WEBVTT

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[compelling music]

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Robert Capa, Gerda Taro.

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He was the man who invented photojournalism,

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ready to take any risk to get a good photo.

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He covered all the biggest conflicts of the 20th century,

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risking his life on the battle front of five wars.

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She was a gifted young photographer,

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resourceful and ambitious.

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She was one of the first women photojournalists.

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Gerda Taro was the woman in the shadows,

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the one who was part of the legend,

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and the creation of the name Robert Capa.

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Gerda Taro, Robert Capa, the meeting of two committed

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and rebellious souls, brought together by photography.

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It\'s also the story of a mad love affair

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that wouldn\'t survive the war.

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[quirky music]

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New York, 1953,

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Robert Capa was a single man.

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He was living in a hotel.

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Being unsettled was a comfort to him,

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as were drink, cigarettes, and gambling.

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All his energy was devoted to his work.

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Ever on the move to four corners of the globe,

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he was haunted by the horror of war and its memories.

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A few years earlier, he was hailed

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as the greatest photo reporter in the world.

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Now, at nearly 40 years old,

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he had nothing left to prove to anyone.

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He was bored.

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[melancholy music]

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People talked of him as a hell raiser,

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a charmer, and a mystery man.

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Something we could always remember.

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Capa loved women, beautiful women,

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women with the aura of the stars,

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the perfumes of film sets.

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In all those he seduced, that he photographed,

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Capa was seeking a face, the face of a woman

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in whom he would invest everything as a man,

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as a photographer.

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That woman was Gerda Taro.

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What was that I you\'ll say, my little soldier?

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Berlin, 1933,

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a young woman was a rested and imprisoned.

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She was accused of having distributed

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anti-Nazi leaflets in Leipzig.

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She belonged to a revolutionary group

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opposed to Hitler\'s rise to power.

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[bars clanking shut]

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While in prison, the young woman refused to speak.

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She gave no one away.

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She held firm.

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Her name was Gerta Pohorylle.

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She was 20.

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She was Jewish, and of Polish origin.

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[lively music]

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[camera shutter clicking]

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She was well brought up, worked hard at school,

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and was said to be a good tennis player.

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But ever since her childhood,

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she had worried her parents.

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[child laughing]

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Ah!

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[child laughing]

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With her strong personality,

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she was always up to something.

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Oh!

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[lively music continues]

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As a teenager, she realized

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that being well turned out was one of the keys to success.

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[bell rings]

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She was full of ideas, and she stood out

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because of her independent character,

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and political convictions.

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[somber music]

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Luckily, she had a Polish passport,

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and so managed to get herself released from prison,

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but she knew she was being watched,

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[motorcycle engine humming]

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so she decided to get away from Berlin.

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She left everything behind, her family and her friends,

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and she headed for Paris.

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[water rushing]

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[rain pattering]

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At the very same time, there was a young man

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who also wanted to escape the rise of Nazism.

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He left Budapest for Vienna.

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Then in 1934, decided to go to Paris.

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[water lapping]
[seabirds calling]

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His name was Endré Friedmann.

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He was 20.

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He was born in Hungary to a Jewish family

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that owned a fashionable salon de couture.

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As a child, Endré was happy and full of energy.

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[children laughing]

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A pugnacious, determined loner, he earned the nickname

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of Bandi, which means shark in Hungarian.

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[punches landing]

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Endré Friedman was just 17 when he was arrested

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for his political activities.

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His ties with the communist party,

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and his continuing struggle against the repressive regime

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in Hungary led to his incarceration.

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On being freed, he decided to leave his country.

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He went to Berlin.

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There, he enrolled at the university

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to study political science.

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[adventurous music]

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His dream now was to become a journalist and photographer.

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[children laughing]

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He helped pay for his studies by working

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as an assistant in a photo lab.

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Proving to be quite talented, in 1932, he was sent

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to Copenhagen to photograph Leon Trotsky.

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[Trotsky speaking foreign language]

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At the time, Trotsky was being hunted by Stalin\'s men.

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Endré understood that photography could be a way

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of bearing witness, of being close to your subject,

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and remaining faithful to your convictions.

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He decided he wanted to be a photo reporter.

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[train horn blowing]

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Once in Paris, he just roamed around the town.

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He was penniless, spoke little French,

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and could find no work.

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He now called himself André, and not Endré,

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because that reminded him too much of his origins.

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The young photographer wanted to integrate,

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and begin a new life.

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[lively music]

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Paris was like a party,

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the town where everything was possible

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[lively music]
[crowd reveling]

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In the cafes of Montparnasse, André met

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Henri Cartier-Bresson, Chim, and Frédéric Stein,

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young photographers who also wanted to make their name.

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They were all from different social

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and geographical origins,

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but were united by a sincere bond of friendship.

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They spoke the same language,

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the language of the image.

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Together, they revolutionized picture taking

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by using 35 millimeter cameras.

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But it was a hard struggle.

