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[gentle piano music]

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[camera snaps]

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[gentle piano music]

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On the hills overlooking Antibes,

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in the village of Mougins, Picasso, the Master,

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is waiting for his surrealist friends.

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Four artist couples will gather for the summer:

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Pablo Picasso and Dora Maar,

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[camera snaps]

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Paul and Nusch Eluard,

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[camera snaps]

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Lee Miller and Roland Penrose,

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[camera snaps]

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Ady Fidelin and Man Ray.

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[camera snaps]

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[cheerful jazz music]

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That summer, Man Ray

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and his friends shot a short film essay.

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[film reel rattling]

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It was to be his last.

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[cheerful jazz music]

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[camera snaps]

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This isn\'t my life story,

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rather the story of a few fertile weeks.

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A quest for pleasure, freedom and creation.

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On August 2nd 1937, my new partner Ady Fidelin

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and I left Paris to go and meet up with the merry gang.

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[cheerful jazz music]
[car engine whirring]

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How not to remember this past,

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the insouciance of summer pleasures?

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During the three years preceding the war,

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we gathered in the South like one happy family.

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[cheerful jazz music]
[car engine whirring]

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Maybe to ward off the spell of an uncertain future.

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[cheerful jazz music]
[car engine whirring]

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We were impatient to get there,

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following the narrow coast road barely wide enough

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for two cars to pass.

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[cheerful jazz music]
[car engine whirring]

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[car horn honks]

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Like the previous year, we had arranged to meet

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at the tiny Vast Horizon hotel.

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[birds chirping]

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Mougins was perched in the hills,

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where people still traveled around on the back of a donkey

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amid the smells of the pine and olive trees,

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back when Cap d\'Antibes was still a wild place.

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I had with me some new color film,

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given to me by Kodak to see what I could do with it.

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[film reel rattling]
[cheerful music]

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In the Mediterranean light, I planned to capture friendship

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and the passion for art that bound us all together.

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[film reel rattling]
[cheerful music]

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On his arrival, Man Ray set up his camera

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for a family photograph.

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[people cheering]

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[camera snaps]

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[woman laughs]

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It was a warm reunion.

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Photographing friends, the grace of a muse.

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Ady, who went from Paul\'s arms to Pablo\'s knee,

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was immediately adopted by the gang.

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For the previous few months, Picasso has been living

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with Dora Maar, a young 29-year-old photographer,

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and it was an all-consuming, devouring passion.

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Dora was an artist, like him, intelligent and free.

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[whimsical jazz music]

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Every morning we piled

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into Pablo\'s Hispano-Suiza and set off

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to find new coves taking the coast road to La Garoupe,

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the small, deserted beach at the very tip of Cap d\'Antibes.

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[film reel rattling]
[intense music]

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[waves lapping]

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[intense music]

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It was an idyllic spot.

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[intense music]
[film reel rattling]

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Pablo liked to start the day with a swim.

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The morning bathe was a daily ritual.

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He set out with picnic basket, towels, parasols,

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suntan lotion and a bottle of sherry,

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under the watchful eye of his Afghan hound Kasbek,

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always in the shadow of his master.

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[cheerful guitar music]

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[camera snapping]

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Hours were spent on the beach, swimming and sunbathing.

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They played, chatted, dressed up, danced, laughed,

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and had fun.

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The camera was passed around.

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Photos of Dora Maar, Man Ray, Lee Miller...

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It didn\'t matter.

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The insouciance of carefree moments captured

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on an almost deserted beach beside the Mediterranean.

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[seagulls crying]
[waves lapping]

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Paul Eluard liked to write in the morning.

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He completed a collection of poems, \"Fertile Eyes,\"

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with contributions from Picasso.

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He was delighted with this new closeness to Pablo.

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[camera snaps]

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His wife Nusch was liked for her singular spirit.

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Her beauty made her a natural choice as the gang\'s muse.

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She and Paul Eluard met on the Grands Boulevards in Paris,

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where he was in the habit of accosting girls

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with friend and fellow poet Rene Char.

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[film reel rattling]
[people murmuring]

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For the surrealists, love was a great force

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which always struck by chance.

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And Nusch was a disconcerting apparition.

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From that day, she became the key figure in Paul\'s work.

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[cheerful jazz music]
[people murmuring]

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When asked to \"explain a picture,\"

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I always replied, \"Explain that tree to me.

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\"Explain that woman walking down the street.\"

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[cheerful jazz music]

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Art is not a science, nor is it an experiment.

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There is no progress in art,

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just as there is no progress in ways of lovemaking.

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There are several ways to do it, that\'s all.

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[cheerful jazz music]

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[camera snaps]

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Lee Miller arrived that morning,

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with Roland Penrose.

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[birds chirping]

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Roland was a close friend of Picasso.

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He wrote about his work,

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and had his own little habits in Mougins.

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[waves lapping]

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[camera snapping]

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Lee and Man knew each other well.

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Man Ray had been madly, jealously in love with her.

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[tango music]
[camera snapping]

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A star of the modeling world by the age of 20,

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Lee Miller left New York for Paris.

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One morning in 1929, she knocked on the door

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of Man Ray\'s studio in Rue Campagne Première.

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Lee was an adventurer who did not want for boldness.

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She became his assistant, his model, his companion.

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Their love lasted three years.

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[tango music]

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Lee posed for Man, who passed on the secrets of his art;

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how to use close-ups, or touch up a picture.

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[tango music]

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They quickly teamed up to handle numerous commissions

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from the fashion world.

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Lee excelled in portraits, and some photos attributed

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to Man Ray are in fact her work.

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[tango music]

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[clock ticking]
[tango music]

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One day, while developing pictures in the dark room,

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she felt something crawling up her leg

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and switched on the light.

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Man Ray instinctively plunged the negatives into the bath.

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The exposure to light clouded the print

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and produced a surreal effect;

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a line appeared on the outline of the body,

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blacks became white.

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Chance had introduced itself into the creative process.

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Man Ray immediately dubbed

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the laboratory incident \"Solarization.\"

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The invention was his, and despite a heated argument,

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he would not be budged.

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[gentle music]

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The young American knew she could never exist

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in the shadow of her lover.

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She went back to New York and soon forged a reputation

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as an avant-garde photographer.

