‘Lee’ Review: Kate Winslet and Andy Samberg Excel in Ellen Kuras’ Largely Unambitious Debut Feature | Toronto

Making the transition from cinematography to directing, Ellen Kuras delivers a biopic that, while boasting competent technical credits, lacks the ambition, risk-taking and ferocious nature of its own subject, famed war photographer Lee Miller whose life was anything but safe, predictable or mundane. Playing it safe, this by-the-numbers period drama may have find some arthouse success thanks to its star, Kate Winslet, but its overall reach and impact will be limited to those seeking standard, rather than challenging, fare.

It’s a shame because Miller is such a fascinating character that could have made for a much more interesting film. The picture does indeed show her ever-evolving personality, having worked as a model and then made the transition to photography as a way of self expression and finding her own voice. But, unlike Miller’s own journey, where her ambitious search for meaning and worthy challenges of her talent led her to be one of the most prolific photographers whose work was more than just beautiful to look at, the film seems uninterested in offering anything new, offering a conventional retelling of the life of someone who was anything but conventional.

Taking a safe narrative approach and, more problematically, questionable framing device that hinders it from standing out (the film is told in flashback with Kate Winslet in old-age makeup being interviewed about her life and career by Josh O’Connor). Such trite artistic choices, while reflecting a lack of understanding of how such the life of such a historic figure needed a much more interesting adaptation, could be somewhat forgiven if the film itself was able to score in other departments, such as offering more insight or intrigue or even a knockout emotional impact, but by the time the credits roll, you couldn’t help shake the feeling of disappointment. 

As with most biopics, the film – save for its opening sequence – follows a linear narrative. It’s the late 1930s and Lee had already quit her career as a model and is now a photographer. A social animal, life of the party and a passionate artist, she soon falls in love with Roland Penrose (Alexander Skarsgård) and decides to follow him to London where she lands a job at British Vogue. As appealing as that job might be at first, Miller’s ambition knows no bounds, and she is soon left yearning for more. 

It is then that her career as a war photographer kicks off, as she makes the decision to travel to the battlefront and take photographs from perilous war zones. It’s a decision that fits perfectly with her personal and professional choices, one that truly allows her talent to shine. Her eye for detail and unique vision allow her photos to go beyond documentation – she is able to offer a fresh perspective on most ordinary moments and her work soon evolves into something more harrowing and striking as she moves to the frontline.

Miller’s relationship with LIFE photographer David E. Scherman (wonderfully played by Andy Samberg in a rare dramatic role that is perhaps one of the few surprising elements in an otherwise predictable pic) gives the film somewhat of a jolt, as the pair embark on several trips that result in some of Miller’s most iconic work. The film’s finest moment is when the pair successfully find Hitler’s apartment and make their way in. There, Miller poses in Hitler’s bathtub, creating one of her most original and iconic pieces. In a way, the picture embodies her bravery, creativity and fearlessness, key ingredients that has made her the iconic photographer she became, always showing unwavering commitment to go far beyond her comfort zone. 

Winslet, always a reliable performer, is in fine form as Miller. She fully captures the character’s drive, showcasing her steely determination, boldness and determination to bring a much essential, but often overlooked, female perspective into a male-dominated world. In the film’s final sequences, Winslet showcases her immaculate abilities to bring to life such a powerful, wildly ambitious woman who’s never settled for less and whose defiance made countless war victims finally seen – and not just looked at. If only the film around her was just as alive as her performance is, Lee would have been a biopic to remember.

Grade: C+

This review is from the 2023 Toronto International Film Festival. There is no U.S. distribution at this time.