Three great films about photography

Hollywood, for the most part, has not served still photographers well and there is little of note when it comes to portraying the profession. By the way, have you ever wondered why we refer to photography and prostitution as professions, when either can be practiced with a bare minimum of education? These are trades, not professions, though each doubtless includes some real artists in its ranks.

However, three films come to mind which not only do photography justice, but are also shining examples of great film making within their respective genres of comedy, drama and musical.

First comedy. John Waters’s ˜Pecker”(1998) is, well, a typical John Waters movie. Something to offend everyone and hilariously funny for all but the thinnest skinned. This comedy portrays a teenager who is accidentally vaulted to stardom for his snapshots and somehow manages to survive the experience. No great substance here, but an absolute hoot to watch. Filmed, of course in Baltimore, which is the director’s home town.

Next drama, and here we are talking of a very great film indeed, made by the splendidly named Michelangelo Antonioni – a name to conjure with. “Blow Up”, dating from 1966 and purportedly modeled on the working-class-photographer-who-made-it-big David Bailey, the anti-hero, played expertly by David Hemmings, thinks he has photographed a body in a public park. Or has he? Full of mystery and great acting, filmed in a 1960s London largely devoid of people, the film has a haunted air. It’s a fascinating piece of history that bears repeated viewing and denies the audience simple solutions or a nice ending.

But I have saved the best for last. A delightful confection with Fred Astaire and Audrey Hepburn. ˜Funny Face” was made by Stanley Donen in 1957, which seems a long time ago. Add the wonderful Kay Thompson and you have a prescription for champagne. French champagne (is there any other kind?) as the whole thing largely takes place in that most beautiful of cities, Paris. Mercifully, Parisians take up negligible screen time.

Fashion magazine photographer Astaire, modeled on Richard Avedon who advised on the movie, is invariably draped with Rolleiflexes, though almost all the pictures he takes are made on a huge field camera. Even the action shots. Not that hard to believe when you realize the shutter lag on this monster is far less than that on most modern digital wonders.

Kay Thompson’s opening number, ˜Think Pink” is simply a show stopper. Diana Vreeland at Vogue was never this much fun.

And, of course Audrey Hepburn. Like her or hate her.

Astaire being Astaire manages to dance and sing between photo opportunities and Hepburn almost keeps up with him.

Let’s see, what else?

Well, did I mention the Givenchy gowns? Or George Gershwin’s music?

Should you ever get jaded with the process of taking pictures, just pull out this movie and watch the sequence in Paris where Astaire snaps Hepburn in a variety of posed settings, each snap appearing immediately on the screen once taken. When the cape swirls about her head and she squeals “Take the picture. Take the picture.” you are reminded of the sheer joy and excitement of photography. Just like the time that first black and white print appeared in the developer tray in your darkroom.

Impossible to think that any self respecting photographer would not have this magnificent movie on a shelf at home.