prime mover in Steven Spielberg's epic act of witnessing, had a little majesty and a lot of mystery. He remains that way to Liam Neeson, the screen Schindler. "I still don't know what made him save all those lives," says Neeson, 41. "He was a man everybody liked. And he liked to be liked; he was a wonderful kisser of ass. Perhaps he was inspired to do some great piece of work. I like to think -- and maybe it comes...
...exalted place in the universe. Moreover, scientists have historic reasons to be skeptical of claims concerning animal intelligence. At the turn of the century, a wonder horse named Clever Hans wowed Europeans with his apparent ability to solve math problems, expressing his answers by tapping a hoof. Dutch psychologist Oskar Pfungst ultimately showed that Hans was merely responding to inadvertent cues from his human handlers, who, for instance, would visibly relax when the horse had tapped the proper number of times. When blindfolded by Pfungst, Hans ceased to be so clever...
Passionate and energetic by nature, Johnson felt most drawn to an Expressionist idiom. His particular heroes were Chaim Soutine (especially the convulsive Ceret landscapes) and, later, Oskar Kokoschka. At the outset, his homages to Soutine's surging hills and toppling houses had a somewhat illustrational tone -- painting from the motif, he sometimes used a distorting lens to produce the effect, as earlier landscapists had used a smoked Claude Lorraine glass -- so that the image turned out more optical than visceral. But as his sense of the relations between mark and motif increased, Johnson's landscapes accumulated power, and some...