Parallel Editing
Spielberg uses parallel editing, or crosscutting, a cinematic
convention in which two or more concurrent scenes are interwoven
with each other, throughout Schindler’s List. Parallel
editing illuminates the stark difference between the hardships of
the Jews and the comfort and optimism of Schindler and the Nazis
in Poland. In the broadest sense, it demonstrates the powerful contrast
between happiness and sadness. Two scenes in particular demonstrate
the powerful impact of parallel editing that a linear presentation
of the story could not have produced. In the first scene, Schindler
moves into his luxury apartment in Kraków soon after the Jewish
owners are evacuated by the Nazis and sent to the Kraków ghetto.
In the second and perhaps most compelling example, three scenes
are interwoven: Schindler celebrates his birthday, a wedding takes
place in the Plaszów labor camp, and Goeth beats Helen Hirsch.
These expertly edited scenes leave an indelible impression
on the viewer for several reasons. Early in the film, Mr. and Mrs.
Nussbaum, under the watchful eye of SS officers, grab everything
of value they can fit into a suitcase as they are chased from their
luxury apartment and forced to join the Jews marching to the Kraków
ghetto. These wealthy people are obviously outraged at their treatment.
As they make their way to the ghetto, the scene cuts to Schindler
entering the very same apartment seemingly moments after the family left.
He tours the expansive, richly furnished apartment, admiring the
luxurious furnishings and decorations. As he does so, the family arrives
in the ghetto to find a tiny, dark, dirty room waiting for them.
Sprawled on the Nussbaums’ bed, Schindler says, “It couldn’t possibly
be better.” The scene then cuts back to the Nussbaums. Mrs. Nussbaum,
with unconvincing optimism, remarks to her husband that “it could
be worse.” Mr. Nussbaum responds, “How could it possibly be
worse?” By interweaving these moments into a single scene, Spielberg
forces the viewer to confront the bitter irony of the situation
in which Schindler benefits from the Nussbaums’ misery. In addition,
Schindler at this point in the film takes no notice of and has no
remorse for the evacuated couple. The tremendous impact of his callousness
is intensified in light of the family’s suffering.
Perhaps the most powerful crosscut scene in the film occurs
when Schindler celebrates his birthday with a group of Nazis in
a nightclub. Here, Schindler’s wantonness rises to new heights as
he and the Nazis hold a party in the midst of the evil of the Holocaust
surrounding them. But even in dire situations, a celebration proves
that hope persists, as Spielberg shows us by splicing this scene
with the wedding in the labor camp. But yet a third line of action
is cut into this scene, its brutality contrasting with the hope
and joy of the wedding and birthday celebrations: Goeth brutally
beats Helen Hirsch in her basement room after attempting to seduce
her. The contrast between Helen’s desolation and the happiness of
the participants in the two celebrations forces viewers to confront
the reality of the Jewish situation during the Holocaust, when violence
and death were always just around the corner.
