"I'm not surprised that Spielberg was able to capture the heroism of Schindler; so many of his movies are about the better part of mankind"
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Siskel’s compliment lands with the sly certainty of a critic who knows how to flatter without sounding starstruck. He’s praising Schindler’s List, yes, but he’s also quietly adjudicating Spielberg’s entire brand: the big-hearted mainstream humanist. “Not surprised” does double duty. It frames Spielberg’s achievement as earned rather than accidental, while also implying that some directors might only stumble into moral seriousness; Spielberg, Siskel suggests, has been rehearsing it for decades.
The key phrase is “capture the heroism of Schindler.” Capture, not invent. That matters because Schindler’s story carries historical weight and ethical peril: stylize it too much and you get sentiment; underplay it and you risk coldness. Siskel’s line argues Spielberg’s instincts are calibrated for this exact problem. His films are often accused of emotional engineering, but Siskel reframes that same machinery as moral attention: a camera trained on decency as spectacle, on conscience as an action sequence.
“Better part of mankind” is a deliberately elevated, almost old-fashioned formulation, and that’s the point. It positions Spielberg as a popular artist with a near-civic function, selling audiences not just thrills but a usable faith in people. The subtext is a defense against cynicism: in an era when prestige often equates to bleakness, Siskel insists that Spielberg’s sincerity isn’t naivete. It’s a worldview - and, in Schindler’s List, a worldview tested by atrocity and still refusing to quit.
The key phrase is “capture the heroism of Schindler.” Capture, not invent. That matters because Schindler’s story carries historical weight and ethical peril: stylize it too much and you get sentiment; underplay it and you risk coldness. Siskel’s line argues Spielberg’s instincts are calibrated for this exact problem. His films are often accused of emotional engineering, but Siskel reframes that same machinery as moral attention: a camera trained on decency as spectacle, on conscience as an action sequence.
“Better part of mankind” is a deliberately elevated, almost old-fashioned formulation, and that’s the point. It positions Spielberg as a popular artist with a near-civic function, selling audiences not just thrills but a usable faith in people. The subtext is a defense against cynicism: in an era when prestige often equates to bleakness, Siskel insists that Spielberg’s sincerity isn’t naivete. It’s a worldview - and, in Schindler’s List, a worldview tested by atrocity and still refusing to quit.
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