The Hebrew song featured at the end of Schindler's List is "Yerushalayim Shel Zahav" (ירושלים של זהב), universally known as "Jerusalem of Gold."
"Jerusalem of Gold" in the Film
This deeply emotional song plays during the film's poignant closing sequence, where the real-life "Schindlerjuden" (Schindler's Jews) and the actors who portrayed them walk to Oskar Schindler's grave. The melody, sung by the Zemel Choir, accompanies a powerful visual testament to survival and remembrance, symbolizing the enduring spirit of the Jewish people and their connection to their homeland.
Origins and Cultural Significance
"Yerushalayim Shel Zahav" holds a unique place in Israeli culture, written by the celebrated Israeli songwriter Naomi Shemer.
| Song Title | Hebrew Name | Composer/Lyricist | Year Written | Initial Context |
|---|---|---|---|---|
| Jerusalem of Gold | ירושלים של זהב | Naomi Shemer | 1967 | Israeli Song Festival |
The song was composed in 1967, just weeks before the Six-Day War. Its lyrics express a yearning for a reunified Jerusalem, which was then divided. After the war, when East Jerusalem (including the Old City) came under Israeli control, the song gained immense popularity and took on an even deeper national significance, becoming an unofficial anthem of unity and hope. Its themes of longing, return, and restoration resonated profoundly with the Israeli public.
Reception in Israel
While "Yerushalayim Shel Zahav" is widely revered globally and profoundly moving in the context of Schindler's List for international audiences, its inclusion in the film's conclusion had a curious reception in Israel. When screened there, Israeli audiences sometimes reacted with laughter during this final scene. This response was not due to disrespect for the film or its message, but rather because of the song's specific historical context. For many Israelis, "Yerushalayim Shel Zahav" is primarily associated with its origin as a popular 1967 pop song, linked to the post-Six-Day War euphoria. Its relatively modern and celebratory origins, rather than a more ancient or solemn liturgical piece, could feel anachronistic or even slightly out of place to some within the deeply serious context of the Holocaust portrayed in the film.
Despite these varied interpretations of its placement, the song undeniably provides a powerful and hopeful closing statement, connecting the historical tragedy to a future of resilience and the return to a promised land.
