mislabelling a nurse at Dr Schumann's experimental station) but also entails the accusation of manipulating someone's identity and misrepresenting their story. The creators of the series The Tattooist of Auschwitz devised a unique solution to this problem, perhaps unprecedented thus far, namely replacing single digits with letters in the visible numbers of the prisoners. It is essential to acknowledge their sensitive and respectful approach to this issue, which is highly commendable. However, it is crucial that the viewer receives sufficient information from them before airing the episode. Without an explanation, using letters in prisoner numbers becomes a perplexing and intriguing enigma.
One noticeable and attention-grabbing mistake in the costumes is the improper colouring of the armbands worn by the functionary prisoners. All of them are white, whereas the capos should have yellow armbands, and the block leaders should have red ones (this applies to both men and women).
Despite its many factual weaknesses, the series also boasts some notable strengths. Attention is undoubtedly drawn to the fantastic photographs. The combination of well-designed sets and costumes produces a plethora of compelling and profoundly moving portrayals of camp life. The series has the undeniable merit of removing some of the book's more fanciful and imaginative plots (such as Cilka's overt affair with Schwarzhuber or the murders in the bus converted into a gas chamber). Additionally, the series moves away from the overly erotic portrayal of the relationship between Lali and Gita, reduces the number of erotic scenes, and eliminates the highly inauthentic scenes of the lovers holding hands, strolling around the camp, or sitting on the grass having long conversations and making plans for the future.
Finally, the series' greatest strength lies in the authentic portrayal of its contemporary characters, Heather Morris and Lali Sokolov (a.k.a. Ludovit Eisenberg). The plot excels in showcasing their dynamics and personal struggles in coming to terms with the Holocaust's memory (Lali) and its impact on their consciousness (Heather).
Heather Morris, who, in the prologue, acknowledgements and a few words "From the author" included in her book, presents herself as an expert doing her best to learn, understand and verify Lali's story (although she had never had any previous connection with the history of the Holocaust), is portrayed in the series as a well-intentioned, simple-minded and sensitive amateur, utterly unaware of the kind of history she will have to deal with. The character played by Melanie Linskey effectively evokes empathy, especially in her portrayal of the vulnerability one experiences when facing a Holocaust survivor and their narrative for the first time. Conversely, the scene of her experiencing a panic attack (episode 4) elicits conflicting emotions - the viewer begins to feel sympathy and sorrow for her, understanding the difficulty she faces while listening to Lali's memories. Simultaneously, it fails to recognise the individuals who truly deserve our focus and compassion in this scenario: the victims and survivors, who did not simply hear about Auschwitz from others but experienced it firsthand.
The series highlights the theme of camp trauma much more than the book. Harvey Keitel plays his role so convincingly that the viewer can indeed see an old man who is lonely after the death of his wife. He is not only struggling with his grief but also with his past and, most importantly, with a genuine and deep sense of guilt, which is one of the most common symptoms of KZ syndrome. It also shows - although it is a pity that it is only a snapshot - Lali and Gita's post-war relationship strongly marked by a past that is sometimes the cause of conflict and problems. In an interview with Heather Morrin, the serial Lali states: "The past followed us like a sick dog"
Part of the series' objective is to dispel the belief, depicted in the book, that Auschwitz and the Holocaust were followed by a 'happy ending' and that Lali and Gita lived happily ever after. It is a pity that more space was not devoted to this topic. The final impression may vary depending on the sensitivity of each viewer and the scenes that capture their attention the most.
Watching snippets of the series that show Heather's initial and subsequent visits to Lali, a person with memories of their encounters with former inmates in their homes may discern familiar patterns in the specifics. They might think this was what it looked like - armchairs on opposite sides of the table, glasses of tea on the table, and a slight nervousness that always comes with such meetings. This element is utterly authentic, successfully bridging the gap between subjective experiences and objective reality. This can be attributed to its reliance on Heather Morris's personal experiences and first-hand account, who maintained close contact with the series' creators. The evident divergence between the authenticity depicted in these images and the debatable realism of the camp images poignantly demonstrates the notable qualitative distinction that arises from the involvement of a direct witness in preserving credibility when telling a life story.
It is worth concluding by evaluating the series' didactic value and reflecting on its potential to contribute positively to Holocaust education. As demonstrated, this picture is not entirely factual, containing significant or minor factual errors in multiple fragments. Nonetheless, any inaccuracies in dates or the camp's visual presentation, though forgivable, may be regarded as a secondary issue as long as the authenticity of the camp's daily routine is upheld. If the TV series had portrayed the relationships and psychological realities of camp prisoners more realistically and thus provided a deeper understanding of the psychological situation of an individual trapped in an oppressive system, and if it had raised important questions, encouraged reflection, and offered answers beyond popular culture stereotypes, then its popularity could have been beneficial for educational purposes.
Unfortunately, the didactic aspect is questionable, particularly in light of the message conveyed by the series (and previously the book), which is succinctly captured in the title of the promotional single: Love will survive.
Did Lali and Gita survive, thanks to love? Did their survival hinge on their falling in love? Was love what made them survive the camp? If