Film Review: Lee

If you ever want an example of just how important a script is for a film, Lee is it. 

You see, Ellen Kuras’ biopic of Lee Miller has all the ingredients to stand shoulder-to-shoulder with the most influential Second World War movies of all time - a stellar cast, a phenomenal true story, stunning visuals - except the magic ‘S’ word. And it’s for this reason that it is only good, not great.

Telling the tale of American fashion model turned war photographer Miller (Kate Winslet) through ‘her’ words in the interesting, if sometimes jarring, framing device of being interviewed by her son Antony Penrose (an impressive Josh O'Connor), this otherwise rather by-the-books biopic follows a figure who was incredibly influential yet has been largely overlooked, as she travels through war-torn Europe taking pictures of the atrocities caused by the conflict and the people fighting against them - doing so through a female lens, a rarity for its time.

Miller’s extraordinary life provides lead Winslet with the opportunity to flex every one of her dramatic muscles, as she evolves from quick-witted if slightly obnoxious artist to shell-shocked, spiritually strained journalist. The star etches every ounce of pain across her face in the darkest moments, yet underpins her character with a charm that ensures this often unsettling watch remains impactful without feeling overwhelming. 

It’s the kind of performance that feels ready-made for awards season, but with no hint of cynicism. Winslet has spoken extensively about how she made it her mission to bring Miller’s life to a wider audience, and has spent almost a decade trying to make it happen - and there’s no doubt that her passion and care for telling this tale comes through in every second she’s on screen. 

The 48-year-old is supported by a quite frankly ridiculous cast, the sort that can only be assembled using the appeal and networks of a Hollywood icon, with everyone from Alexander Skarsgård - playing Miller’s husband, Roland Penrose - to Marion Cotillard - as Miller’s friend and French duchess Solange d'Ayen - making their mark. 

Special mention goes to Andy Samberg as fellow photographer and Lee’s closest ally David E. Scherman, who, while bringing his trademark levity to proceedings, also proves once again that he is an underrated dramatic actor (Celeste and Jesse Forever, these streets won’t forget). In a line-up filled with award-winning ‘serious’ performers, Samberg more than holds his own, culminating in a touching moment in the final stages that hits home with force. 

It’s a shame, then, that these stars are working within the confines of a suboptimal script. Unfortunately, some filmmakers fail to trust their audiences to read between the lines, and Lee is a case in point - every single thought, sentiment and development is spelled out in a hamfisted, almost condescending manner. A lack of subtlety is off-putting at the best of times, but in a film with such a serious subject matter, one that is otherwise deeply engaging and thought-provoking, this lack of nuance drags you right out of the movie, preventing it from truly seizing you from start to finish. 

At times, the dialogue wouldn’t feel out of place in the latest Channel 5 drama, particularly in the scenes outside of the warzone, lacking the level of artistry brought to the screen by the actors performing each line. 

Regardless, though, this is an incredibly important story, one whose messages feel dishearteningly urgent even eight decades later, shining a light on a remarkable life that has been left in the dark for too long. It’s not perfect, but it’s still powerful - and, for that reason, it’s well worth watching.

Lee is now showing at Broadway cinema