Lee review: Kate Winslet’s photographer biopic fails to capture the unique essence of this woman who intrigued, captivated and infuriated in equal measure writes ALEXANDRA SHULMAN
As a film critic with a keen eye for historical accuracy and a deep appreciation for the lives of remarkable women, I must say that the portrayal of Lee Miller in the recent biopic left me feeling rather disheartened. It seems as though the makers of this film have missed the mark time and again, reducing the complex, multifaceted life of this extraordinary woman to a series of clichéd scenes and oversimplified characterizations.
In the year 2003, renowned playwright Sir David Hare affixed a commemorative blue plaque to 21 Downshire Hill, the dwelling in London that once belonged to the dazzling and adventurous photographer Lee Miller, who shared this residence with her husband Roland Penrose.
David Hare penned a screenplay about Miller’s life, intending for either Nicole Kidman or Cate Blanchett to portray the main character. Regrettably, it never made its way onto the big screen.
Instead, we have the biographical movie titled “Lee,” starring Kate Winslet, opening in cinemas on September 13th. Unfortunately, this film does not effectively portray the distinct charm of a woman who was equally fascinating, compelling, and frustrating.
Lee, under the guidance of Ellen Kuras’ direction, primarily spotlights Miller as an unwavering war photographer, a woman who had earned legendary status within the ranks of Vogue’s photographers and continues to serve as an inspiration for numerous young women navigating the male-dominated field of war journalism.
As a devoted admirer, I’d like to highlight that she was more than just a beauty; she was a model, muse, and student under the tutelage of the renowned surrealist Man Ray. Her love life was as captivating as her appearance, with Picasso being one of many men who were smitten by her charm. Yet, her talent extended beyond the realm of romantic pursuits, as she showcased a distinctive eye for photography, particularly in documenting the harsh realities of war zones, as well as capturing striking portraits and fashion images.
Her striking aristocratic charm, romantic liaisons with notable figures of the era, and remarkable war photography have earned her an iconic reputation.
At 19 years old, Miller was rescued from the path of a car in New York by the publisher of Vogue, Conde Nast. He swiftly propelled her modeling career forward, persuading prominent photographers such as Edward Steichen and George Hoyningen-Huene to work with her.
However, when one of these pictures was used for a Kotex sanitary towel ad in 1928, showing remarkable self-reliance, Miller gathered his belongings and ventured to Paris, carrying nothing but an introduction to the artist Man Ray.
In a different yet understandable manner: Winslet portrays Miller as a tough, unyielding character who isn’t afraid to face challenges head-on, using sharp wit and casual cigarette gestures. Her on-screen demeanor is confrontational and draining, but the real Miller was likely mysterious and complex – an enigmatic figure, scarred by a traumatic event at seven, when she was raped by a family acquaintance. Throughout her life, her father Theodore reportedly took intimate photos of her.
Anthony Penrose, her only child, described how this event affected his mother: ‘Her distant stare seems like a desensitized emptiness… this detachment proved beneficial for her later in life and made her captivating to men seeking adventure in love.’ He also credited her remarkable bravery to this trait. Another photographer and lover, David Scherman, who captured an iconic photo of Miller near Hitler’s bath on the night of Hitler’s death, remarked: ‘Lee Miller never feared the wickedness that humans are capable of.’
Prior to the conflict, Miller played a crucial role in the Surrealist art scene, regularly infusing a whimsical, dreamlike essence into her own creations.
One of my preferred photographs by Miller, entitled “Picnic,” was captured in the Southern region of France back in 1937. This stunning image features a delightful gathering of companions: artists Nusch and Paul Eluard, Roland Penrose (Miller’s spouse), the surrealist Man Ray, and his captivating Creole friend and model, Ady Fidelin.
Two women, their tanned chests well-groomed, lazily bask in the sun on a blanket of green grass. However, the movie falls short in recreating the leisurely atmosphere and subtle sensuality portrayed in the original scene.
Kate Winslet enters, setting a large serving dish on the table, casually removing her top to reveal her slender, bare torso. Soon after, Penrose emerges, surprising everyone present. In contrast to the reserved and impactful demeanor that Miller is known for, Winslet’s bold and unrefined introduction would have been quite unlike him in both life and career.
During a recent interview, Kate Winslet discussed her decision to keep her abdominal rolls visible in the film, despite criticism. However, it’s not her body shape that creates inaccuracies in the movie, as the real Miller was slim and graceful like a gazelle. Instead, it’s Winslet’s labored breathing during a minor cliff walk scene that seems out of place. Given her character’s bravery in the Battle of St Malo, one might expect her to handle a leisurely stroll along the French Riviera with more ease.
By 1944, Miller (who was then married to Penrose) had relocated to London and started working as a regular photographer for British Vogue. Despite being content with fashion and portrait assignments, she felt constrained by this role and endeavored to convince her editor, Audrey Withers, to assign her to cover the war in Europe instead.
Starting from 1940, Withers served as the editor of the magazine for a span of two decades. With her expertise in writing and editing, she guided the publication for several decades, transforming it into the influential magazine we know today. Under her leadership, renowned figures such as Norman Parkinson and Anthony Armstrong Jones gained global recognition.
In the movie, the depiction of Withers is another significant misstep. I believe Andrea Riseborough, an actress I find more suitable for the role of Lee, portrays her as a timid and indecisive character. Confusingly, photographer Cecil Beaton, who in reality would not have been present in Vogue offices, is shown there, apparently overseeing magazine layouts.
However, Withers was nothing like the stereotype of a woman in that era. She was exceptionally intelligent, outspoken, and practical, possessing a keen understanding of global politics. During the war, she steered the magazine skillfully, remaining unfazed by the bombed headquarters, scarcity of paper, and an ongoing struggle with the influential American Editor Elsa Woolman Chase, who often overlooked the distinct perspectives of British readers regarding world events.
In the end, since Withers refused or couldn’t manage to send Miller to the battlefront, ultimately Miller succeeded in persuading the U.S. Army to grant her military recognition. After that, she arranged for her uniform from Savile Row.
In her unique position as one of just two female photographers given permission to document it, she pressed on to capture the harsh realities of France’s liberation. This included gruesome scenes from field hospitals, such as amputations, and iconic images of mounds of bodies in Buchenwald and Dachau concentration camps.
When Miller sends her powerful collection of photos to Vogue accompanied by the message “Please trust that this is genuine”, Withers understands these images are unlikely to pass the censorship process.
Rather than focusing on the past events of the war, the UK government found no appeal in prolonging discussions about it in Vogue. Instead, they preferred that Lee was provided with new story ideas such as “10 Ways with a Headscarf.” As a result, Withers sent these stories to American Vogue instead.
In simpler terms, Lee becomes deeply upset when she learns British Vogue won’t publish her photographs. In the movie, she frantically enters the office, tearfully snaps apart the negatives stored in the cabinet, and, surprisingly, opens up about a traumatic event from her past – her childhood rape – to Withers.
It is on record that it was one of Withers’ great regrets that she didn’t publish the images.
As a die-hard fan, I must confess that no movie can fully capture the entire tale, yet time and time again, this biopic seems to slap together pivotal moments in the most unrefined way possible. It’s as if they intentionally sidestep the elegance and depth that made Miller truly extraordinary.
It’s not until Kate Winslet plays the role of the aged, melancholic, and disillusioned alcoholic photographer near death from cancer that she truly shines in her performance.
In that setting filled with photographs and reports she had written, she poignantly communicates her feelings, past and present, about her remarkable and frequently challenging life, through the subtle use of silence and gestures, during her emotional encounter with her distant son.
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2024-09-12 20:19