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After inspiring many surrealists,

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she was eager to give shape to her own desires.

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An inconsolable Man Ray expressed his suffering

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in a self-portrait hinting at suicide.

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He vowed to never fall in love again.

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[melancholic music]
[waves lapping]

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After a few years\' silence, Man Ray

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and Lee had just buried the hatchet.

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A few weeks earlier, he had even introduced her

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to an elegant young man named Roland Penrose,

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a collector, an art critic,

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and an ardent champion of surrealism in England.

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[tango music]
[waves lapping]

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The Vast Horizon was like a second home to Picasso.

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He stayed in the same room every year,

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spending almost every afternoon drawing.

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His only subject [pencil scratching] was Dora.

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Dora looking serious.

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[melancholic music]

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Dora looking inscrutable.

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[melancholic music]

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Dora asleep,

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arms thrown back,

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a smile playing on her lips.

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[melancholic music]

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Her pale complexion and bright blue eyes added

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to her dark character.

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[melancholic music]

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Pablo had been crazy about her

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since Paul introduced them two years earlier

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at a café in Saint-Germain-des-Prés.

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Finally a woman who was as proud as a man.

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[dramatic music]

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I met Dora Maar during the same period.

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She was an accomplished photographer,

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and some of her work was in the surrealist spirit.

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[suspenseful music]

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Everyone admired her profound originality,

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not to mention her photographic talents,

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which revealed the worrying strangeness of the real.

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[mysterious music]

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She was one of the few women, along with Lee Miller,

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to have been accepted by our group.

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[dramatic music]

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Her portrait of Ubu was greeted

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with great enthusiasm by André Breton.

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\"Dora holds every image in her hands,\" wrote Paul Eluard.

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[camera snaps]

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One day at my place, Pablo saw a picture of her

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that I had done and begged me to give it to him.

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[melancholic music]

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Picasso was emerging from a dark period.

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For months he had been unable to paint.

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His meeting with Dora was a stroke of good luck.

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Picasso was 54;

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Dora Maar, 28.

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They had an irresistible attraction for one another.

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Together, they experimented.

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Dora initiated Pablo into the photographic technique

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of cliché verre, a combination of photography and drawing.

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[melancholic music]

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Dora had a boundless admiration for her new lover.

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After Picasso, there is only God, she said.

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[camera snapping]

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[waves lapping]

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On the beach, only Ady

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with her olive skin seemed to be in her element.

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[camera snapping]
The rest of us

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in our brand new swim trunks and bikinis,

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looked like white maggots.

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[whimsical orchestral music]

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[camera snaps]

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Adrienne, who everyone called Ady, was an orphan.

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She left Guadeloupe at an early age.

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I met her at the Bal Nègre cabaret in Rue Blomet,

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where she danced at night, dreaming of a modeling career.

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[dramatic music]

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Man had promised to raise her profile,

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and he kept his word.

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A picture of Adrienne appeared

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in Harper\'s Bazaar in the fall.

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It was the first time in America that a model

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of color had posed for one of the big fashion magazines.

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[camera snaps]

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[film reel rattling]

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[gentle music]
[dog barking]

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[melancholic music]

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Every day, lunch was taken in the shade of the pergola.

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A summer delight.

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[melancholic music]

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Like Man Ray, Picasso had restless hands.

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Under the curious eyes of his friends,

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he ripped off a corner of a paper tablecloth,

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picked up a pencil and sketched a portrait of Nusch,

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painted with coffee, lipstick and wine.

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Man Ray, meanwhile,

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was immortalizing the unselfconscious antics

263
00:15:48.210 --> 00:15:49.891
of the gang on film.

264
00:15:49.891 --> 00:15:52.974
[film reel rattling]

265
00:15:54.659 --> 00:15:55.492
[camera snaps]

266
00:15:55.492 --> 00:15:58.659
[cheerful jazz music]

267
00:16:00.470 --> 00:16:03.753
Back in Mougins, there was a stopover in the village square.

268
00:16:04.881 --> 00:16:06.930
[people murmuring]

269
00:16:06.930 --> 00:16:10.070
A chat with the locals, who looked on bemused

270
00:16:10.070 --> 00:16:12.520
at the wacky strangers taking photographs

271
00:16:12.520 --> 00:16:14.499
and filming everything.

272
00:16:14.499 --> 00:16:19.499
[cheerful jazz music]
[people murmuring]

273
00:16:21.410 --> 00:16:24.843
Poses were struck with complete disregard for posterity.

274
00:16:27.100 --> 00:16:28.693
Ady on Roland\'s shoulders.

275
00:16:31.260 --> 00:16:33.819
Paul hiding behind a sunflower.

276
00:16:33.819 --> 00:16:36.986
[cheerful jazz music]

277
00:16:41.419 --> 00:16:43.569
[woman laughing]

278
00:16:43.569 --> 00:16:46.686
[cheerful jazz music]

279
00:16:46.686 --> 00:16:47.519
[camera snaps]

280
00:16:47.519 --> 00:16:49.840
Then on the occasion of a visit from André Breton

281
00:16:49.840 --> 00:16:53.230
and his wife Jacqueline Lamba, a trip was taken inland

282
00:16:53.230 --> 00:16:56.477
in search of surrealist landscapes and objects.

283
00:16:56.477 --> 00:16:59.644
[cheerful jazz music]

284
00:17:00.666 --> 00:17:02.129
[camera snaps]

285
00:17:02.129 --> 00:17:04.729
[cheerful jazz music]

286
00:17:04.729 --> 00:17:06.320
[camera snaps]

287
00:17:06.320 --> 00:17:08.640
Man Ray kept stopping to take pictures

288
00:17:08.640 --> 00:17:11.350
and pick up unusual objects that often turned

289
00:17:11.350 --> 00:17:14.605
into works of art by the sheer force of his eyes.

290
00:17:14.605 --> 00:17:17.772
[cheerful jazz music]

291
00:17:30.230 --> 00:17:33.680
Mornings on vacation tended to be more studious,

292
00:17:33.680 --> 00:17:36.232
a special time set aside for creation.

293
00:17:36.232 --> 00:17:38.800
[birds chirping]

294
00:17:38.800 --> 00:17:41.080
Drawing was a break from photography,

295
00:17:41.080 --> 00:17:43.845
and I had no intention of replacing one with the other.

