The Times of Bill Cunningham ?Online Now? 
?? ???????????????????
?? STREAM ^ DOWNLOAD
?? ???????????????????
&ref(https://m.media-amazon.com/images/M/MV5BODkyOTg0NDctOGRkYS00ZGZhLWE2YjAtOGNlOTVkZDhjY2ZjXkEyXkFqcGdeQXVyMTkxNjUyNQ@@._V1_UY113_CR0,0,76,113_AL_.jpg) year: 2018 74 m Rating: 37 votes director: Mark Bozek Bill Cunningham. When will you be loved? Always, Linda. always. Thanks for sharing. His pics are so familiar to me. part of the DNA of my childhood. What a life and lifestyle! And instagram etc nowhere in sight. Different time. The times of bill watch movie wikipedia. I detest the way he looks, talks, walks, ughh, what a repulsive man. Thank you Ms. Wintour I needed that bit of inspiration and truth from someone that I consider one of my heroines. Looks interesting. The times of bill watch movie cast. The times of bill watch movie english. The Times of Bill Watch movie reviews.
Bill Cunningham, who photographed fashion trends for the New York Times for almost 40 years, has died at 87, the newspaper confirmed. According to the paper, Cunningham died in New York City on Saturday after having recently been hospitalized for a stroke. The photographer was known for riding around the city on a bike, capturing pictures of trendy fashion items (recent entries included off-the-shoulder tops, ripped jeans and the color pink) to craft photo essays for his “On the Street” and “Evening Hours” columns. A 2009 profile of Cunningham in the New Yorker described these columns as “frequently playful” while still conveying “an elegiac respect for the anonymous promenade of life in a big city, and a serious desire to get it all down. ” Cunningham was awarded the Legion d’Honneur by the French government in 2008 and named a Living Landmark by the New York Landmarks Conservancy in 2009. A documentary film celebrating his work, Bill Cunningham New York, premiered at the Museum of Modern Art in N. Y. C. in 2010. “His company was sought after by the fashion world’s rich and powerful, yet he remained one of the kindest, most gentle and humble people I have ever met, ” Arthur Ochs Sulzberger Jr., publisher and chairman of the Times, said. “We have lost a legend, and I am personally heartbroken to have lost a friend. ” In a 2002 Times article entitled “Bill on Bill, ” Cunningham chronicled his own career, explaining how his style of photography has barely changed since he began taking pictures of people on the street during World War II. “The problem is I’m not a good photographer. To be perfectly honest, I’m too shy. Not aggressive enough. Well, I’m not aggressive at all, ” he wrote. “I just loved to see wonderfully dressed women, and I still do. That’s all there is to it. ” Cunningham described moving to N. at the age of 19 after dropping out of Harvard after just one term. Soon after, he opened a hat shop and began working at a drugstore and a Howard Johnson’s. After returning to New York from the Korean War in 1953, Cunningham worked briefly for Women’s Wear Daily and the Chicago Tribune. He received his first professional-grade camera in the late 1960s from photographer David Montgomery, and once he began taking pictures for the Times in the early 1970s, the rest was history. “I suppose, in a funny way, I’m a record keeper. More than a collector. I’m very aware of things not of value but of historical knowledge, ” he wrote. “I go out every day. When I get depressed at the office, I go out, and as soon as I’m on the street and see people, I feel better. But I never go out with a preconceived idea. I let the street speak to me. ”.
