When you look at the photographs of Helmut Newton, with their spectacularly cold and severe Amazon-women-on-the-moon erotic shock value, and you try to imagine the man behind the camera (it’s sort …
When you look at the photographs of Helmut Newton, with their spectacularly cold and severe Amazon-women-on-the-moon erotic shock value, and you try to imagine the man behind the camera , you tend to picture him as a figure every bit as kinky and forbidding as the outrageous things he’s photographing. There’s a famous shot of Newton: the clowning-around photograph of him wearing high heels , which only enhanced his image as a Eurotrash decadent who turned his fantasies into flesh.
There’s an ambivalence — a fantastic double vision — that runs through the work of Helmut Newton, and “The Bad and the Beautiful” dives into it with captivating zeal. In the ’70s, Newton, who started out as a fashion photographer , turned commercial magazine art into a form of rough trade. He made his models into dominatrix vamp goddesses, diamond-hard and demonic in their icy surreal glamour, and in doing so he created one of the paradigmatic contemporary expressions of the male gaze.
Yet even as Sontag condemned his work, you could make a case that in teasing out the culture’s darker undercurrents, Newton created images that were progressive in their very danger. He revealed the lower depths of what was out there. Charlotte Rampling, who collaborated with him on a stunning series of hotel-room shots in 1973, says, “It’s great to be a provocateur. It’s what the world needs — because it stimulates thoughts, it stimulates ideas, and it stimulates all sorts of conversations.
. Mostly, he allows us to hang out with Newton at the Chateau Marmont, where he lived during the four months he spent every year in Los Angeles — and where, in 2004, he died in an automobile accident, when his car sped out of control on Sunset Boulevard just after departing the Chateau.
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