296
00:17:43.845 --> 00:17:46.000
[film reel rattling]

297
00:17:46.000 --> 00:17:47.350
It always annoyed me to be asked

298
00:17:47.350 --> 00:17:49.850
whether I might one day abandon one for the other.

299
00:17:51.180 --> 00:17:52.590
Why can\'t people accept the idea

300
00:17:52.590 --> 00:17:55.055
that you can devote your life to two activities?

301
00:17:55.055 --> 00:17:57.730
[film reel rattling]

302
00:17:57.730 --> 00:18:00.290
I photographed what I didn\'t want to paint,

303
00:18:00.290 --> 00:18:02.325
and painted what I couldn\'t photograph.

304
00:18:02.325 --> 00:18:05.194
[film reel rattling]

305
00:18:05.194 --> 00:18:08.480
[cheerful music]

306
00:18:08.480 --> 00:18:10.370
When I arrived in Paris, I discovered a way

307
00:18:10.370 --> 00:18:12.173
of taking pictures without a camera.

308
00:18:14.300 --> 00:18:17.460
I remember as a child putting a few ferns in a small stand

309
00:18:17.460 --> 00:18:18.994
and leaving them in the sun.

310
00:18:18.994 --> 00:18:21.490
[cheerful music]

311
00:18:21.490 --> 00:18:24.053
My rayographs were based on the same principle;

312
00:18:25.820 --> 00:18:28.180
anything could be placed on some photographic paper

313
00:18:28.180 --> 00:18:30.323
and exposed to the sun for a few seconds;

314
00:18:32.140 --> 00:18:37.140
tacks, nails, springs, keys, combs, bits of string,

315
00:18:38.020 --> 00:18:40.215
I used whatever was at hand.

316
00:18:40.215 --> 00:18:43.450
[cheerful music]

317
00:18:43.450 --> 00:18:45.260
I decided to make a film of it,

318
00:18:45.260 --> 00:18:47.430
a resolutely dadaesque three-minute piece

319
00:18:47.430 --> 00:18:50.127
that I called \"Return to Reason.\"

320
00:18:50.127 --> 00:18:52.877
[cheerful music]

321
00:19:00.020 --> 00:19:02.320
Anything can be transformed, deformed

322
00:19:02.320 --> 00:19:03.723
or eliminated by light.

323
00:19:04.860 --> 00:19:07.966
Its flexibility is exactly the same as that of a brush.

324
00:19:07.966 --> 00:19:10.716
[cheerful music]

325
00:19:15.150 --> 00:19:17.543
The artistic experiments proliferated.

326
00:19:18.980 --> 00:19:22.040
It was said that I had abandoned photography for film,

327
00:19:22.040 --> 00:19:24.140
when in fact my only thought was to paint.

328
00:19:27.366 --> 00:19:30.116
[dramatic music]

329
00:19:32.370 --> 00:19:35.690
Another film was commissioned by Viscount de Noailles,

330
00:19:35.690 --> 00:19:38.820
who wanted to make a documentary about his villa at Hyères,

331
00:19:38.820 --> 00:19:41.253
built recently by architect Mallet-Stevens.

332
00:19:43.010 --> 00:19:44.898
It was rather a dull idea.

333
00:19:44.898 --> 00:19:47.648
[dramatic music]

334
00:19:50.190 --> 00:19:53.200
He asked me to film the modern installations of his house,

335
00:19:53.200 --> 00:19:55.513
several cubes placed on top of each other.

336
00:19:56.829 --> 00:19:59.990
[intense percussive music]

337
00:19:59.990 --> 00:20:03.480
The Viscount wanted to show his guests having fun.

338
00:20:03.480 --> 00:20:06.290
He promised me total artistic freedom.

339
00:20:06.290 --> 00:20:08.090
The commission would be remunerated.

340
00:20:09.860 --> 00:20:11.210
I used a poem by Mallarmé

341
00:20:11.210 --> 00:20:13.309
as my inspiration for the screenplay.

342
00:20:13.309 --> 00:20:17.392 line:15%
[intense percussive music]

343
00:20:26.830 --> 00:20:29.660
After shooting, he told me that while it looked beautiful,

344
00:20:29.660 --> 00:20:33.240
he was not so sure about the quality of the film itself,

345
00:20:33.240 --> 00:20:36.553
claiming the story and acting seemed a little preposterous.

346
00:20:38.770 --> 00:20:41.350
My ideas weren\'t very commercial.

347
00:20:41.350 --> 00:20:43.090
Any producer risking his money on one

348
00:20:43.090 --> 00:20:45.113
of my films was flirting with disaster.

349
00:20:47.719 --> 00:20:48.696
[camera snaps]

350
00:20:48.696 --> 00:20:49.529
[film reel rattling]

351
00:20:49.529 --> 00:20:51.989
Making a film was like taking a vacation.

352
00:20:51.989 --> 00:20:55.559
[film reel rattling]
[people murmuring]

353
00:20:55.559 --> 00:20:58.226
[sensual music]

354
00:20:59.560 --> 00:21:02.040
The party at La Garoupe played a variety

355
00:21:02.040 --> 00:21:03.520
of roles.

356
00:21:03.520 --> 00:21:08.520
Man Ray was cast in every part: cameraman, director, actor.

357
00:21:09.418 --> 00:21:13.501
♪ Appetizing young love for sale ♪

358
00:21:19.723 --> 00:21:21.710
[film reel rattling]

359
00:21:21.710 --> 00:21:24.010
The enterprising seducer is turned away

360
00:21:24.010 --> 00:21:27.430
by the beautiful woman under the amused eye

361
00:21:27.430 --> 00:21:29.123
of the complicit husband.

362
00:21:29.123 --> 00:21:32.138
[melancholic music]

363
00:21:32.138 --> 00:21:35.920
Nusch, Paul and Man once formed a love trio,

364
00:21:35.920 --> 00:21:37.418
flouting convention.

365
00:21:37.418 --> 00:21:40.880
[melancholic music]

366
00:21:40.880 --> 00:21:42.973
Transgression was their watchword.

367
00:21:45.100 --> 00:21:47.363
Nusch embodied Paul\'s female ideal.

368
00:21:49.630 --> 00:21:53.650
Her brittle beauty thrilled him and seeped into his poetry.

