![]() ![]() (The notable execeptions are his editor at Vogue, Anna Wintour, and his wife, June - also a photographer, working under the name Alice Springs.) ![]() Interestingly, all the people von Boehm interviews are women, most of them models or actors who had been on the business end of his cameras. It’s in these moments where we see Newton courting controversy, whether it’s showing an able-bodied model using canes or a wheelchair, or photographing millions’ worth of Bulgari diamonds by placing them on hands butchering a roasted chicken.īut it’s the interviews that are most fascinating. Through a wealth of footage of Newton at work and at play, von Boehm (German-born, like Newton) shows the nuts-and-bolts of how Newton runs a photo shoot - bouncing around the location, constantly chatting with his models as he seeks the perfect image. Newton, best known for his provocative images of naked and clothed women in Vogue, hated the word “art,” as much as he hated the phrase “good taste.” (He says so in one of the interview clips, shot shortly before he died in 2004, near the Chateau Marmont in Hollywood, hit by a car at 83.) Surely one can argue whether his images are artful - and the fun of director Gero von Boehm’s documentary is diving into that argument. The documentary “Helmut Newton: The Bad and the Beautiful” is caught between its two conflicting attitudes: It wants to be as playfully mischievous as its bad-boy subject, the late fashion photographer Helmut Newton, while also appraising his work as serious, relevant art. ![]()
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