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What with the competition and editors with low budgets,

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it was hard to survive in the world of photography.

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[blow landing]
[whimsical music]

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[typewriter clicking]

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Paris, 1935, Gerta was going from one small job to another,

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working as a typist, secretary,

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or assistant in press agencies.

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She was brilliant, inquisitive, spoke several languages,

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and was at home in every environment.

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She could barely subsist on her salary, but so what?

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What she wanted was to enjoy her youth and freedom.

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[women laughing]

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She shared a small room with a friend,

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an attractive girl called Ruth.

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[camera shutter clicking]

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They had a lot of fun together,

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partying and flirting on cafe terraces.

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Everyone was struck by Ruth\'s beauty,

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not least a certain Friedman who wanted to take her photo.

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Gerta went to the rendez-vous with her,

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not for a moment imagining that she was going to fall

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in love with the young photographer.

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[seductive music]

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And yet everything had predestined them to meet

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and fall in love.

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Both were Jewish, both fervent antifascists,

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both had been in prison and fled Nazism,

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and both had the same lust for life.

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The two young lovers never left each

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other\'s sides, and began a passionate affair.

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André confided to one of his friends.

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Only a pick and shovel could separate me

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from Gerta.

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Gerta and André loved politics,

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and heated discussions about the state of the world.

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They shared the same conviction,

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an ideal of justice and freedom.

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Out of her love for André, Gerta took up photography too,

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just so that she could share everything

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with the man that she loved.

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André taught her to take pictures.

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She had talent.

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They were convinced that photography was

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a formidable weapon.

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They believed that one picture could change

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the course of history.

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[gun firing]

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Paris 1936, André was feeling depressed.

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He was selling very little.

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While he dreamt of making a name for himself,

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he remained one of the glorious unknown.

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Broke, he wrote to his mother.

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I need to work in films,

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because there\'s no hope for photography.

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Gerta believed in his talent.

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She devoted all her energy to him,

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encouraged him, but to no avail.

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One day, they had an idea, a stroke of genius,

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get rid of André Friedman,

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the photographer that no one\'s interested in,

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and create a whole new imaginary photographer

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that the world will clamor for.

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[eerie music]

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With slicked down hair, a suave suit,

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and looking impeccably stylish,

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this photographer would be an American, smart and worldly,

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and a brilliant photographer.

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To attract attention, it takes glitter, and a spotlight.

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The name Friedman,

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which sounded Jewish, would have to be ditched,

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and a new identity created.

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He would be Robert Capa,

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in tribute to the film director, Frank Capra.

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At the same time, Gerta became Gerda Taro,

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as a tribute to the actress, Greta Garbo.

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Their real names didn\'t help them realize their dreams,

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so why not dream up a new life?

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Gerda knew exactly what the photo agencies required,

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and she\'d do anything to help her man.

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[camera shutter clicking]

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Today, I\'ve moved in with Gerda.

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She\'s a great help to me, because she gets on well

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with the newspaper editors,

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and she takes me everywhere with her.

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[crowd noise]

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Paris, May 1936,

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Robert Capa\'s first great photo story covered

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the Popular Front\'s rise to power.

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[camera shutter clicking]

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He had freedom of choice.

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His framing was tight.

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[camera shutter clicking]

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Editors were intrigued by Capa.

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They recognized his talent.

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[camera shutter clicking]

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The plan worked to perfection.

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[jaunty music]

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One of his photos hit the cover of the magazine VU.

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[lighthearted music]

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After a few months, the ploy was discovered,

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but no one cared.

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Robert Capa\'s career was launched.

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The couple was ready for new adventures together.

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[horse hooves pounding]

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August 1939,

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[plane engine humming]

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working in a photographic agency,

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Gerda managed to get a press card.

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Capa and Taro decided to go together to Spain

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where the civil war had just broken out.

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[plane engine screaming]

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Their plane crash landed on arrival in Barcelona,

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but no one was hurt, so the couple became convinced

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that nothing could happen to them

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as long as they were together.

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Capa and Taro arrived in Spain just a few weeks

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after General Franco\'s failed military coup d\'état.

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[camera shutter clicking]

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Cameras in hand, they sided with the Republicans,

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wanting to defend their ideals.

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They were very aware

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that a historic moment was being played out.

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[camera shutter clicking]

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They photographed the determination to win,

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written on the faces of a people resisting oppression.

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Like them, the fighters were all around 20 to 25 years old.

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There were women, children.

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[camera shutter clicking]

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The photographers shared with them the same convictions,

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the same fears.

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Their photographs captured the fraternity, the life,

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and the love that resist war and oppression.

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They were more and more aware

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that the language of photography is universal.

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While Robert Capa in his photos was looking for emotion,

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flesh, proximity, Gerda Taro borrowed

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from the modernist photographers

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of the 1930s and the cinema of Eisenstein.

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Her pictures were composed, structured,

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[camera shutter clicking]

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poetic.

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[train jostling on tracks]

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The couple decided to leave Barcelona, and follow

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the Republican Army on the battlefield at Aragon.