October 12, 2018 6:50PM PT The celebrated New York Times on-the-street fashion photographer gets a documentary portrait that movingly captures what made him unique. In “ The Times of Bill Cunningham, ” the late New York Times fashion photographer Bill Cunningham appears before us as a blissed-out aging choirboy. He sits in his small apartment, surrounded by file cabinets jammed with his work, a geek in his element, with a shock of gray hair and two jutting front teeth that give him a big rabbity smile so eager it’s giddy ? and the thing is, he means it. That antic grin lights up the room. “The Times of Bill Cunningham” is the second documentary to be made about the Times’ legendary on-the-street photographer and shutterbug of society, and it contains a revealing story about the first, “Bill Cunningham New York. ” That film was released in 2011, when Cunningham was in his early eighties (he died in 2016), and it was a profile made with his ardent approval and cooperation. So you’d assume that he might have wanted to attend the New York premiere of it. But no. He skipped the premiere, and for good measure never bothered to see the movie. Instead, when the early spring evening that should have been his red-carpet moment was happening, Cunningham was out doing what he always did: gliding through the New York streets on his trademark bicycle, looking for ordinary people to photograph ? and not-so-ordinary people, though the beauty of Cunningham’s work is that he never made the distinction. He didn’t see it, so he didn’t make it. In one of his typical Sunday photo collages, you might encounter five different images of women on the street, each photographed wearing the same dress, all looking quite different in it, next to a shot of a celebrity strolling along in that same dress. But you’d always have to do a double take before you said, “Oh, look, it’s Claire Danes, ” because Cunningham lent each figure the graceful mystery and radiance of a celebrity. On his weekly page, everybody was a star. Cunningham himself became a star, though only reluctantly, in the most head-ducking and self-effacing way. He thrived on being behind the camera and behind the scenes, as he had since the 1940s, when he arrived in New York from his native Boston to work at Bonwit Teller. There’s now a full-scale genre of fashion-world documentaries, a category that found its commercial niche around a decade ago, with the release of “Valentino: The Last Emperor. ” But something that has struck me over the last year is that there’s a special, intoxicating quality to movies that excavate the fashion demimonde prior to the 1960s ? in other words, the “Phantom Thread” era or before. It might be Warhol doing his shoe drawings in the ’50s, or Cecil Beaton inventing the ’30s fairy-tale kingdom according to Vogue, or (in this case) Bill Cunningham, a sharply grinning young man of the most innocent flamboyance, from a conservative working-class Irish Catholic family, coming to New York and deciding to become a milliner, all because he thought that women’s hats could be like something out of a dream. “The Times of Bill Cunningham” is built around an extended interview Cunningham gave in 1994 to a reporter named Mark Bozek (who’s the director of the film). The interview was supposed to be 10 minutes long, but Cunningham, then 65, just kept talking. He was one of those lucky individuals who’d discovered the secret of a happy existence: If you love what you do and do what you love, you’ll never work a day in your life. The Cunningham we meet took this ethos to a purified Buddhist extreme. He went out to shoot pictures every day, reveling in the discovery of each moment, and he got invited to some very fancy parties, but apart from that he led a spartan existence. In the ’50s, he moved into one of the fabled studios above Carnegie Hall and occupied that privileged but monastic space until the day he died. It was like a highbrow version of the Chelsea Hotel, and we hear great stories about how Marlon Brando, who also had a studio there, would hide out in Cunningham’s to get away from all the girls who were mobbing him, or how Cunningham rubbed shoulders with figures from Martha Graham to a naked house-guesting Norman Mailer. Cunningham speaks neurotically quickly, still with a trace of his Boston accent, and the quality he communicates is an openness to any inspiration. The secret of his photography, he says, wasn’t aesthetic talent; it was closer to having a detective’s eye. That’s why, on the sidewalk, he was always able to spot people like Boy George or ? in a historic moment ? the aging reclusive Greta Garbo, who hadn’t been photographed for decades. He was a man of the moment. When Bozek asks Cunningham, late in the film, if he is ever sad about anything, without saying a word he puts his head down and silently begins to weep. Just like that. A little later, he tells us that he’s thinking of all the friends he lost to AIDS. Cunningham found a place in the fashion world, working for the designers who dressed Jackie Kennedy, but it wasn’t until someone gave him a camera that he found his calling. He had the talent to be a designer, but by temperament he was an observer. He first demonstrated that in his fashion-world commentary