It is difficult to digest the truth behind the Holocaust.
The pictures in books, reconstructions and cinematic depiction of the events
seem to detach us from the truth. It can feel like a nightmare that exists only
in dreams and on screens. Night Will Fall
manages to directly connect the nature of the truth in documentary with the
horrors witnessed in 1945. Director André Singer (Producer of The Act of Killing and Into the Abyss) connects them in a
manner that sharply forces history into focus. The collective efforts to murder
a group of people by a brainwashed militia, consciously accepted by the
citizens in surrounding villages that could smell the death, is too difficult
to comprehend. Yet this definitive moment in history was captured on camera,
and tasked to Sidney Bernstein and his team, to ensure that it was not lost and
proved how despicable humanity can be.
Night Will Fall
documents the attempt at capturing, editing and releasing the footage filmed
when concentration camps were liberated (the unreleased film, German Concentration Camps Factual Survey,
has been painstakingly restored by the Imperial War Museum to be released later
this year). But this is a moment that changed the world. Camera-clad soldiers
marched, within lines of German soldiers, towards Bergen-Belsen, unaware of
what they would see. Alfred Hitchcock was involved as a supervising director,
recommending the location of the camps – and their surrounding towns – are
shown in the film, to highlight how close others were to the death camps. He
suggested that wide, slow pans were to be used to add an air of authenticity.
There was no room for anyone to imply the footage was doctored in any way.
Colour film was used in some instances, footage that brings the reality closer
to home. But at a time whereby millions of victims were refused entry to the
surrounding countries, the rolls of film and editing that had been put in place
to bring this news to the fore, was shelved. The worry was that a public outcry
would mean Britain and America would be forced to take these refugees into
their own country – something that, after World War II, they simply couldn’t
afford to do.
Prior to watching Night
Will Fall, I visited the Imperial War Museum, and specifically the Holocaust
exhibition. The information contained across two floors was too much to take in
during one visit, but the history of Jewish discrimination that began so much
earlier that the breakout of WWII is crucial to where it ultimately led.
Stories of German Jews who fought alongside their nation in WWI only to be reviled
little more than a decade later, embedded itself in my memory. The fact that Night Will Fall exclusively deals with
the aftermath is important. The camps and their liberation only took place in
1944. We learn from our mistakes, we’re told. In the case of genocide, it is
not an event whereby we want to liberate a country and find out afterwards the
mistake was made again.
These camps were in action for years, with the loss of life
in the millions. Eisenhower, shown visiting the camps, surely never believed he
would ever see such horror. Billy Wilder’s use of the footage, in Death Mills (as Night Will Fall documents) focuses the attention on the crimes
committed by the Nazi’s. But this documentary is about the truth and the
consequence of inaction. The opening moments of Night Will Fall show the bodies in piles within camps. SS Guards
were ordered to move the bodies to mass graves. Their faces are real. Despite
the sunken eyes and gaunt cheeks, the faces are real. The bodies are rubbery
and heavy. The footage gives you a sense of the weight of the corpses, and the
guards who drag them over the rubble clearly show no remorse as they appear to
move them like animal carcasses. But these are lives, hundreds and thousands,
of innocent lives. I have never seen such explicit and shocking film from the
concentration camps. Night Will Fall
coincides with the release of the originally-intended film, German Concentration Camps Factual Survey,
but it is a masterpiece unto itself. Rather than explaining and recalling the
events, Night Will Fall highlights
the importance of film. Akin to diaries of photographers and journalists in war
zones, Night Will Fall is
unflinching in its intention to hold onto the mistakes we made, so that we
learn from it. And in a time whereby YouTube captures every political decision
(and indecision) and news crews attempt to capture every side of conflicts in
Iraq and Israel, surely Night Will Fall
reminds us that we need to make a change before it’s too late. Otherwise, like
the cameramen in Bergen-Belsen, who knows what we will find in the aftermath.
Originally written for Flickering Myth
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