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[somber music]

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[camera shutter clicking]

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Capa and Taro worked close to their subjects.

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Risk taking was central to their work.

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They had one single obsession, produce evidence,

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and denounce.

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[camera shutter clicking]

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With the bullets flying, Robert photographed Gerda,

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who was completely fearless,

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and seemed ready to do anything for a good photo.

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[camera shutter clicking]

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Here, Robert Capa captured the admiration that he had

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for Gerda Taro, both as a woman, and as a photographer.

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He felt she was braver, stronger,

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and perhaps more talented than he was.

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He knew that she was the woman of his life.

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[camera shutter clicking]

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Gerda Taro\'s style changed.

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On the battlefield, she learned from Robert Capa,

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working from life, and up close to her subject.

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[weapons firing]

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Capa said.

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If a photo\'s no good,

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it\'s because you aren\'t ready.

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[camera shutter clicking]

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The photo of a Republican soldier being shot

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dead became iconic.

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It was the start of the Capa legend.

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[somber music]
[vehicle rattling]

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Back in France, the couple\'s photos caused a sensation.

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The magazine VU published photos by Capa and Taro

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on the same page, but they were not attributed.

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The two photographers names had disappeared.

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Capa couldn\'t believe it,

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all those risks they\'d taken,

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and their names not even mentioned.

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In Paris, Capa and Taro were haunted by the war.

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They needed action, to be on the move.

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They couldn\'t keep still.

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From now on, they went back to the front

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at every opportunity, driven by their convictions,

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at one with their subjects.

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[somber music]

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And they came to a decision.

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They would sign both their names on all the photos they took

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when they were working side by side.

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In February 1937, Malaga fell to Italian tanks

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and German bombers.

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[camera shutter clicking]

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Photo coverage of the ensuing exodus

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by the couple was published in the magazine Regards.

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It was signed by Robert Capa and Gerda Taro.

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[camera shutter clicking]

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[somber music]

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Robert marked the occasion by asking Gerda to marry him,

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but she turned him down.

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The war had changed her.

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She wanted to remain free.

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Her convictions were so strong that she wanted

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to devote herself body and soul to photography.

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Capa wanted to turn to a different subject.

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He wanted to go to China with her, and looked for a magazine

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that would support them financially.

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[crowd noise]

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She, however, faithful to the Republican fighters, wanted

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to stay with them till the end.

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[adventurous music]

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In the summer of 1937, Gerda went to Spain,

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but this time she went alone.

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The Republican soldiers nicknamed her the little blonde.

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Everyone here knew her.

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Quite capable of putting her life at risk

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for her convictions, she commanded the soldiers\' respect.

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[animal sounds]

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She went to Brunete, a small village east of Madrid.

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As always, she was with the resistance

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facing Franco\'s troops.

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She was embedded among the fighters,

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in the trenches without the slightest protection,

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and she took photos.

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[camera shutter clicking]

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Bullets were flying everywhere.

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[gun firing]

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[weapons firing]
[camera shutter clicking]

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Gerda readily put her life in danger to follow the men.

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It seemed nothing could stop her.

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She shot every photo she could.

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[weapons firing]

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At the end of the day, the Republicans beat a retreat.

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[camera shutter clicking]

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There were hundreds of dead.

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[camera shutter clicking]

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It was a massacre.

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Gerda was distressed, but carried on working.

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[siren sounding]

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A truck was taking the wounded to the hospital.

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Gerda jumped onto the running board.

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A few miles further on,

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a Republican tank crashed into the truck.

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[truck crashing]

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Gerda was seriously injured, and taken to the hospital.

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Still conscious, she wanted to know where her camera was,

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fearing she\'d lost it.

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During the night, she died of her injuries.

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[traffic noise]

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Robert Capa was in Paris when he heard the news.

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He was devastated, and blamed himself,

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because he wasn\'t with her when it happened.

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[somber music]

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Gerda Taro was buried on her birthday.

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She would\'ve been 27.

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She was laid to rest in Père Lachaise Cemetary in Paris.

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[somber music]

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Her funeral into a huge anti-fascist demonstration,

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but her work,

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and her political commitment were gradually forgotten,

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and her family fell victim to Nazi Germany.

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[somber music]

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A few months later, consumed by grief,

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Robert Capa decided to leave Paris.

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His life became one of continually wandering

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into the heart of war zones.

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War is like an aging actress,

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more and more dangerous, less and less photogenic.

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[somber music]

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In 1947, Robert Capa joined up

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with other photographers like his friends Chim

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and Cartier Bresson to set up

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the first photographers\' Cooperative.

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The Magnum Agency was born.

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Gerda Taro\'s photos are conserved there,

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along with those of Robert Capa.

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He died alongside French troops in Indochina.

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[somber music]

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Capa, wanting to take a wider shot,

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took a step backwards, and was blown up by a mine.

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This is his last photo.

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He was 40 years old.

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[quirky music]