McQueen, 2018.
Directed by Ian Bonhôte.
SYNOPSIS:
Documentary exploring the rags to riches and ultimate tragedy of designer Lee Alexander McQueen
Roughly a third of the way through McQueen, Lee Alexander McQueen talks about how he wants his fashion shows to evoke a reaction albeit repulsion or exhilaration etc. With this intimate and moving documentary, director Ian Bonhôte (along with co-director Peter Ettedgui) have succeeded in capturing a story that will have you laughing, crying and enthralled throughout. To say that it provokes a reaction is an understatement.
Charting Lee Alexander McQueens rise from passionate teenager through to Creative Director for Givenchy, and the development of the Alexander McQueen brand, the film takes you on a linear journey through his life. Starting with a home video where someone jokingly says that they’re “The McQueen tapes”, the documentary is split into 5 “tapes”. Each one coincides with a show that marked a change in the designer’s style and his personal life and the framing device is effective in charting Lee’s downward spiral and ultimate end.
Combining home movie footage, interviews, footage from his shows and still photographs, McQueen captures various aspects of the titular man’s life in lurid colour. There are shots throughout of a skull morphing and changing as the story progresses from his early days as a tailor, through to his final show. The imagery is stunning to look at and separates each part of McQueen’s life in an accessible way. Ultimately the symbolism for the skull and its connection to McQueen’s final years is upsetting but effective.
The theme of evolution is consistent throughout with Bonhôte not afraid to mention the darker elements of Lee’s life. However, there is not much exploration into these events. Early on there is talk of abuse as a boy and a previous boyfriend mentions some physical violence. It is perhaps out of respect for the designer that the gritty elements of McQueen’s life aren’t explored fully, but this doesn’t detract from the enjoyment of the film. McQueen is not pictured as a saint by any stretch of the imagination, but it does feel that the documentary is a slightly sanitised version of the truth.
Going into this screening I knew a bit about Alexander McQueen but more as a brand rather than the man himself. Devoted followers probably knew a lot more about the man – Lee Alexander McQueen – than myself and may have been aware of his early life and struggles. As a laymen I found the way Bonhôte chose to reveal little nuggets of information compelling and now have a lot more knowledge about the man and am all the better for it. What is also clear is the appreciation for his work. Bonhôte seems to perceive McQueen as a renegade artist and genius and he pays careful attention to the clothes themselves. Each of the 5 “tapes” is titled after one of his collections and over the final credits we’re treated to shots of the McQueen exhibition. Now with the context of what was happening when each piece was created fresh in our minds, the heart and the tragedy behind them resonates more than any piece of fiction ever could.
Flickering Myth Rating – Film: ★ ★ ★ ★ ★ / Movie: ★ ★ ★ ★ ★
Helen Murdoch
