Filmed journal of an exile

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FILMED JOURNAL OF AN EXILE
Written and directed by Magali Magne

In 1936, on the occasion of the birth of his son, Robert Bernas bought an 8 mm Eumig camera in Vienna to film the life of his family. Franco-Austrian Jews, they fled Vienna then Paris and went into exile in the United States to return to France in 1947. Strong, inventive and joyful images that tell a tremendous victory of survival in the face of the threats of Nazi Germany and its allies. Harry Bernas, Robert's son, lived this story that he shares with us today.

Robert Bernas is Parisian, originally from a Polish Jewish family who arrived in Paris around 1860. In 1920, his father Maurice died from peritonitis. His mother Dora was forced to separate from her children in order to be able to work and provide for their needs. She sent Robert, then aged 13, to Vienna, to stay with an aunt who worked as a governess in a Jewish family originally from Hungary. It was within the Blum family that Robert met Lola, whom he married in 1933.

He bought his first 8mm Eumig camera in Vienna in 1936. Like most amateur filmmakers, Robert got a camera to capture moments of happiness. He began by filming the arrival of his son Harry in February 1936 and the woman he loved, Lola. In fact, it was Lola who filmed first, she took a portrait of Robert and Harry in front of the apartment window. In March 1938, the Anschluss took place in Vienna (annexation of Austria by Nazi Germany). Robert then turned his camera away from the family circle to focus on the events unfolding before his eyes, in which he and his loved ones would be the main actors. He begins by filming the coming and going of German planes and convoys from his apartment window, he makes symbolic shots with electric light to express the fear and tension he shares with his family; hands tied, portraits in front of the radio. Then he takes the risk, out of intuitive necessity, not hesitating to hide his camera under his coat, to film from behind the wheel of his car; the Nazi troops invading the city, the crowd that welcomes them, the swastika banners on all the walls of Vienna, including the fronts of his father-in-law's linoleum shop. Robert never leaves his camera, he uses it now as a witness eye, it serves as a sort of diary.

Then begins the journey into exile. The Bernas leave Vienna for Paris in 1938. Despite the danger that is hot on their heels, Robert's images show us a loving, joyful, united family. Robert films festive family outings with his brothers and sisters, holidays, games, children, friends...

Robert does not film for himself but for others, he bears witness with his camera, he makes portraits, stagings. He films in order to correspond with his family, some of his films are directly addressed; "Happy Birthday Oma" was filmed in 1939 for the birthday of his mother-in-law exiled in the United States. The reels are sent to give news to family members, to those who are absent, to those who have already left for other continents.

Robert does not lack imagination and creativity to film those who share his story and his journey. His images of the Phoney War are sometimes very brief, as if Robert were trying to save film, which allows him to film each of his regimental comrades and a few officers. Robert films, in the form of sketches, moments of idleness and forced boredom. During the boat crossing to New York in 1941, thanks to short shots, he takes care to film the 12 passengers and all the members of the crew, as if he wanted to preserve the memory of each person's face.

Over the years, Robert's films evolve. The years of exile in America reflect the time of waiting for a possible return to France. It is a time of transition, Robert is less available, his professional activities take up all his time. Moments of relaxation are the only opportunity to take out the camera. He will start filming more regularly from 1945.

Back in France in 1948, he finds his family in the Bois de Boulogne and films the reunited family who parade in front of the camera in a kind of dance or farandole dotted with absentees and ghosts.