369
00:21:53.650 --> 00:21:56.650
[melancholic music]

370
00:22:01.870 --> 00:22:04.450
She offered her body to those who loved

371
00:22:04.450 --> 00:22:07.269
and desired her beyond taboos.

372
00:22:07.269 --> 00:22:10.269
[melancholic music]

373
00:22:16.120 --> 00:22:18.300
The \"Facile\" collection was inspired

374
00:22:18.300 --> 00:22:22.033
by this love triangle; 12 poems by Paul,

375
00:22:22.980 --> 00:22:26.603
illustrated with 12 photos of Nusch taken by Man.

376
00:22:27.621 --> 00:22:31.127
[melancholic music]

377
00:22:31.127 --> 00:22:33.727
\"You are water plowed from its depths,

378
00:22:33.727 --> 00:22:35.727
\"you are earth that takes root,

379
00:22:35.727 --> 00:22:37.313
\"and in which all is grounded.

380
00:22:38.557 --> 00:22:41.433
\"You make bubbles of silence in the desert of sound.

381
00:22:43.157 --> 00:22:47.127
\"You sing nocturnal hymns on the arcs of the rainbow.

382
00:22:47.127 --> 00:22:50.577
\"You are everywhere, you abolish the roads.

383
00:22:50.577 --> 00:22:54.667
\"You sacrifice time to the eternal youth of an exact flame

384
00:22:54.667 --> 00:22:57.277
\"that veils nature to reproduce her.\"

385
00:22:57.277 --> 00:23:02.277
[film reel rattling]
[dramatic music]

386
00:23:03.389 --> 00:23:08.389
[waves lapping]
[dramatic music]

387
00:23:30.430 --> 00:23:34.483
After a first swimming lesson, Nusch sunbathes on the sand.

388
00:23:36.350 --> 00:23:40.480
Her silhouette is fine, delicate, desirable.

389
00:23:43.390 --> 00:23:45.510
Fascinated, Lee, Dora,

390
00:23:45.510 --> 00:23:48.551
and Man cannot stop photographing her.

391
00:23:48.551 --> 00:23:53.551
[camera snapping]
[intense music]

392
00:23:59.858 --> 00:24:04.858
[waves lapping]
[intense music]

393
00:24:04.950 --> 00:24:07.600
My intention was never to fix my dreams,

394
00:24:07.600 --> 00:24:09.303
merely to make them come true.

395
00:24:10.235 --> 00:24:13.650
[intense music]

396
00:24:13.650 --> 00:24:17.116
The search for pleasure is not a science.

397
00:24:17.116 --> 00:24:22.116
[waves lapping]
[intense music]

398
00:24:26.380 --> 00:24:29.577
My work cannot be regarded as experimental.

399
00:24:29.577 --> 00:24:34.577
[waves lapping]
[intense music]

400
00:24:38.870 --> 00:24:40.990
Picasso liked the funny American,

401
00:24:40.990 --> 00:24:43.270
who he chatted with during long walks,

402
00:24:43.270 --> 00:24:47.693
looking for driftwood, pebbles or cuttlebones.

403
00:24:49.196 --> 00:24:50.897
[camera snaps]

404
00:24:50.897 --> 00:24:53.564
[waves lapping]

405
00:24:55.040 --> 00:24:56.440
He loved the spontaneity

406
00:24:56.440 --> 00:24:58.650
with which this brilliant improviser

407
00:24:58.650 --> 00:25:00.610
could take a mundane object

408
00:25:00.610 --> 00:25:02.950
and turn it into something surreal,

409
00:25:02.950 --> 00:25:06.697
constantly pushing back the boundaries of what defined art.

410
00:25:06.697 --> 00:25:11.697
[crickets chirping]
[dramatic music]

411
00:25:19.120 --> 00:25:21.400
I always felt that Picasso was acutely aware

412
00:25:21.400 --> 00:25:23.550
of everything that was going on around him.

413
00:25:24.820 --> 00:25:27.360
He was a man who reacted violently to things,

414
00:25:27.360 --> 00:25:29.737
but could only express himself through painting.

415
00:25:29.737 --> 00:25:32.397
[dramatic music]

416
00:25:32.397 --> 00:25:35.350
The short enigmatic sentences he occasionally uttered

417
00:25:35.350 --> 00:25:36.960
only emphasized his impatience

418
00:25:36.960 --> 00:25:39.014
with any other form of expression.

419
00:25:39.014 --> 00:25:41.764
[dramatic music]

420
00:25:45.030 --> 00:25:47.443
I came to pose in his unheated studio.

421
00:25:48.680 --> 00:25:51.203
He dipped his pen in ink and began to scratch.

422
00:25:53.330 --> 00:25:54.423
He worked awkwardly.

423
00:25:55.690 --> 00:25:58.220
I was surprised, knowing how sure-handedly

424
00:25:58.220 --> 00:25:59.593
and rapidly he could draw.

425
00:26:02.330 --> 00:26:03.875
Then he did one more thing.

426
00:26:03.875 --> 00:26:07.010
[suspenseful music]

427
00:26:07.010 --> 00:26:10.940
Handing me the drawing, he told me I could throw it away,

428
00:26:10.940 --> 00:26:12.290
it was all the same to him.

429
00:26:15.700 --> 00:26:19.080
Picasso had done a portrait of me, and I\'d photographed him,

430
00:26:19.080 --> 00:26:20.890
like so many other artists in Montparnasse

431
00:26:20.890 --> 00:26:22.190
who had become my friends.

432
00:26:23.208 --> 00:26:26.208
[suspenseful music]

433
00:26:30.420 --> 00:26:34.330
In 1921, Man Ray went to try his luck in Paris,

434
00:26:34.330 --> 00:26:37.030
sent there from New York by his friend Marcel Duchamp.

435
00:26:38.110 --> 00:26:40.500
There he was welcomed by dadaists,

436
00:26:40.500 --> 00:26:42.730
who embraced him as one of their own.

437
00:26:42.730 --> 00:26:46.060
His avant-garde worldview soon won over André Breton

438
00:26:46.060 --> 00:26:48.320
and his surrealist friends.

439
00:26:48.320 --> 00:26:50.730
Man Ray was inventive, provocative,

440
00:26:50.730 --> 00:26:52.810
with a dislike for the real.

