Amon是一個塑造的比Schindler更立體的人物…信仰情感與人性的沖突矛盾和對立…像電影里說的“也許…你不是錯的錯的是這個世界他愛上了Helen但是他不敢承認他對Schindler說想要帶Helen回家與她白頭到老…但 nazi 他所一直服從的信仰 不允許他承認 不允許他去愛他明知道Schindler 的行為是為了什么 目的是什么 但他默許了在Schindler親吻猶太女孩之后找借口為他求情Amon像一個沒長大的孩子對很多事情是迷茫的nazism好像是他唯一可以依靠的東西在Schindler告訴他“饒恕才是權利之后他像個孩子一樣 用一種與平日commander截然不同的語氣嘗試著說出饒恕 的話語往日他從未講過的話語“ i forgive you 十分的生疏
Shoot down the baddies, strike a pose, get rich! The 2nd movie of the Dollars trilogy could be satirized in these terms, but how unfair would that be? You don’t watch Sergio Leone for deep philosophical insights, but for his filmmaking. For Ennio Morricone’s splendid scores too: he knows when to go silent, how to creep you out with dissonant strings, when to get synchronized and punctuate iconic gestures. He can charm with a chime, and soar into epicness or poise for a showdown. An interesting relationship between the two MC and internal conflicts among conspirators also make for a good story. But it's Maria Volonte as an eerie, brutal, cunning and even sensual villain who shines most.