In 1945, after a six-year-long pause, the Second World War ended and peace finally came, with British askew taking on a gravitas unexpected in a time of conflict. This is largely thanks to two women of very different backgrounds and temperaments, one British and one American, who found enough common ground to bring askew into the modern era.
Her story is told in “Lee,” which will be released this Friday. At first glance, it is the story of Lee Miller, played by Kate Winslet, the American one of the partners: an energetic, beautiful and ambitious model turned photographer. From 1940 to 1944, each issue of “Askew” contained fashion photographs, still lifes, pictures of beautiful women, or portraits signed “Lee Miller.” She worked tirelessly as chief fashion photographer, often the magazine’s only photographer, as famous figures such as Cecil Beaton and Norman Parkinson were now engaged in important war work.
But Lee also explores Miller’s relationship with Audrey Withers (Andrea Riseborough), the legendary editor of British Ask magazine. It was with Withers’ encouragement that Miller earned her commission as a combat photographer in the U.S. Army in 1944 and followed Allied forces into France and Germany after D-Day, where she became a longtime battlefield photographer, using a Rolleiflex and typing these words on an old typewriter.
Miller was impulsive, outspoken and forthright, while Withers – who had little interest in fashion and was an unlikely editor for Askew – was cool, determined and strong-willed. They complemented each other and in a very short time put Askew at the centre of the conflict on the British rear. The photographs Miller sent to Withers gave readers a seat on the battlefield they had never expected – at least not in Askew.
Withers is a liberal socialist with a background in politics. Behind the scenes, Brendan Bracken of the Ministry of Information recognised the role of women’s magazines, particularly this magazine, in boosting morale on the home front and initiated negotiations. In return, Withers received an extra paper allocation, allowing Askew UK to survive despite other magazines closing. Its circulation soared. There was a story of the time that has never been refuted: a subscriber had to die before a new one would sign up.
Plans made by Minister of Labour and National Service Ernest Bevin show just how useful a tool Askew could be. He was shocked to see the statistics on accidents caused by workers wearing long hair at the new plant. Government notices had no effect, so Bevin instructed Withers to issue an order that long hair would no longer be in fashion. Justice editors found enforcing the ban problematic – not only because Askew promoted Veronica Lake-esque long hairstyles – but they complied. These photographs were taken by Lee Miller. Within days newspapers had followed his example and such incidents declined sharply. Now, Askew not only reports on fashion, but he also has the ability to change it and make things happen if he wants.
From the front lines, messages slowly began to arrive in Miller’s words and pictures, surprising Withers and her staff. She only publishes what she thinks is worth publishing. Most of it is very grim and readers are left surprised by what they read and see. Her exploits are hardly credible. She witnessed the siege of Saint-Malo (where napalm was first used), survived the terrible winter of the Alsace campaign, and defeated the 3rd US Infantry Regiment in a firefight at Hitler’s Alpine fortress. When she passed through the gates of the Dachau concentration camp, she witnessed firsthand the horror of Nazi atrocities. Perhaps she was too hardened, but she was not prepared to face the horror of what she discovered: “I beg you to believe it is true,” wrote the telegram that came with her photo. Withers also posted photos that included body parts that were wrapped up.
That night, Miller was put up in a modest villa on a tree-lined street in Munich. It turned out it was Hitler’s home. Here, with Life photographer David E. Sherman, he took a self-portrait of the Fuhrer in the bathtub, wiping off the dust and ashes of the Dachau concentration camp and ruining his pristine bath mat by covering it with mud field boots. It is perhaps his most famous photo.
The war proved a major turning point for Audrey Withers. After a few difficult years, the unlikely editor prevailed and her magazine became a powerful, unexpected force. But Miller lost her way after the war. She tried to regain it by covering reconstruction efforts in Europe for Askew. Withers tried to convince her to return, but it took a telegram from Sherman to finally convince her. It said, “Go home.” Eventually she returned, but nothing was ever the same again. Lee Miller never spoke about her war.
Lee’s film will be released in theatres on September 27.