441
00:26:52.810 --> 00:26:56.150
For him, photography was not a straightforward reproduction

442
00:26:56.150 --> 00:26:57.110
of reality.

443
00:26:57.110 --> 00:26:59.423
It needed to give substance to dreams.

444
00:27:00.420 --> 00:27:02.530
He became the designated photographer

445
00:27:02.530 --> 00:27:04.690
of his surrealist friends.

446
00:27:04.690 --> 00:27:07.330
Artists asked me to reproduce their works,

447
00:27:07.330 --> 00:27:11.208
and if I had a plate left over, I did portraits of them.

448
00:27:11.208 --> 00:27:14.038
[cheerful music]

449
00:27:14.038 --> 00:27:14.871
[camera snaps]

450
00:27:14.871 --> 00:27:16.480
Constantin Brancusi, [camera snaps]

451
00:27:16.480 --> 00:27:18.580
Salvador Dali, [camera snaps]

452
00:27:18.580 --> 00:27:20.280
Francis Picabia, [camera snaps]

453
00:27:20.280 --> 00:27:22.328
Alexander Calder, [camera snaps]

454
00:27:22.328 --> 00:27:23.730
Juan Miró, [camera snaps]

455
00:27:23.730 --> 00:27:24.760
Yves Tanguy, [camera snaps]

456
00:27:24.760 --> 00:27:25.985
Georges Braque,

457
00:27:25.985 --> 00:27:29.460
[frantic music]
[camera snapping]

458
00:27:29.460 --> 00:27:32.160
and Jean Cocteau, who introduced me to the Tout-Paris.

459
00:27:33.379 --> 00:27:35.520
Jean called me one morning in November 1922

460
00:27:35.520 --> 00:27:37.130
for a strange assignment.

461
00:27:37.130 --> 00:27:39.907
I was to photograph Marcel Proust on his deathbed.

462
00:27:39.907 --> 00:27:42.550
[bell tolling]

463
00:27:42.550 --> 00:27:44.640
It was a rather repugnant task,

464
00:27:44.640 --> 00:27:47.307
but at least we knew the subject would keep still.

465
00:27:47.307 --> 00:27:49.890
[bell tolling]

466
00:27:52.899 --> 00:27:53.732
[camera snaps]

467
00:27:53.732 --> 00:27:55.410
Of all his surrealist friends,

468
00:27:55.410 --> 00:27:57.293
Paul was closest to Man Ray.

469
00:27:59.840 --> 00:28:01.140
At our very first meeting,

470
00:28:01.140 --> 00:28:04.330
I was struck by the romantic air, the high forehead

471
00:28:04.330 --> 00:28:07.364
and pursed lips that made him look like Baudelaire.

472
00:28:07.364 --> 00:28:10.710
[gentle music]

473
00:28:10.710 --> 00:28:13.433
No one had such a soft and conciliatory tone.

474
00:28:14.460 --> 00:28:15.580
Beyond the art of language,

475
00:28:15.580 --> 00:28:18.454
his poetry was above all the art of living.

476
00:28:18.454 --> 00:28:21.037
[gentle music]

477
00:28:21.960 --> 00:28:24.360
The two friends loved to create together,

478
00:28:24.360 --> 00:28:26.880
and their talents were complementary.

479
00:28:26.880 --> 00:28:29.370
The summer photos, redrawn by Man,

480
00:28:29.370 --> 00:28:31.670
illustrated a jointly-published new volume

481
00:28:31.670 --> 00:28:34.100
of poems, \"Les Mains Libres,\"

482
00:28:34.100 --> 00:28:36.370
a tribute to the long-standing friendship

483
00:28:36.370 --> 00:28:38.094
that bound the two men together.

484
00:28:38.094 --> 00:28:40.677
[gentle music]

485
00:28:43.450 --> 00:28:45.640
All owed each other a tender nudity

486
00:28:47.840 --> 00:28:49.423
of sky and water,

487
00:28:50.810 --> 00:28:52.163
air and sand.

488
00:28:53.070 --> 00:28:54.830
All forgot their appearance

489
00:28:55.800 --> 00:28:58.663
and the promise to see nothing but themselves.

490
00:29:00.580 --> 00:29:03.703
Eluard was one of the poets Picasso admired most.

491
00:29:04.630 --> 00:29:07.420
Pablo regarded Paul as his equal;

492
00:29:07.420 --> 00:29:10.883
he understood art, and was a passionate collector.

493
00:29:10.883 --> 00:29:13.590
[cheerful jazz music]

494
00:29:13.590 --> 00:29:15.313
The admiration was mutual.

495
00:29:16.610 --> 00:29:19.170
The men enjoyed a deep personal connection

496
00:29:19.170 --> 00:29:21.112
and an unbreakable friendship.

497
00:29:21.112 --> 00:29:24.279
[cheerful jazz music]

498
00:29:39.730 --> 00:29:42.940
Pablo loved to use his friends as models.

499
00:29:42.940 --> 00:29:46.104
He did a portrait of Paul dressed as a woman.

500
00:29:46.104 --> 00:29:49.271
[cheerful jazz music]

501
00:30:00.000 --> 00:30:03.130
It was both Picasso\'s misfortune and great joy

502
00:30:03.130 --> 00:30:05.480
that women were the keys to his art,

503
00:30:05.480 --> 00:30:08.400
indispensable to his creativity.

504
00:30:08.400 --> 00:30:09.930
That particular summer,

505
00:30:09.930 --> 00:30:14.930
Pablo did several portraits of Nusch, the enigmatic Nusch,

506
00:30:14.960 --> 00:30:18.283
whose unrestrained liberty shone through in love.

507
00:30:18.283 --> 00:30:21.601
[cicadas chirping]

508
00:30:21.601 --> 00:30:24.351
[woman laughing]

509
00:30:25.223 --> 00:30:27.890
[waves lapping]

510
00:30:29.300 --> 00:30:33.281
Later in the afternoon, Lee posed in an Arles dress,

511
00:30:33.281 --> 00:30:38.281
[people murmuring]
[cicadas chirping]

512
00:30:39.860 --> 00:30:41.903
Ady as Pearl of the Islands,

513
00:30:42.870 --> 00:30:45.343
and Nusch as a Japanese geisha.

