BFI PREVIEW: ‘NIGHT WILL FALL’

It was a relief to cry.

The day upon which German Chancellor, Angela Merkel, spoke out against anti-semitism* and when a BBC Breakfast report cited a Europe-wide increase in such Jewish-focused attacks*, early upon this day, I attended a preview screening of filmic documentation of the single most harrowing example of anti-semitic hatred. The Holocaust.

When invited to be present, I immediately registered that this would be life-changing. To bear witness to a visual feat, 70 years in the fulfilment, charting the recording, effects and aftermath of torturous barbarism inflicted, human-against-human, could not be anything other.

As I settled back into the cocooned ease of my comfy chair, at Hampstead’s Everyman Theatre, the powerful words of documentary-producer, Sally Angel, echoed around my mind…

“Try not to look away, but bear witness to the courage it took to make the film.”

I silently awaited ‘Night Will Fall’, a digitally-remastered culmination of a creative effort, spanning continents and generations, involving some of the most celebrated names within the film industry and giving names to those courageous, newly-trained soldiers, sent to capture footage.

 Immediately, the opening image of camera number 372574, seemed a subliminal mirror to the tatooed numbers which Jewish people, themselves, would not only be forced to display, but also, become. Shocking visual recollections ensued. From Bergen-Belsen, to Dachau and Buchenwald, the emaciated bodies of babies, children, women, men, in their thousands, bounced like rubber, as they were thrown into tennis-court sized pits. Lifeless, barely recognisable as having ever been human, these mid-distant stills of twisted, physical pile-ups, were followed by close-ups of starving inmates, on-the-cusp of death, existing amongst the stench of rising steam from the decomposing remains of those whom had been their loved-ones. Yet, such was the purpose and necessity of the late Granada Television founder, Sidney Bernstein, then of the Ministry of Infomation, that the ground-breaking usage of the technique, within the context of war, was employed to, literally, pull focus upon this devastating evidence of inhumane cruelty.

A joint film-unit formed, between the U.S.A and the U.K., that would further facilitate this ardent objective to reveal the atrocities of the Nazi concentration camps, as would the assistance of Supervisory Director, Alfred Hitchcock. His participation would add momentum to the implementation of technical methods such as ‘panning’ and ‘tracking’ in one-shot takes, in order to ensure the utmost authenticity of the resultant images. The use of contrast was particularly telling, from German SS officers ‘on leave’, in the idyllic environs of the countryside, to the half-dead prisoners-of-war, staring directly into camera, eyes glazed-over with hopelessness, with the very same countryside as an unreachable backdrop. From municipal ‘visitors’ and ‘upbeat’ local residents, to one woman being carried out, so distressing was the horror she had witnessed. Demonstrating the stark juxtaposition of an ‘out-of-sight-out-of-mind’ attitude, with the abject reality of such a mindset, highlighted “peering into a hell that you could not easily forget.”**

Further, tearstained, eye-witness accounts, recounted the ‘confiscation’ of twin boys and girls, who were subjected to such ‘medical experiments’ as being injected with incurable diseases. Deemed mere numbers, and with 600 Jewish deaths demanded daily, their survival was immaterial. The dark truth of the sheer scale of victims unravels evermore forcibly, through the mountains of personal belongings which were amassed, items which, due to the fallacy that they were moving to a better life, constituted the best of possessions. Finely, hand-made gloves and attire, shoes, glasses, brushes and favoured toys, told a tale of expected optimism…History records that the opposite was to be discovered, with the most brutal twist, being that of having bought their own tickets to an unfathomable fate.

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“Freedom was chocolate and hugs!”…

Expressed by a survivor, the newfound exuberance, is ushered into the documentary, as Allied troops move in to liberate prisoners from the concentration camps. So palpable is it, that I begin to breathe more easily, now aware of how tense I have become. The theme of catharsis continues to run parallel to the rehabilitation process. Of particular note, is the significance of womenswear being directly correlated with the growing self-esteem of the former female captives, with clothing becoming “a necessary tonic” to faciliate healing. Being, once more, able to choose anything, let alone an outfit, underscored the poignancy of the basic right to freedom of self-expression, the re-personalisation of the decision-making process and the absolute joy of re-engaging with life.

After a 70-year journey, under the leadership of Toby Haggith, (Film and Video Archivist at The Imperial War Museum and the documentary’s Restoration Director), rushes encapsulating the touching clarity of such nuanced moments, within the arc of the turmoil of war, are not the only elements to have been redefined. A historical record of The Holocaust has been re-presented, which goes beyond a cinematographic process, delving deeper into the human bravery required to capture and reveal such heartbreaking visuals. This pivotal footage is profoundly moving and delicately balanced between immeasurable sorrow and the upsurge of liberation and it is the final quote which still echoes…

“Unless the world learns the lessons which these pictures teach, night will fall…But by God’s Grace, you will live and learn.”**

Let us all hope that somehow, we do.