for Women’s Wear Daily, which read like gossip written by someone without a catty bone in his body; it was dish served by a man who loved life. He preserved that voice in the short passages he wrote alongside the weekly street gallery that became one of the most popular and iconic destinations in the Sunday New York Times.?The movie is filled with his images, many never published in the Times, and you can feel the pleasure he took in shooting each one of them. “The Times of Bill Cunningham” is only 74 minutes long, yet it’s a snapshot of a life that leaves you grateful for having encountered it. Cunningham insists he wasn’t an artist, and in a way the movie recognizes that he was right. He was a natural photographer who anticipated the digital era, but his gift wasn’t so much for crafting impeccable images. It was a talent for living that he expressed through his lens. He was a reporter who forged his own unique beat: the beauty of other people. A man grieving the loss of his loved ones retreats into the safety of memory, a place where time stands still and the departed walk among him. Over the years an imaginary city grows, populated by literary idols, comic book heroes, family members and friends. But even that mysterious place is eventually threatened by the [... ] In today’s film news roundup, a pair of long-running film festivals in San Francisco and Cleveland are moving ahead and Warner Bros. ’ Fred Hampton biopic gets additional backing and Dule Hill gets cast. FILM FESTIVALS The San Francisco International Film Festival has set the documentary “Boys State” as its opening night film for April 8 [... ] With his perverse (and some might say perverted) look at the early life of Canada’s longest-serving Prime Minister W. L. Mackenzie King, Winnipeg-born, Montreal-based multi-hyphenate Matthew Rankin proves himself far more than simply the artistic heir to fellow Canuck Guy Maddin. His low-budget, high-concept recounting of political life in the Dominion of Canada circa the [... ] Universal Pictures is teaming with “Aquaman” director James Wan on a horror/thriller inspired by Universal’s monster legacy. Details of the untitled project are sparse. Wan is set to produce the project, and a director has not yet been set. Friday’s announcement comes a week after the better-than-expected debut of the Universal’s “The Invisible Man, ” a [... ] Alexandra Codina got involved with filmmaking right after college. Following her job as a production assistant in New York, she began working with the Miami Film Festival in 2002, where she learned to further pursue a career in the filmmaking industry. Codina ran the community programming and outreach areas of the festival until 2005, when [... ] Contract talks between the Writers Guild of America and the Alliance of Motion Picture and Television Producers will begin March 23. The WGA West and WGA East and AMPTP will be working on a tight timetable against a May 1 contract expiration deadline at a time when the industry is bracing for the possibility of [... ] U. K. theater chains are keeping calm and carrying on in the face of coronavirus. While the outbreak of the respiratory virus has wreaked havoc in European countries such as Italy, where around 850 screens had shuttered as of Monday, the U. has yet to feel the social impact of the outbreak, with just 164 positive [... ].
The times of bill watch movie release. Awesomeness! What beautiful women. who are. who they are! CLAP. The times of bill watch movie 2017. The Times of Bill Watch movies. In the golden age of rock - Ronstadt's powerful warm voice - had all the boys in love with her. Beyond rock - damn fine as well. Both Rosemary Clooney and Keith Richards thought she was the greatest. CIBOYPRODUCT. The times of bill watch movie online. So what's comming up for men this year? p. Waiting for the next ON THE STREET WITH episode, congrats man, i love this videos. lots of inspiration and learning on your channel.
The times of bill watch movies. Hood version of maury povich. The times of bill watch movie full. Isn't she in the incredibles. The Times of Bill Watch movie page imdb.
Tell me why javonte looks like Michael Vick
HUGELY sad about Bills death, even though we ALL gotta' go sometime, obviously. We've only subscribed to the Times for about 2.5/3 years now and my Absolute Favorite thing in the entire paper were his columns. So very sorry to see them no longer in the paper but no one could ever fill even half of one of his shoes. He was truly irreplaceable and a stand-alone Chronicler of how style and fashion manifested themselves in the lives of the lucky people he shot. It doesn't do anything but twist my stomach now, but after seeing the fantastic documentary about him, I worried that he was lonely, financially strapped, uncomfortable, lonely, at so much risk so much of the time during his career on the streets of New York on his bikes through so much of the horrible winters we have, blah blah blah. There was never any mention of even one past boyfriend, let alone a partner and even much less so a Husband, so I verrrrry much hope he wasn't as lonely as I fear he was. that's too awful to think about. Sighhhh. here's to the ONE and ONLY Bill Cunningham and his never-to-be-reproduced body of work.
