David Ferguson
Greetings again from the darkness. Being an expert, or even a genius, in one's chosen field doesn't necessarily translate to celebrity or a life in the public eye. Few of us can name the best structural engineer or the best commercial airline pilot, yet we regularly drive over bridges and book flights to our vacation spots. However some professions lend themselves to a bit of fame ... and that's either a burden or an opportunity depending on perspective. Director Kate Novack (writer of PAGE ONE: INSIDE THE NEW YORK TIMES, 2011) focuses her camera on one who seized the opportunity. Andre Leon Talley was raised in the Jim Crow South of North Carolina and rose up to become a literal giant in the fashion industry. It's mostly a biopic of a fascinating, larger than life figure, but also a quasi-history of the fashion industry since the 1970's. Andre crossed paths with all of the greats, and many of them are interviewed here: Marc Jacobs, Anna Wintour, Tom Ford, Valentino, Fran Leibowitz, Manolo Blahnik, and Isabella Rossellini - along with her pigs, a chicken and a turkey. We learn that he worked for Andy Warhol, was mentored by Diana Vreeland, and worked alongside Anna Wintour (teaching her as much as he learned). "Fashion is fleeting, style remains." So Andre tells us as the film begins. He knows the difference between the two, and understands that beauty comes in many forms. Certainly the first, and often the only black man on the front row of runways in Paris and New York, Andre has lived quite the life. Director Novack's film is at its best when Andre is front and center. He commands attention with his size, his clothes, his voice, his charisma, and mostly his talent. Claiming his eye developed watching the Sunday fashions at the black church of his youth, we also learn young Andre preferred shopping to attending a ballgame with his taxi-driving father. Thin until age 40, Andre now describes himself as a manatee. The racism he faced within the industry is vivid as he recalls being called "Queen Kong". Sometimes criticized for not taking a more active and vocal stance against racism, Andre simply proclaims that he was too busy with his career ... his same reason for having 'no love life'. The emotional moments of his recollections fade quickly in the segments where he discusses capes, and later veils. His expertise is on full display.Looming over much of the film is the backdrop of the 2016 Presidential election. It's often distracting, but does lead to one of the more powerful moments. This verbose, grandiose couture figure is stunned and mostly at a loss for words as Donald Trump takes his oath. For most of the film and for most of his life, Andre has talked the talk and walked the walk - and continued talking while he walked. As one of style and influence, he has plenty to say and there's a reason for us to listen.
Ross
I was never a fan of Andre Leon Talley. I found him affected and over the top. Last year, for some reason, I read his autobiography, and my opinion of him really changed. This movie sealed the deal. One sees how he became who he is, and the brilliant mind that created ALT as he is today. He is a great editor, but more than that, a treasure trove of first-hand knowledge of Haute Couture's most important figures. Haute Couture is dead. That's not to say there are not great designers, but the system has changed because the world changed. ALT is one of the last keepers of knowledge of the past. That's important, despite today's world where being perceived as "relevant" is more important than anything else.
There has been criticism of this film that it did not dig deep enough into ALT as a person. I disagree with that. It does explore him as a person, but this film is not meant to be a psychotherapy session with Andre. It's about a bigger picture, something that this man dedicated his life to: Fashion through Andre's eyes. And in that, it absolutely succeeds.