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REFERENCES:-

*: BBC BREAKFAST 14/09/2014 ~ **: “NIGHT WILL FALL”: CERT: 15 (DIRECTED BY: ANDRÉ SINGER)

“NIGHT WILL FALL” OPENS AT BFI SOUTHBANK 19/09/2014

Many thanks to Alex and Julia from the BFI, for organising tickets and hosting, to the Team at Everyman Theatre, Hampstead, for their fine service and hospitality.

Special thanks to Sally Angel, Toby Haggith and all involved, past and present, in bringing this life-changing documentary to light.

©AFROW2014-2019 ALL RIGHTS RESERVED

‘MATT FORSTERs A NEW RELATIONSHIP WITH WATERCOLOUR!’

Entering the ‘Über-Painting’ watercolour-world of Matt Forster, is akin to being surrounded by a hall of the most divine mirrors. You’ll find no tricks nor deviations, no jokes at your physical-expense, simply a wall-to-wall reflection of light and shade, masterfully manifested from his soul to your own. Something of the enigmatic follows your every move, at first, present in the means by which the colour seeps into the skin of the paper, then, subtly doing an ‘ole blue eyes’ and sliding beneath your own. In short, his pieces are, quite literally, a breathtaking testament to how intensively enmeshed Matt is with each one and a certain precursor to their effect upon the viewer.

My first Über-experience happened on a day of firsts, at ‘The Other Art Fair’*, whereupon, my inquisitive nature all but galloped a domino-falling tirade of questions, regarding how he did this and why he did that! Indeed, how he managed to answer anything fully, remains a mystery, but answer them, he did…I recall being rather surprised at the candid nature with which he revealed the intricacy of his ever-developing technique…  His website describes it thus, ‘An überpainting is like a silk  screen print in watercolour as they consist of between three and five layers of different coloured paint applied  independently and sequentially darker in tone. I mix colours from a  primary base and it is the application of these successive layers that  provides the images with the startling three dimensional impression.’** In real-time I was becoming further absorbed into the vortex of porous, primary-colour distinctions being reworked and, somewhat, wooed into place by the fluidity of its transparent, watery home. I came away, excited to see a similar aesthetic of simplified line, form and colour, in a new setting, as well as, feeling humbled by such a prolific ability to do so.

My most recent encounter was at ‘The London Illustration Art Fair’, yet another first of its kind! Underneath Hoxton Arches, gorged-to-the-gills with personifications of artesanal collaborations, it was a pleasure to revisit the British Isles through Matt’s viewfinder and, once again, become mesmerised by the works which, this time, seemed more pointedly abstract. But, as I was quickly shown-and-told, there was so much more where they came from, and goodness me, did I see some absolutely incredible examples! Now, I know that you’ll want me to select a favourite…but, quite frankly, I can’t choose just one! Instead, I’ll say that the more abstract, the better, in my book…purely because there is less room for cognitive predictive-processing and rather more space to ‘Sherlock’ the scenes. Just as the white spaces facilitate a void, so too, are you gently guided to feel, think or sense, or not, in your own time…That’s the best you’re going to get!

What I’ll go on to say, however, is that you cannot forego the chance to stand before Matt’s art. It is Über! Not only this, but the guile with which the movement is addressed, from wine-glass (naturally, for mixing purposes), to brush, to full-bleed hue, is so vividly witnessed within each vignette, as to encapsulate the rise-and-fall of a breathing planet. In the Über-painting studies, we have a journal of a Britain which is constantly in flux, thus a keepsake for our unique Isles and an intensely open-book, which grips you, from beginning, to end!

I am truly looking forward, with great expectation, to the next exhibited volume!

**www.mattjforster.com ~ www.facebook.com/MJForsterGallery ~ twitter.com/Matt_Forster/media

 www.thelondonillustrationfair.co.uk/

*afrow.wordpress.com/2013/11/04/an-east-end-love-affair/

©AFROW2013-2019 ALL RIGHTS RESERVED

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TESTIMONIAL FROM MJ FORSTER

‘Here is a review of an exhibition of mine in London last month. Written by a very talented blogger…Thanks what an amazing article. You really get it! I’ll cut, paste and share it everywhere I can…’

SPOTLIGHT ON: ‘KITTY FERREIRA UK’… AN EXTREMELY ‘GOODE’ BRAND!

‘You know it when you see it’, is a phrase which is often bandied-about, with such frequency, as to become cliché. However, let it be known, that in referring to ethical womenswear-brand ‘Kitty Ferreira UK’, no other phrase will fit-the-bill!

Living-the-dream of designing the range is Founder/ Creative M.D., Valerie Goode, and if ever a moniker described both a person and a mission, it is hers! As I type, the question ‘What qualifies this statement, Afrow?’, is undoubtedly winging its way through to my side of the Blogosphere… Well, my having spent a day-in-the-life with Miss Goode should serve as due qualification!

You see, last week, yours truly was given free-reign of ‘ The Ideal Home Show Christmas’ event, at Earl’s Court! Yes, another wonderful PR Company (in this case, that of ‘Incentive Media’), gifted me a press-pass for the entire 5-day duration and, for an ‘I.H.S Xmas’ newbie, it was AMAZING!!!