The times of bill watch movie 2
The Times of Bill Watch movie maker. But I thought Kate Lanphear had quit! What is she doing in these photos? They're most definitely old shots. The times of bill watch movie trailer. Joevonta is A GAY MAN IN DENIAL. HE WILL ALWAYS BE WITH THAT MAN OR OTHER. What is the?music at the beginning. The Times of Bill Watch movie. The times of bill watch movie today. Anyone going to spill who he was talking about in the last question.
The times of bill watch movie reviews. Great film. ' I am not gay. With who you going home. Josh. And he ain't gay? SMH. Be honest to yourself and to the people around you. Every era, it builds character well said. The times of bill watch movie series. The Times of Bill Watch. This is crap! Cheers from Australia ?????. Saw it yesterday! Love his work, following his website postings religiously and love the man.
The times of bill watch movie list. 
The times of bill watch movie watch. Love it. What kind of camera that he used, could someone enlighted me. The times of bill watch movie 2016. The times of bill watch movie free. The times of bill watch movie youtube. The times of bill watch movie download. That was so nice that they gave him a special honor <3.
The Times of Bill Watch movie page. The beloved fashion photographer, a longtime fixture of both street life and society events in New York, gets a second documentary tribute in Mark Bozek’s feature, narrated by Sarah Jessica Parker. The death of Bill Cunningham in 2016 marked the end of an era with the disappearance of his candid snapshots from the "On the Street" and "Evening Hours" Sunday columns in The New York Times. The self-effacing fashion historian's monastic dedication to his work, along with the unbridled joy he drew from it, were celebrated in Richard Press' gorgeous 2011 documentary Bill Cunningham New York. First-time director Mark Bozek now takes an expansive view of the subject in The Times of Bill Cunningham, a captivating portrait built around a previously unseen interview he shot with the photographer in 1994. Does this new film shine much fresh light on a life already so affectionately examined in the earlier close-up? Aside from the gratuitous dissing of the Press doc ? when Sarah Jessica Parker reads Bozek's scripted narration, making the unverifiable claim that the 2011 film's success and the public recognition it brought Cunningham made him uncomfortable ? perhaps not. But if you have a subject as delightful and forthcoming as the self-invented shutterbug, not to mention decades' worth of fabulous footage and photographic records of high and low fashion, you really can't have too much of a good thing. Bozek, whose background is in fashion marketing, television production and 20-plus years as a QVC exec (he was the basis of the Bradley Cooper character in David O. Russell's Joy), began work on the film the day Cunningham died, aged 87. He dug out the long-lost video interview, which had been planned as a quick 10-minute chat but ended up a life-spanning reflection that continued until the tape ran out. During production on the doc, Bozek scored access to Cunningham's vast photo archives covering six decades, including a wealth of previously unpublished material from the pre- New York Times years. For someone inherently shy and unfailingly modest about his achievements, Cunningham is a brilliant interview subject. His words are buoyed by the infectious enthusiasm, the sense of gratitude even, that he shares about having been able to carve out a significant career doing something he loves. "A luxury, " he calls it, bringing an exciting sense of discovery to each new day on the job. And he was always on the job. Parked on his favorite corner of 57th Street and Fifth Avenue, or whizzing about New York in his customary uniform of a blue French sanitation workers' jacket on a series of 25 bicycles in as many years ? "The cheaper the better. They're only gonna steal it! " ? he was never without his camera. With prompts from Cunningham at every step, Bozek guides us through the subject's life from his conservative Boston Irish-Catholic upbringing to his arrival at 19 in New York, where he worked in advertising at the chic department store Bonwit Teller. Having fooled around making hats since he was 10, Cunningham began sidelining as a milliner, fashioning fantasy headgear that was much in demand during the explosion of postwar fetes and costume balls. But Bonwits fired him when they learned that his attention-getting creations weren't being sold in their stores. It's the chronicle of this period in particular that makes Cunningham's career such a wonderfully New York-centric story ? of a creative artist propelled by drive, resourcefulness and fortuitous connections, though seemingly not by the usual fundamental quality of guile. He secured himself a small apartment to use as a studio, rent free in exchange for janitorial duties, earning a modest income delivering lunches on Madison Avenue and working nights at a Howard Johnson's. He was drafted during the Korean War and stationed in France, where he attended the Paris