Spielberg’s inventive reasoning for making his film black and white is cited in “The Making of Schindler’s Checklist: Behind The Scenes of An Epic Movie” by Franciszek Palowski: “The Holocaust was life with out gentle. For me the image of life is coloration. That is why a movie concerning the Holocaust must be in black-and-white.”
There’s one exception, primarily based on an actual second in Schindler’s life. Whereas watching the Krakow ghetto being cleared out by Nazi shoulders from a hilltop, Schindler notices a younger lady carrying a pink coat. He and the digicam observe her via the terrifying scene; the viewers’s consideration by no means wavers both, for her coat is the one brilliant shade in a sea of monochrome. The selection of pink carries thematic resonance; the lady, standing in for all of the harmless Jews murdered by the Nazis, wears clothes the colour of blood.
Spielberg elaborated in an interview with Richard Schinkel about how the second displays willful ignorance about struggling — an ignorance Schindler decides he cannot abdomen (particularly when he sees the pink coat in a pile of our bodies). Spielberg says:
“The Holocaust was recognized about in very small secret circles, however actually Roosevelt and Eisenhower knew. Nothing was being carried out to decelerate the industrialized progress the Nazis have been making within the complete annihilation of European Jewry. The Allies did nothing besides they have been pursuing the struggle effort. In order that was my message in letting that scene be in coloration. It was as apparent as just a little lady carrying a pink coat strolling down the road.”
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