Imagine a Noughties-Narnia (except a lot warmer!), lit by an indoor aurora-borealis, a floor filled with stands, as far as the eye could see, scents saturating the atmosphere with the most divine Yuletide fayre and mood-music, apt for retail-merriment! The scene reverted this visitor into a jaw-dropped juvenile, in anticipation of being a tinsel-halo-wearing angel in the Nativity play and sharing memory-making, festive family-fun!

Now, Afrow-Family, follow me to Wednesday 14th, which I have come to address as ‘Kitty Ferreira Day’, in part, because her designs were runway-bound to the Ideal Home Show Christmas Catwalk for an exclusive showcase of exceptional UK design-talent and also because that evening, her collection was to be displayed at a Pop-Up Fashion Exhibiton, curated by online UK-fashion boutique, ‘London Ethnic’ and held at the exclusive private members club, ‘Apartment 58’.

Without further ado, I must explain the riches of Miss Goode’s ‘Kitty Ferreira’ designer label! Heartwarmingly named after her late Grandmother, whom she described to me in one of our many email communiqués, as being ‘fierce like a lion, soft like a cat’, the line comes with this familial brand-boldness, yet delicacy of a bespoke design-aesthetic, which is woven into the warp and weft of every bolt of fabric!

Engrained in the ‘Kitty Ferreira’ ethos, is the stalwart passion to produce high-end pieces, manufactured solely in the U.K, the carbon footprint of which is closely-monitored, due to her personally sourcing top-quality, upcycled materials. Otherwise destined for landfill, these same fabrics, are eco-dyed, in a variety of natural stains, with her latest derived from pomegranates and onion skins, as can be seen in her stunning SS14 garments. As with such tried-and-tested dyeing methods, the beauty of the resultant pieces stems from the drying process, which facilitates unique variations-on-a-theme. Thus, each will be a bespoke creation, perfectly reflective of she who chooses to buy and wear her own idiosyncratic example of craftsmanship.

Following in the tradition of all-things with a bespoke, there is an air of exclusivity to Goode’s goods, bucking-the-trend for batch-process uniformity, whilst helping to save the bucks, with purse-friendly prices! Not only does this serve to satisfy the ‘one-off template’ within us all,  but it is ever-more marvellous to see, at close-quarters, the fruition of harmonic parallels between the ideal of ethical manufacturing and the production of such timeless separates. Furthermore, the fast-turnaround of her ‘luxe-for-less’, limited-edition collections, offered in a rainbow of size-silhouettes, ranging from 6 to 26, only adds to their desirability, whilst perpetuating the element of having acquired something extra special, for one’s wardrobe. It is this desirability which has already seen celebrity-endorsement by such names as ITV Newscaster, Charlene White, and earmarks the trans-seasonal/ transferable glamour of a ‘Kitty Ferreira’ garment as a go-to option, as suited to a high-stakes work environment, as to the atmopshere of a restful afternoon tea or a playful party-vibe!

Pattern-cutting, provided by her highly-skilled assistant, Katie, is a dream-of-precision, underpinning the sublime tailoring which is present in the exquisite apparel. For example, a rich mustard-hued pant, with the most sumptuous pleating detail, is an utter triunph and a joy to see, styled with her sheer, silk ‘Saffron Shirt’ with the signature ‘notch’ pocket. In fact, it was this look, which all-but stole the Ideal Home Catwalk Show, and was one of many which had guests at the London Ethnic fashion showcase, flocking to meet-and-greet her! Having witnessed a selection of the collection in-motion, it is easy to see why so many sought to celebrate the fruits of her creative labour! There is no mistaking Miss Goode’s couturière-eye-for-detail, which is absorbed throughout the design, as expressed through a fine floral motif, here, or a high-necked front, balanced by a revealing backless ‘moment’, for the ultimate in effortless, elevated drama. The overall effect pronounces the ‘Kitty Ferreira Woman’ as one of distinct elegance, presence and allure, with a stylisitic self-awareness and an ability to fearlessly experiment with it.

As Valerie herself says, ”…fashion can tell a story not only based on style or an era, but based on values”*. Thus, the most wonderful element for me, is the fact that one can be safe-in-the-knowledge that a purchase from the line is not just another acquisition, which might, all-too-soon, be forgotten! No, a ‘Kitty Ferreira-wearer will always know that she has made an eco-friendly retail choice, not only in support of the best-of-British manufacturing, but also in contribution to the development and success of one of the best-of-British design-talents.

In Afrow’s words… ‘That’s not simply a Goode thing, but a great thing!’

©AFROW 2013-2019 ALL RIGHTS RESERVED

* www.kittyferreira.co.uk  ~ www.londonethnic.com ~ www.idealhomeshow.co.uk ~ www.apartment58.com ~ www.incentivemedia.co.uk

Many thanks to Valerie for inviting me to such a special day and to Incentive Media for inviting me to such a special event!