fashion shows for the first time while also selling his hats to major designers like Schiaparelli. Back in New York, he started working for the influential couture salon Chez Ninon, where his association with future first lady Jacqueline Bouvier began. Perhaps prefiguring by several decades the colonization of Hollywood by the personal stylist, Cunningham makes amusing comments about how the movie sirens of the time, Ginger Rogers, Joan Crawford and Elizabeth Taylor among them, had little style of their own and were not Chez Ninon's ideal customers. The store's preferred clients instead were sophisticated socialites like Babe Paley and Slim Keith. By contrast, Cunningham admits he never cared about his own wardrobe, relying on thrift stores and castoffs, often from widows offloading their late husbands' clothes. He may be the only person who ever went to lunch with the Duke and Duchess of Windsor wearing hand-me-downs. Around this time in the mid-1950s, Cunningham moved into a small apartment in the legendary Carnegie Studios above the concert hall that would become his home and personal archive for the next half-century. The astonishing cast of famous-name artists and eccentrics who lived in these cramped residential apartments over the decades has been widely documented, but it's nonetheless a treat to hear Cunningham talk of his more memorable neighbors. John Fairchild, the editor who transformed Women's Wear Daily into a fashion force, pulled Cunningham into journalism, though the latter is characteristically humble about his efforts as a writer. (Bozek omits any mention of Cunningham's posthumously discovered memoir Fashion Climbing, published this year. ) Only in the '60s when a friend gave him his first camera and told him to use it like a notebook did he find his métier. But although the self-taught photographer began shooting runway shows, he really found his calling capturing idiosyncratic New York street style. While much of the world was becoming increasingly fixated on the cult of celebrity and the dream factory of Hollywood, Cunningham was more interested in "how women dressed in their own lives. " Paradoxically, however, it was a lucky 1978 shot of that most elusive symbol of iconic silver-screen glamour, Greta Garbo, wearing a nutria coat, that opened the doors to his long association with The New York Times. There's a dizzying array of fashion visuals here, both shots by Cunningham and extensive material documenting the decades during which he lived and worked. The image quality varies wildly, but the sheer volume alone almost dictates a second viewing to take it all in. Bozek and editor Amina Megalli could perhaps have streamlined a more elegant narrative out of all this, and Parker's linking commentary is often flowery and overwritten. But the film is never less than charming, imbued with genuine fondness for its subject. What it captures most essentially is the distinctly egalitarian philosophy with which Cunningham approached his chosen field ? pegged far more to dressing with flair and imagination than to high-end designer access. He also was perceptive on the ways in which fashion reflects what's happening in terms of the politics and social movements of any particular time. And it's especially refreshing, in this age of spotlight-seeking protagonism, to spend time with an artist whose modus operandi was to remain invisible. "We're not the story, " he says at one point. Even more so than the earlier documentary, this one keeps a discreet distance from questions about Cunningham's sexuality and private relationships; though much can be inferred from his exhaustive photo-documentation of Pride parades and other LGBTQ events, starting long before they received general media coverage. In one of the most moving moments in the film, he tears up remembering the devastating losses of the AIDS crisis, his voice breaking as he recalls departed friends, like the fashion illustrator Antonio Lopez, the subject of a recent doc by James Crump. The real strength of Bozek's film is how much of Cunningham's own voice it gives us. Just listening to him on the milestone 1973 Versailles show that grouped together the work of five leading American fashion designers with that of five French counterparts is a rare pleasure. Describing the then-revolutionary innovation of having beautiful African-American models take empowering command of the runway, he calls the moment, "pure raw talent pressing on the raw nerve of the time. " The Times of Bill Cunningham above all reveals a man who found his vocation looking for beauty without ever placing a rigid definition on it, happy to remain in the background while never losing his appreciation for the expressive signature of individual style. Production company: Live Rocket Director-writer: Mark Bozek Producers: Mark Bozek, Russell Nuce Executive producers: Dan Braun, Brendan & Kathleen FitzGerald, Stephane Marsil, Michael Phillips, Susan Rockefeller Music: Ezinma Editor: Amina Megalli Narrator: Sarah Jessica Parker Venue: New York Film Festival (Spotlight on Documentary) Sales: Submarine 74 minutes.
