Bill Cunningham New York

Bill Cunningham New York (2010)

*** (out of 4)

Nice documentary cover photographer Bill Cunningham who rides around New York City on his bicycle taking pictures of everyone from your average person on the street to some higher known people. We follow Bill as he rides around the city, working on the streets and in his office and we also learn about his personal life including him living at Carnegie Hall. I'll admit that I really wasn't familiar with Cunningham in any way so I went into this documentary rather blind. I found the movie to be fascinating mainly because Cunningham is such an interesting figure. I will admit that fans of photography will probably enjoy this a lot more than I did because that subject is just something that has never really interested me. However, as a character study I found myself entertained throughout the majority of the running time. I enjoyed watching how Cunningham would just ride around town snapping shots of what he found interesting. I thought it was rather fun seeing how he would show his work and what he would or wouldn't want to do with it. It was interesting hearing his thoughts about a magazine who went against his wishes and showed "normal" people as being something less than the more famous ones he photographed. Overall, fans of Cunningham should really love this look at the man, his work and his thoughts. Others should still be entertained even if they're not familiar with the man or care about the work he does.

www.eattheblinds.com

I just got off an overseas flight from London and was lucky enough to start the long journey with a great documentary: Bill Cunningham New York, by Richard Press.

Even if fashion isn't your thing, Bill is such a rare and inspiring person, it's impossible to not be moved by his story. At 80 years old, Bill continues to bike all over Manhattan, snapping photos for his NYT feature "On the Street." He's one of the original street style photographers and his legacy is not only respected by those in the know, his influence ripples through the entire fashion industry.

This is one of the best documentaries you will see. A humble, honest, artistic and amazingly talented man manages to stay connected with the real world despite being a very integral part of the dizzy, artificial world of high fashion. One review here said the filmmakers hadn't really delved enough into Cunningham's personal life. I'd agree -- where did he come from? What were his family's occupations? Wasn't there anyone from his childhood to talk to? Maybe he ruled this out. And clues as to why they didn't persist with this line are in the film -- he is tongue tied when asked about his relationships, and a little shy. In fact some of those personal questions scenes make him excruciatingly self conscious. Like many photographers, he prefers to document the story, not be the centre of attention. And in any case, probably just capturing him cycle around New York and snap the perfect street fashion shots is pretty interesting. Especially the scenes in which he zeroes in on some amazing trend such as polkadots or ponchos or low slung jeans. Overall, the most likable thing about Cunningham is that he is very much an individual, which is also what he says he loves most about his photographic subjects -- how they express themselves, how they're not just part of the crowd. May he long continue to roam the streets of New York.

Bill Cunningham is an influential and beloved fashion photographer working at the New York Times but very few people actually know him. He has been photographing the fashion seen on the streets for around 30 years. He rides his bicycle. He eats cheap food. He doesn't spend money on clothes. His small Spartan apartment is filled with file cabinets holding all his negatives. He doesn't care about money. He and his friend Editta Sherman are getting evicted. At his core, he is obsessed with fashion and photographing the changing style in New York. It's a fascinating portrait. It also doesn't shy away from the obvious personal questions. It comes later in the movie just as the lack of personal life starts to be prominent. It reveals the real person behind the camera.

Greetings again from the darkness. Well my fashion sense is limited to jeans, a t-shirt and tennis shoes. I would not be one's first choice to discuss the industry of fashion photography. However, that's not what this documentary is really about. Instead of focusing on the photographs of Bill Cunningham, director Richard Press shoots the man at work and in life ... the two being indistinguishable for Mr. Cunningham.

If you aren't familiar with his name, you are not alone. Bill Cunningham has a long running NY TIMES page where his photographs are displayed. He also has a feature called "On The Street", where he records commentary for his photographs - this can be heard on the website. Still, none of that tells you much about this man.

The film opens abruptly with video of Cunningham at work. He is alternatingly riding his bicycle and sprint-walking as he weaves through the sea of taxis and humanity in downtown Manhattan. His trusty camera is always around his neck as he continues his quest for fashion on the street ... fashion sense in the working people of the city. His eye is sharp and quick. We never know what he will hone in on. Maybe a never-before-seen winter coat, a flamboyant hat, or even a pair of heels that a woman is sporting. The man is over 80 years old and his eye and mind still quickly process what he deems worthy of notice.

Once again, none of those words do justice to this man or his story. He lives an incredibly humble life in a studio apartment within the confines of Carnegie Hall. Yes, as the film takes place, he is among the last of the remaining residents of the great hall. We learn management has determined that the few residents will be moved out of the building and relocated to other apartments nearby. We meet one of the other residents ... the fascinating "Duchesss of Carnegie", Editta Sherman. She has lived there for 60 years and it has been her home and photography studio. She made her living shooting celebrities and we catch a glimpse of her amazing work ... including a short video of her dancing in the 60's - filmed by Andy Warhol! Ms. Sherman's space is palatial compared to Cunningham's. His small studio apartment is crammed with metal file cabinets, each loaded with decades worth of photographs and negatives ... a real history of New York fashion. His bed is a twin mattress held up by books and crates - no kitchen, and a community bathroom. "Humble existence" is an understatement.

We learn from Mr. Cunningham that his work is divided into three parts: his street work, fashion shows, and charity events. He makes it clear that celebrities bore him and he is much more interested in how the everyday person uses fashion in their real life. Still, early on, we get comments from Vogue editor, Anna Wintour about how Cunningham's eye impacts the fashion world. She gives him much credit. We also get quickies from Tom Wolfe, Annie Flanders and even Brooke Astor to see how easily Cunningham fits in with the upper crust, despite his connection to the street. There is even a segment in Paris where he is honored by the French Order of Art and Letters ... and he "works" his own event! But it's the street where he is most at home. He says he is on his 29th bicycle ... the first 28 were stolen. He states this with the same enthusiasm that he shoots his subjects. The man is a constant smile and quick with banter, yet we learn just how alone he really is. When asked about his friends, family, lovers ... he momentarily breaks down only to regroup and express his love for what he does - it's not work, it's pleasure.

By the end, it's clear that while so many people respect the man and his work, no one really knows him. He lets his pictures stand as the testament to decades of documenting the colors and patterns and style of New Yorkers.