514
00:30:45.343 --> 00:30:47.332
[cicadas chirping]

515
00:30:47.332 --> 00:30:50.082
[cheerful music]

516
00:31:10.332 --> 00:31:12.665
[whooshing]

517
00:31:15.819 --> 00:31:18.652
[whimsical music]

518
00:31:35.814 --> 00:31:37.250
[cheerful jazz music]
[film reel rattling]

519
00:31:37.250 --> 00:31:38.450
I can look at anything

520
00:31:38.450 --> 00:31:39.900
and immediately have an idea.

521
00:31:41.550 --> 00:31:45.130
Face, object, or event, it suggests a form

522
00:31:45.130 --> 00:31:47.192
to be drawn or photographed.

523
00:31:47.192 --> 00:31:49.840
[woman singing in foreign language]

524
00:31:49.840 --> 00:31:52.480
It isn\'t an impression, rather the result

525
00:31:52.480 --> 00:31:54.030
of the impression taking shape.

526
00:31:55.220 --> 00:31:57.020
Few people understand that, I think.

527
00:31:58.590 --> 00:32:00.840
My work is often described as abstract

528
00:32:00.840 --> 00:32:02.540
and yet everything is so concrete.

529
00:32:04.283 --> 00:32:08.616
[woman singing in foreign language]

530
00:32:28.141 --> 00:32:30.808
[sensual music]

531
00:32:55.640 --> 00:32:57.930
When the time came for a siesta,

532
00:32:57.930 --> 00:32:59.810
in the shade of the room, Ady,

533
00:32:59.810 --> 00:33:02.400
the graceful and sensual muse,

534
00:33:02.400 --> 00:33:05.223
wonderfully captured the light for her lover\'s lens.

535
00:33:06.363 --> 00:33:09.030
[sensual music]

536
00:33:16.090 --> 00:33:18.520
In a libertine atmosphere, fragments

537
00:33:18.520 --> 00:33:21.700
of entwined body reveal the Sapphic relationship

538
00:33:21.700 --> 00:33:23.243
between Ady and Nusch,

539
00:33:25.030 --> 00:33:29.150
a surrealistic freedom wonderfully incarnated by the models,

540
00:33:29.150 --> 00:33:33.140
that the photographer, ever the voyeur, clearly delights in.

541
00:33:33.140 --> 00:33:35.900
[sensual music]

542
00:33:35.900 --> 00:33:39.930
Daily life at La Garoupe merged with creativity.

543
00:33:39.930 --> 00:33:41.773
Or maybe it was the other way round.

544
00:33:44.161 --> 00:33:46.911
[dramatic music]

545
00:33:50.117 --> 00:33:52.700
\"L\'Etoile de Mer,\" a poem by Robert Desnos

546
00:33:52.700 --> 00:33:54.859
as viewed by Man Ray.

547
00:33:54.859 --> 00:33:57.497
[woman singing in foreign language]

548
00:33:57.497 --> 00:33:59.960
Given my dadaist tastes,

549
00:33:59.960 --> 00:34:02.380
I was sure that any undertaking I might make in the field

550
00:34:02.380 --> 00:34:04.150
of film would probably be censored,

551
00:34:04.150 --> 00:34:06.291
for either moral or political reasons.

552
00:34:06.291 --> 00:34:07.950
[woman singing in foreign language]

553
00:34:07.950 --> 00:34:11.291
This inspired a new process for my film \"L\'Etoile de Mer.\"

554
00:34:11.291 --> 00:34:14.060
[woman singing in foreign language]

555
00:34:14.060 --> 00:34:15.440
I spread gelatin on the lens

556
00:34:15.440 --> 00:34:18.110
to conceal the nude sequences with Kiki,

557
00:34:18.110 --> 00:34:20.030
thus creating an artistic blur

558
00:34:20.030 --> 00:34:22.030
that would be acceptable to the censors.

559
00:34:23.011 --> 00:34:26.280
[woman singing in foreign language]

560
00:34:26.280 --> 00:34:29.000
They did, however, regard a line from the Desnos poem

561
00:34:29.870 --> 00:34:32.493
to be offensive and asked for it to be removed.

562
00:34:33.847 --> 00:34:36.459
\"You have to strike the dead when they are cold.\"

563
00:34:36.459 --> 00:34:37.860
[woman singing in foreign language]

564
00:34:37.860 --> 00:34:40.320
I had always filmed the women I loved;

565
00:34:40.320 --> 00:34:43.890
the sylphlike and luminous beauty of Kiki from Montparnasse,

566
00:34:43.890 --> 00:34:46.440
whose body would have inspired any academic artist.

567
00:34:48.290 --> 00:34:52.623
[woman singing in foreign language]

568
00:34:53.720 --> 00:34:55.960
The marvelous eyes of Meret Oppenheim

569
00:34:57.699 --> 00:34:59.828
[woman singing in foreign language]

570
00:34:59.828 --> 00:35:00.661
and Lee Miller.

571
00:35:02.367 --> 00:35:07.140
[woman singing in foreign language]

572
00:35:07.140 --> 00:35:09.090
These scraps of film were precious to me,

573
00:35:09.090 --> 00:35:11.410
like the ashes of something that had burned out,

574
00:35:11.410 --> 00:35:12.942
a passion kept alive.

575
00:35:12.942 --> 00:35:17.275
[woman singing in foreign language]

576
00:35:55.790 --> 00:35:58.080
My disillusionment was such that I had decided

577
00:35:58.080 --> 00:35:59.833
never again to fall in love.

578
00:35:59.833 --> 00:36:01.923
[birds chirping]

579
00:36:01.923 --> 00:36:03.542
[camera snaps]

580
00:36:03.542 --> 00:36:06.233
[birds chirping]

581
00:36:06.233 --> 00:36:07.066
[camera snaps]

582
00:36:07.066 --> 00:36:10.640
But when I gazed at Ady from head to toe, try as I might,

583
00:36:10.640 --> 00:36:12.571
I could find no imperfection.