The times of bill watch movie reviews. Great film. ' I am not gay. With who you going home. Josh. And he ain't gay? SMH. Be honest to yourself and to the people around you. Every era, it builds character well said. The times of bill watch movie series. The Times of Bill Watch. This is crap! Cheers from Australia ?????. Saw it yesterday! Love his work, following his website postings religiously and love the man.
The Times of Bill Watch movie database.The times of bill watch movie review.
The times of bill watch movie list. The times of bill watch movie watch. Love it. What kind of camera that he used, could someone enlighted me. The times of bill watch movie 2016. The times of bill watch movie free. The times of bill watch movie youtube. The times of bill watch movie download. That was so nice that they gave him a special honor <3.The Times of Bill Watch movie page. The beloved fashion photographer, a longtime fixture of both street life and society events in New York, gets a second documentary tribute in Mark Bozek’s feature, narrated by Sarah Jessica Parker. The death of Bill Cunningham in 2016 marked the end of an era with the disappearance of his candid snapshots from the "On the Street" and "Evening Hours" Sunday columns in The New York Times. The self-effacing fashion historian's monastic dedication to his work, along with the unbridled joy he drew from it, were celebrated in Richard Press' gorgeous 2011 documentary Bill Cunningham New York. First-time director Mark Bozek now takes an expansive view of the subject in The Times of Bill Cunningham, a captivating portrait built around a previously unseen interview he shot with the photographer in 1994. Does this new film shine much fresh light on a life already so affectionately examined in the earlier close-up? Aside from the gratuitous dissing of the Press doc ? when Sarah Jessica Parker reads Bozek's scripted narration, making the unverifiable claim that the 2011 film's success and the public recognition it brought Cunningham made him uncomfortable ? perhaps not. But if you have a subject as delightful and forthcoming as the self-invented shutterbug, not to mention decades' worth of fabulous footage and photographic records of high and low fashion, you really can't have too much of a good thing. Bozek, whose background is in fashion marketing, television production and 20-plus years as a QVC exec (he was the basis of the Bradley Cooper character in David O. Russell's Joy), began work on the film the day Cunningham died, aged 87. He dug out the long-lost video interview, which had been planned as a quick 10-minute chat but ended up a life-spanning reflection that continued until the tape ran out. During production on the doc, Bozek scored access to Cunningham's vast photo archives covering six decades, including a wealth of previously unpublished material from the pre- New York Times years. For someone inherently shy and unfailingly modest about his achievements, Cunningham is a brilliant interview subject. His words are buoyed by the infectious enthusiasm, the sense of gratitude even, that he shares about having been able to carve out a significant career doing something he loves. "A luxury, " he calls it, bringing an exciting sense of discovery to each new day on the job. And he was always on the job. Parked on his favorite corner of 57th Street and Fifth Avenue, or whizzing about New York in his customary uniform of a blue French sanitation workers' jacket on a series of 25 bicycles in as many years ? "The cheaper the better. They're only gonna steal it! " ? he was never without his camera. With prompts from Cunningham at every step, Bozek guides us through the subject's life from his conservative Boston Irish-Catholic upbringing to his arrival at 19 in New York, where he worked in advertising at the chic department store Bonwit Teller. Having fooled around making hats since he was 10, Cunningham began sidelining as a milliner, fashioning fantasy headgear that was much in demand during the explosion of postwar fetes and costume balls. But Bonwits fired him when they learned that his attention-getting creations weren't being sold in their stores. It's the chronicle of this period in particular that makes Cunningham's career such a wonderfully New York-centric story ? of a creative artist propelled by drive, resourcefulness and fortuitous connections, though seemingly not by the usual fundamental quality of guile. He secured himself a small apartment to use as a studio, rent free in exchange for janitorial duties, earning a modest income delivering lunches on Madison Avenue and working nights at a Howard Johnson's. He was drafted during the Korean War and stationed in France, where he attended the Paris fashion shows for the first time while also selling his hats to major designers like Schiaparelli. Back in New York, he started working for the influential couture salon Chez Ninon, where his association with future first lady Jacqueline Bouvier began. Perhaps