NARRATOR
Munich, 1911: Ilka Révai and her eight-year-old daughter Eva are packing their suitcases.
ILKA
Can you pass me that blouse over there, darling?
EVA
Here you are.
ILKA
Are you packing Daddy’s photograph?
NARRATOR
Ilka runs her hand over Oszkàr’s portrait once more. His serious expression does him no favours. She prefers to remember the mischievous smile with which he used to swoop across the ice rink back home in Budapest. Or the enthusiasm with which he spoke of his company and the new patents there: water heaters, gas fireplaces, central heating systems – while she tried to learn her lines for her next play.
It has been a wonderful life. But now she must stand on her own two feet. And the photography training she has just completed here in Munich will help her to do just that.
ILKA
Are you ready, Eva? The carriage is here.
EVA
Sighs. Yes...
ILKA
What’s wrong? Why are you looking so miserable?
EVA
I don’t want to leave, Mama.
ILKA
Oh, I understand, my dear. But you’ll love Meran, you’ll see. There’s a synagogue there, a kosher restaurant and lots of Jewish families. Besides, the spa guests there are surely just waiting to have their picture taken by me.
She clears her throat, gives short, dry cough
EVA (concerned)
Have you got a sore throat again?
ILKA
Yes, darling. But I’ll feel better in Meran; the doctor promised me so. Come on.
NARRATOR
In Meran, a dream comes true, one that Ilka has cherished since completing her studies in the applied arts: she rents a commercial space in the new Baumgartnerhaus on the Mühlgraben, where she opens her own photography studio. Soon she begins to stand out from the usual commercial photographers in the little spa town.
EVA (excited, out of breath)
Mama, Mama! Here, read this: “A visit to the Révai studio is highly recommended to anyone with an interest in the latest developments in the applied arts, for there they can see some truly beautiful and original items that will prompt a longing to own them in every connoisseur and enthusiast.” Well done, Mama!
NARRATOR
In October 1913, the Bozen Chamber of Commerce and Industry issues its expert opinion, confirming that Révai’s photographs are indeed works of fine art. Shortly afterwards she exhibits her work at a show organised by the Meran Artists’ Association.
EDITOR
“Ilka Révai presents a collection of photographic studies of heads that powerfully demonstrate her skill. These works make a strong impression on everyone: it is hard to say whether through the patinated tone of the image, the thoughtful positioning of the subject in the space or, ultimately, the subject itself. Only one thing is certain: taken as a whole, it is art.”
NARRATOR
But Ilka’s health remains fragile – she is likely suffering from a laryngeal condition, and difficult times lie ahead. In September 1914, with Austria-Hungary now at war for well over a month, the Bozner Zeitung newspaper reports:
EDITOR
Following a lengthy period of convalescence, the Meran portrait photographer Ilka Révai has reopened her studio for artistic photography. Mrs Révai will do her utmost to accommodate all those who, in these sad times, wish to bring joy to their loved ones in the field by providing them with a portrait of themselves. She is of course also at the disposal of those who wish to leave a photograph with their families before departing for the front.
NARRATOR
In April 1915 the Meraner Zeitung newspaper records, in a list of undeliverable mail items, a parcel addressed to Ilka Révai. She has probably already returned to Budapest. There, in 1917, she produces a series of realistic, avant-garde portraits. In 1927 she follows her daughter to Paris. While Eva succeeds in breaking into the French fashion industry, Ilka keeps her head above water by producing jewellery and craftwork from modern materials.
In 1943 Ilka Révai returns to Hungary. There she is taken to the Budapest ghetto, where she dies in 1945. Only fragments of her life’s work survive.