584
00:36:12.571 --> 00:36:15.321
[birds chirping]

585
00:36:22.302 --> 00:36:23.331
[camera snaps]

586
00:36:23.331 --> 00:36:24.802
[people murmuring]

587
00:36:24.802 --> 00:36:25.793
[camera snaps]

588
00:36:25.793 --> 00:36:28.130
[people murmuring]

589
00:36:28.130 --> 00:36:30.610
During the stay, Picasso also played host

590
00:36:30.610 --> 00:36:34.050
to other artist friends, gallery owners and art dealers,

591
00:36:34.050 --> 00:36:36.950
often over lunch in the shade of the cypress trees.

592
00:36:36.950 --> 00:36:39.610
Business was business, even on vacation.

593
00:36:39.610 --> 00:36:40.880
He liked to tell an anecdote

594
00:36:40.880 --> 00:36:43.050
about an incident during his first stay;

595
00:36:43.050 --> 00:36:44.860
when he drew a mural in his room,

596
00:36:44.860 --> 00:36:47.313
the hotel manager made him repaint the wall.

597
00:36:48.240 --> 00:36:50.220
Pablo complied without protest

598
00:36:50.220 --> 00:36:52.660
and effaced the offending artwork.

599
00:36:52.660 --> 00:36:54.040
He bought himself a monkey,

600
00:36:54.040 --> 00:36:55.310
complaining that the attention

601
00:36:55.310 --> 00:36:58.060
he gave his new companion was exasperating Dora

602
00:36:58.060 --> 00:36:59.593
to the point of jealousy.

603
00:36:59.593 --> 00:37:01.640
[cheerful music]
[car engine whirring]

604
00:37:01.640 --> 00:37:04.360
He sometimes slipped away with his driver Marcel,

605
00:37:04.360 --> 00:37:07.761
who took him to Nice to visit the master Henri Matisse.

606
00:37:07.761 --> 00:37:11.750
[cheerful music]
[car engine whirring]

607
00:37:11.750 --> 00:37:14.510
But whenever Picasso was invited to visit his collectors

608
00:37:14.510 --> 00:37:16.970
in the opulent villas of Cap d\'Antibes,

609
00:37:16.970 --> 00:37:19.153
he took his merry troop with him.

610
00:37:19.153 --> 00:37:22.486
[cheerful guitar music]

611
00:37:28.791 --> 00:37:31.458
[clock ticking]

612
00:37:32.570 --> 00:37:35.190
Dora was making fewer appearances.

613
00:37:35.190 --> 00:37:37.390
Did she already know she had been relegated?

614
00:37:39.176 --> 00:37:41.926
[dramatic music]

615
00:37:50.890 --> 00:37:53.470
Every day, Dora posed for Picasso,

616
00:37:53.470 --> 00:37:56.210
and every day, the painter summoned his courtiers

617
00:37:56.210 --> 00:37:57.683
to show off his new painting.

618
00:37:59.380 --> 00:38:00.603
Painting her suffering,

619
00:38:01.680 --> 00:38:03.493
depicting her as a weeping woman.

620
00:38:04.850 --> 00:38:07.010
Pablo teased Dora relentlessly,

621
00:38:07.010 --> 00:38:10.113
talking about her panic attacks, and her jealousy.

622
00:38:12.017 --> 00:38:13.787
\"See how she cries over me!\"

623
00:38:16.150 --> 00:38:19.717
All present were silent witnesses to the painter\'s sadism.

624
00:38:25.271 --> 00:38:27.938
[waves lapping]

625
00:38:35.670 --> 00:38:39.410
Picasso drew himself as an all-powerful Minotaur,

626
00:38:39.410 --> 00:38:41.293
possessing the consenting Dora.

627
00:38:43.260 --> 00:38:46.510
But Dora fought back, retaliating

628
00:38:46.510 --> 00:38:49.159
with blood-spattered portraits of Pablo.

629
00:38:49.159 --> 00:38:52.742
[intense percussive music]

630
00:38:56.440 --> 00:39:00.000
She knew that as a photographer, as well as observing,

631
00:39:00.000 --> 00:39:02.770
one had to maintain the attention of one\'s subject.

632
00:39:02.770 --> 00:39:06.353
[intense percussive music]

633
00:39:10.148 --> 00:39:12.815
[waves lapping]

634
00:39:17.380 --> 00:39:20.547
[cheerful jazz music]

635
00:39:25.500 --> 00:39:30.500
[water splashing]
[cheerful jazz music]

636
00:39:50.651 --> 00:39:53.818
[cheerful jazz music]

637
00:39:59.630 --> 00:40:02.770
A picnic on the tiny island of Sainte Marguerite,

638
00:40:02.770 --> 00:40:06.180
like an echo of Manet\'s \"Déjeuner sur Herbe.\"

639
00:40:07.440 --> 00:40:12.110
Head thrown back, Nusch allows herself to be kissed by Paul,

640
00:40:12.110 --> 00:40:14.253
beneath the knowing gaze of Man and Ady.

641
00:40:15.680 --> 00:40:18.950
This famous snapshot taken by Lee Miller sheds a light

642
00:40:18.950 --> 00:40:22.519
on the free-spirited morality among the surrealist friends.

643
00:40:22.519 --> 00:40:24.391
[cheerful jazz music]

644
00:40:24.391 --> 00:40:27.058
[waves lapping]

645
00:40:49.759 --> 00:40:52.970
Pablo and Dora did not join them.

646
00:40:52.970 --> 00:40:55.970
Dora was no fan of free-spirited morality,

647
00:40:55.970 --> 00:40:58.300
and could not reconcile herself to falling

648
00:40:58.300 --> 00:41:00.323
into the arms of Paul or Man.

649
00:41:01.400 --> 00:41:03.040
At night, though, the pretty,

650
00:41:03.040 --> 00:41:06.743
mixed-race Ady sometimes slipped into the Minotaur\'s bed.

651
00:41:07.679 --> 00:41:10.410
[woman laughs]

652
00:41:10.410 --> 00:41:13.393
The vacation in Mougins was turning into a bloody arena.

653
00:41:14.770 --> 00:41:17.599
Dora\'s misfortune beggared belief.

654
00:41:17.599 --> 00:41:22.599
[seagulls crying]
[waves lapping]

655
00:41:31.940 --> 00:41:33.919
[film reel rattling]

656
00:41:33.919 --> 00:41:37.502
[cheerful accordion music]

657
00:42:01.517 --> 00:42:06.517
[crickets chirping]
[suspenseful music]

658
00:42:16.400 --> 00:42:18.570
Despite the insouciance of summer,

659
00:42:18.570 --> 00:42:22.000
the war raging in Spain was constantly evoked.

