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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
Lee, the biopic with Kate Winslet in the title role is a film which fails to capture the unique essence of this woman who intrigued, captivated and infuriated in equal measure.
Aged 19, Miller was pulled from the path of an oncoming car in New York by Vogue’s publisher Conde Nast, who fast-tracked her modelling career, encouraging leading photographers of the day like Edward Steichen and George Hoyningen-Huene to use her. As only one of two women photographers granted access to the horrors unfolding, she forces herself to record the grim aspects of the French liberation, amputations in the field hospitals and the famous images of the piles of bodies in the death camps of Buchenwald and Dachau. Lee is distraught when she realises British Vogue won’t publish the pictures and, in the film, rushes into the office to hysterically cut up the negatives in the filing cabinet, bursting into tears and then in a most unlikely move, confides to Withers, her childhood rape.
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