Ron Howard’s latest documentary, ‘Avedon,’ is, no cap, a masterclass in filmmaking and a profound exploration of a true artistic legend. This flick isn’t just another biographical piece; it’s an immersive experience that redefines how we look at photography. According to the review, it’s arguably Howard’s best documentary work, setting a new bar with its artful editing and seamless integration of hundreds of iconic images. The film delves deep into the paradox of Richard Avedon, a giant who straddled the high-glamour world of fashion and the gritty, democratic humanism of raw portraiture, shifting the very metaphysics of how we see the world through a lens.
What makes ‘Avedon’ truly special is its ability to unravel this complex duality, making the legendary photographer’s images sing. The documentary seamlessly weaves together historical clips, intimate interviews with models like Twiggy and Isabella Rossellini, and insights from critics and art-world heavyweights like Tina Brown and Calvin Klein. Even Avedon’s son, John Avedon, offers lovingly insightful commentary. As the article states, the executive director of the Richard Avedon Foundation, James Martin, guides viewers through Avedon’s extensive archives, showcasing the immense volume of his work – an astonishing 16,000 sittings from 1944 until his passing in 2004.
Avedon himself famously declared, ‘I follow no rules, no laws, and no advice,’ a philosophy that was straight up evident in his work. The film kicks off with a montage, set to Spoon’s ‘I Turn My Camera On,’ featuring timeless portraits of figures from John Lennon to Michael Jordan, Elizabeth Taylor to Truman Capote. Each image, as the report notes, feels both instantly recognizable and entirely fresh, capturing an unfiltered intimacy that was Avedon’s signature touch. His approach truly did hit different, making every subject seem more essentially themselves.
He wasn’t much for technical jargon; talk of f-stops would reportedly make his eyes glaze over. His real ‘technique’ lay in his unique approach to a session. Instead of rapid-fire shooting, Avedon would take a few shots, then prompt his subject to think or simply exist, sometimes ending an hour-long session with only a handful of frames. He’d even ‘waste’ half an hour over coffee, waiting for the perfect moment in the final minutes when the magic would just happen in front of his iconic white paper background.
The origin of this stark white backdrop is a dope story in itself. During his time in the U.S. Merchant Marines at 19, Avedon took around 100,000 ID photos against a white background. What started as a thankless military assignment became a revelation. He observed thousands of ‘baffled faces’ and recognized how the white background stripped away all distractions, allowing each individual’s unique essence to shine through. This pivotal experience became the foundation of his distinctive style, making each face stand out for its inherent individuality.
Avedon evolved into a head-on existential classicist, keen on highlighting the subtly ‘off’ or unexpected aspects of a person, much like the famous, spontaneous shot of model Lauren Hutton. The iconic images he captured, like Charlie Chaplin playfully posing with devil horns, were often unplanned moments that just happened and then became forever etched in our collective consciousness. As the documentary highlights, Avedon was constantly documenting the ineffable dance between subject and artist, using each encounter to express something about himself as well.
By the time of the 1957 musical ‘Funny Face,’ featuring a character based on him, Avedon was already a legend. He skillfully used his growing power as part of his artistic method. A prime example is his extensive 1957 shoot with Marilyn Monroe. While many joyful photos emerged, the truly iconic shot captured her at the end of the day, when her guard was down, revealing not just the forlorn Marilyn, but the full woman—Norma Jean—behind the public image. It was a legit glimpse into her soul.
Throughout his career, Avedon photographed everyone from Oklahoma oil workers to the Chicago 7 and denizens of the Warhol Factory. His groundbreaking ‘In the American West’ series was so raw and authentic that New York museums initially shied away, proving he was always way ahead of the curve. He even used his craft to reconcile with his aging father. And while he supported his ritzy lifestyle with commercial work, like the surreal Obsession perfume TV spots, he never viewed it as a compromise. This dude understood that every photograph he ever took, whether for high fashion or a personal portrait, aimed for the same goal: to open your eyes.
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Livia Dorne covers film, television, music, and pop culture with a keen editorial perspective. She delivers engaging commentary, reviews, and behind-the-scenes insights that keep readers connected to the entertainment world. Her style blends critique with storytelling.