prefiguring by several decades the colonization of Hollywood by the personal stylist, Cunningham makes amusing comments about how the movie sirens of the time, Ginger Rogers, Joan Crawford and Elizabeth Taylor among them, had little style of their own and were not Chez Ninon's ideal customers. The store's preferred clients instead were sophisticated socialites like Babe Paley and Slim Keith. By contrast, Cunningham admits he never cared about his own wardrobe, relying on thrift stores and castoffs, often from widows offloading their late husbands' clothes. He may be the only person who ever went to lunch with the Duke and Duchess of Windsor wearing hand-me-downs. Around this time in the mid-1950s, Cunningham moved into a small apartment in the legendary Carnegie Studios above the concert hall that would become his home and personal archive for the next half-century. The astonishing cast of famous-name artists and eccentrics who lived in these cramped residential apartments over the decades has been widely documented, but it's nonetheless a treat to hear Cunningham talk of his more memorable neighbors. John Fairchild, the editor who transformed Women's Wear Daily into a fashion force, pulled Cunningham into journalism, though the latter is characteristically humble about his efforts as a writer. (Bozek omits any mention of Cunningham's posthumously discovered memoir Fashion Climbing, published this year. ) Only in the '60s when a friend gave him his first camera and told him to use it like a notebook did he find his métier. But although the self-taught photographer began shooting runway shows, he really found his calling capturing idiosyncratic New York street style. While much of the world was becoming increasingly fixated on the cult of celebrity and the dream factory of Hollywood, Cunningham was more interested in "how women dressed in their own lives. " Paradoxically, however, it was a lucky 1978 shot of that most elusive symbol of iconic silver-screen glamour, Greta Garbo, wearing a nutria coat, that opened the doors to his long association with The New York Times. There's a dizzying array of fashion visuals here, both shots by Cunningham and extensive material documenting the decades during which he lived and worked. The image quality varies wildly, but the sheer volume alone almost dictates a second viewing to take it all in. Bozek and editor Amina Megalli could perhaps have streamlined a more elegant narrative out of all this, and Parker's linking commentary is often flowery and overwritten. But the film is never less than charming, imbued with genuine fondness for its subject. What it captures most essentially is the distinctly egalitarian philosophy with which Cunningham approached his chosen field ? pegged far more to dressing with flair and imagination than to high-end designer access. He also was perceptive on the ways in which fashion reflects what's happening in terms of the politics and social movements of any particular time. And it's especially refreshing, in this age of spotlight-seeking protagonism, to spend time with an artist whose modus operandi was to remain invisible. "We're not the story, " he says at one point. Even more so than the earlier documentary, this one keeps a discreet distance from questions about Cunningham's sexuality and private relationships; though much can be inferred from his exhaustive photo-documentation of Pride parades and other LGBTQ events, starting long before they received general media coverage. In one of the most moving moments in the film, he tears up remembering the devastating losses of the AIDS crisis, his voice breaking as he recalls departed friends, like the fashion illustrator Antonio Lopez, the subject of a recent doc by James Crump. The real strength of Bozek's film is how much of Cunningham's own voice it gives us. Just listening to him on the milestone 1973 Versailles show that grouped together the work of five leading American fashion designers with that of five French counterparts is a rare pleasure. Describing the then-revolutionary innovation of having beautiful African-American models take empowering command of the runway, he calls the moment, "pure raw talent pressing on the raw nerve of the time. " The Times of Bill Cunningham above all reveals a man who found his vocation looking for beauty without ever placing a rigid definition on it, happy to remain in the background while never losing his appreciation for the expressive signature of individual style. Production company: Live Rocket Director-writer: Mark Bozek Producers: Mark Bozek, Russell Nuce Executive producers: Dan Braun, Brendan & Kathleen FitzGerald, Stephane Marsil, Michael Phillips, Susan Rockefeller Music: Ezinma Editor: Amina Megalli Narrator: Sarah Jessica Parker Venue: New York Film Festival (Spotlight on Documentary) Sales: Submarine 74 minutes.
- Publisher Darrel Manson
- Biography: Damian's Grandpa. Retired Christian Church (Disciples of Christ) clergy. Film reviewer for
コメントをかく