The Eichmann Show

'The Eichmann Show', aired on our screens on BBC2 last night. Some of  us however, chose instead to watch the film at the Ritzy Cinema in Brixton where we were treated with the company of producers Laurence Bowen and Ken Marshall, director Paul Williams and Writer Simon Block.

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I wasn't completely sure what my preconceptions of the film were and contrary to my normal routine, I decided to keep it that way. What I got in return was a film that despite its specific title, was entirely focused upon the trial of ordinary men, both the witnesses and the accused. A tangible link that, as Paul later reminds us, links us through time, to what man is capable of perpetrating and what man is capable of surviving.

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I find it hard to impugn any aspect of the production's value. Shot in 23days, edited in under 2months - and you wouldn't know it. You wouldn't know it at all which makes it almost pointless for me to mention it. Martin Freeman and Anthony LaPaglia do a grand job of creating an onscreen relationship and in characterising the battle of their inner demons. The lack of budget is unnoticeable at the hand of a good research team and art/costume department and the cinematography is cleverly orchestrated to complement the archive footage and keep the audience involved within the story.

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As a film-maker myself, I last year made a documentary entitled 'After Auschwitz' which champions a similar sentiment in that, the lessons there to be learned from the holocaust are ones that remain relevant within society today. In making the film I watched through much of the archive footage used within the Eichmann Show, but despite knowing I had seen some of it before, whether on my laptop screen or onsite at Yad Vashem, it felt like I too, was seeing it anew. The seamless quality of the original footage embedded within the scripted drama of the film, meant that we never once lost sight of the narrative. We instead were drawn to it, willing for it to act as proof, willing Eichmann to show even a glimmer of humanity. And that of course leads us to that one unanswerable question, 'why?' The question all of those 37 countries who televised the trial were asking, all of the 112 witnesses at the Eichmann Trial, were imploring to be answered. And yet, still now, we may never know.

This unanswered question was enough to drive Leo Hurwitz almost to despair and we too feel his agony at this indictment. Milton Fruchtman keeps up his impeccable, impenetrable nature of producing, of getting the job done, as any producer would. But what unfolds in The Eichmann Show is almost a cinematic re-construction of what short deadlines, a bold message and big ideas can really do for a production.

I have to say I didn't really think about the emotional impact of the film straight away. A lot like my visit to Auschwitz, it hit me on my journey home. As I transferred from the Victoria line to the jubilee line I noticed the assistance box, where TFL workers sit when on duty. Stood deserted in the station it looked a lot like Eichmann's box in the courtroom. I suddenly found myself picturing those faces I saw on screen, resting in Eichmann.  It actually made me forget which tube line to take.

As I said to Laurence when leaving the cinema, on meeting with many holocaust survivors at the annual Lord Merlyn-Rees memorial lecture this evening, I can't wait to hear what they thought of the film. After all, for now they are our witnesses, but in time, we will live to be theirs.

I am sure it will be a popular topic.

(Check back tomorrow when I'll have posted the Q&A with the film-makers. It'll be an interesting read!)