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TIME: Almanac 1995
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TIME Almanac 1995.iso
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1995-02-24
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<text id=94TT0226>
<title>
Feb. 21, 1994: The Arts & Media:Show Business
</title>
<history>
TIME--The Weekly Newsmagazine--1994
Feb. 21, 1994 The Star-Crossed Olympics
</history>
<article>
<source>Time Magazine</source>
<hdr>
THE ARTS & MEDIA, Page 73
Show Business
The Man Behind the Monster
</hdr>
<body>
<p>Debonair and demonic in Schindler's List, Ralph Fiennes wins
Oscar's notice, and everyone else's
</p>
<p>By Richard Corliss--Reported by Georgia Harbison/New York
</p>
<p> Amon Goeth, commandant of the Plaszow death camp, strides into
the basement of his barracks mansion and sees his maid, the
lovely Jewish internee Helen Hirsch (Embeth Davidtz). He had
chosen her as window dressing for the mausoleum he runs, but
her strength and grace have touched him. For a crucial moment,
on the face of actor Ralph Fiennes, evil pauses to consider
itself. Could I have a decent feeling? Could I love this base
creature, this beautiful thing, this Jewess? Just as quickly,
and subtly, Fiennes' face tells us no. Goeth's fists flail out,
not so much at Hirsch as at the recognition that he is doomed
to solitude by his wickedness.
</p>
<p> More than anything else in Steven Spielberg's Schindler's List,
this potent, poignant scene illuminates the moral stupor of
the totalitarian heart. And the performance has made an instant
star of an actor previously known only in Britain. Already Ralph
Fiennes (the name is Welsh and rhymes with safe signs) has a
Golden Globe Award, a New York Film Critics Circle citation
and, as of last week, an Oscar nomination as Best Supporting
Actor for his work in Schindler's List. In September moviegoers
will see him as Charles van Doren, that fallen savant of '50s
TV, in Robert Redford's much touted Quiz Show. After that, who
can say? Spielberg can: "If he picks the right roles and doesn't
forget the theater, I think he can eventually be Alec Guinness
or Laurence Olivier."
</p>
<p> He is already--and this is creepy, considering the quicksilver
brutality of his Goeth--a burgeoning sex symbol. Doughy and
dark in the movie or slim, handsome and smiling in person, Fiennes,
31, is the improbable hunk.
</p>
<p> The real Amon Goeth was no hunk. But he was an artist of evil--grandly deranged, creatively sadistic. He would set his dogs
on children and watch them be devoured. "The people he whipped,"
Fiennes says, "had to keep count of the strokes. If they lost
count, the whipping started from the beginning."
</p>
<p> How could anyone live inside this monster's skin for the three
harrowing months of filming? Perhaps for so mesmerizing a role,
the question must be, How could any actor not want to? "In playing
Amon," says Fiennes, who put on 28 lbs. for the part, "I got
close to his pain. Inside him is a fractured, miserable human
being. I feel split about him, sorry for him. He's like some
dirty, battered doll I was given and that I came to feel peculiarly
attached to."
</p>
<p> Fiennes is as reluctant to discuss his personal life as he is
ready to analyze Goeth's. But it is no state secret that he
was born in Suffolk, eldest of the six children of Mark Fiennes,
a farmer turned photographer, and his wife, Jini a novelist
and travel writer who died last year. His family moved often,
and the boy was educated by Episcopalians, Catholics, Quakers
and his mother. After graduation from London's Royal Academy
of Dramatic Art, he rocketed through the British repertory system.
Then he attracted the best kind of attention: Spielberg's.
</p>
<p> The director saw Fiennes in the TV film A Dangerous Man: Lawrence
of Arabia and then in a remake of Wuthering Heights. "His Heathcliff,"
Spielberg says, "was a feral man, a kind of grownup Wild Child."
He met Fiennes and tested him for Goeth. "Ralph did three takes.
I still, to this day, haven't seen Take 2 or 3. He was absolutely
brilliant," the director says. "After seeing Take 1, I knew
he was Amon." In Fiennes' eyes, Spielberg says, "I saw sexual
evil. It is all about subtlety: there were moments of kindness
that would move across his eyes and then instantly run cold."
</p>
<p> During last winter's grueling shoot in Poland, Fiennes vacuumed
up nuggets of Goethiana from every source: newsreels, Thomas
Keneally's Schindler novel, testimony by the Schindler Jews.
But he needed no research to feel the chill of hatred in his
bones; simply by appearing in his Nazi uniform he enlisted volunteers
of bigotry. "The Germans were charming people," a sweet-faced
woman told him. "They didn't kill anybody who didn't deserve
it."
</p>
<p> When Fiennes, in full Hauptsturmfuhrer regalia, was introduced
by Spielberg to Mila Pfefferberg, a Schindler survivor depicted
in the film, the old lady trembled. "Her knees began to give
out from under her," Spielberg recalls. "I held her while Ralph
enthused about how important it was for him to meet her--and
she vibrated with terror. She didn't see an actor. She saw Amon
Goeth."
</p>
<p> In that malevolently malleable face, the world's filmgoers are
seeing Goeth. And soon, in what looks like the blooming of a
brilliant career, they may even get to see Ralph Fiennes.
</p>
</body>
</article>
</text>