660
00:42:22.000 --> 00:42:23.743
These were worrying times.

661
00:42:24.630 --> 00:42:25.660
The Republican troops

662
00:42:25.660 --> 00:42:28.493
on the front line were retreating further day by day.

663
00:42:30.490 --> 00:42:32.370
While the blood flowed along the Ramblas

664
00:42:32.370 --> 00:42:36.390
in the Catalan capital, Picasso was worried for his mother,

665
00:42:36.390 --> 00:42:38.088
who lived in Barcelona.

666
00:42:38.088 --> 00:42:40.650
[birds chirping]

667
00:42:40.650 --> 00:42:42.780
[dramatic music]

668
00:42:42.780 --> 00:42:45.340
Paul was upset by the new Francoist killings

669
00:42:45.340 --> 00:42:47.710
and the violence of the clashes.

670
00:42:47.710 --> 00:42:49.610
His commitment to the Communist Party

671
00:42:49.610 --> 00:42:51.840
caused a permanent ideological split

672
00:42:51.840 --> 00:42:53.648
with his surrealist friends.

673
00:42:53.648 --> 00:42:56.398
[dramatic music]

674
00:43:00.310 --> 00:43:03.180
Dora captured them beneath slats of wattle,

675
00:43:03.180 --> 00:43:05.419
prisoners of light and shadow.

676
00:43:05.419 --> 00:43:07.810
[dramatic music]

677
00:43:07.810 --> 00:43:10.540
In recent years, she had been a committed activist

678
00:43:10.540 --> 00:43:13.870
in an artistic battle; acutely aware

679
00:43:13.870 --> 00:43:15.890
of the social realities of the street,

680
00:43:15.890 --> 00:43:18.160
she photographed the ones left by the wayside

681
00:43:18.160 --> 00:43:20.283
in London, Paris and Barcelona.

682
00:43:21.490 --> 00:43:23.470
Her activism influenced Pablo,

683
00:43:23.470 --> 00:43:25.870
who three months earlier accepted a commission

684
00:43:25.870 --> 00:43:27.800
from the young Spanish Republic,

685
00:43:27.800 --> 00:43:30.203
and had just delivered a huge canvas to them.

686
00:43:32.540 --> 00:43:35.080
On April 26th, the bombing of the village

687
00:43:35.080 --> 00:43:37.490
of Guernica claimed 2,000 victims

688
00:43:37.490 --> 00:43:39.713
and set in motion the Picasso machine.

689
00:43:41.060 --> 00:43:43.880
Day after day, night after night,

690
00:43:43.880 --> 00:43:46.350
Picasso painted under the gaze of Dora,

691
00:43:46.350 --> 00:43:48.860
whose camera captured the various stages

692
00:43:48.860 --> 00:43:50.828
of a masterpiece in the making.

693
00:43:50.828 --> 00:43:52.046
[camera snaps]

694
00:43:52.046 --> 00:43:53.448
[cheerful piano music]

695
00:43:53.448 --> 00:43:54.785
[camera snaps]

696
00:43:54.785 --> 00:43:58.035
[cheerful piano music]

697
00:44:03.280 --> 00:44:07.313
Over seven meters long, the apocalypse is terrifying.

698
00:44:08.637 --> 00:44:10.650
[cheerful piano music]

699
00:44:10.650 --> 00:44:13.433
Paul Eluard frequently visited him in the studio.

700
00:44:15.337 --> 00:44:17.217
\"You hold the flame between your fingers

701
00:44:17.217 --> 00:44:19.610
\"and paint like a fire.\"

702
00:44:19.610 --> 00:44:23.670
In that summer of 1937, his friend\'s huge canvas had pride

703
00:44:23.670 --> 00:44:26.350
of place in the Pavilion of the Spanish Republic

704
00:44:26.350 --> 00:44:29.530
at the Exposition Internationale in Paris.

705
00:44:29.530 --> 00:44:32.567
It inspired his poem \"La Victoire de Guernica.\"

706
00:44:40.500 --> 00:44:42.723
Paul never forgot the fighting of his youth,

707
00:44:44.440 --> 00:44:46.093
the slaughter of the Great War,

708
00:44:47.630 --> 00:44:50.803
and the sound of marching boots that preceded disaster.

709
00:44:54.700 --> 00:44:57.220
[bell ringing]

710
00:44:57.220 --> 00:44:59.040
The vacation was coming to an end.

711
00:44:59.040 --> 00:45:01.763
We were preparing to leave this Mediterranean Eden.

712
00:45:04.354 --> 00:45:05.920
[tense music]

713
00:45:05.920 --> 00:45:08.690
The rear seats of Pablo\'s Hispano-Suiza,

714
00:45:08.690 --> 00:45:09.940
parked outside the door,

715
00:45:09.940 --> 00:45:11.940
were filled with the summer\'s paintings.

716
00:45:14.062 --> 00:45:17.312
[whimsical jazz music]

717
00:45:23.058 --> 00:45:27.350
During the summer of 1939, amid the threat of war,

718
00:45:27.350 --> 00:45:32.183
we endeavored to reengage with life and met up in Antibes.

719
00:45:32.183 --> 00:45:35.091
[car engine whirring]

720
00:45:35.091 --> 00:45:36.821
But our hearts weren\'t in it.

721
00:45:36.821 --> 00:45:40.590
[whimsical jazz music]

722
00:45:40.590 --> 00:45:42.453
The war would soon come between us.

723
00:45:43.740 --> 00:45:45.250
We wanted to change the world,

724
00:45:45.250 --> 00:45:48.162
but the world was changing before our eyes.

725
00:45:48.162 --> 00:45:50.620
[whimsical jazz music]
[car engine whirring]

726
00:45:50.620 --> 00:45:53.410
The reality of Hitler\'s invasion of Poland gave pause

727
00:45:53.410 --> 00:45:56.435
for thought to even the most committed hedonists.

728
00:45:56.435 --> 00:45:59.685
[whimsical jazz music]

729
00:46:04.840 --> 00:46:07.950
One last look around Montparnasse.

730
00:46:07.950 --> 00:46:11.183
It\'s summer and the café terraces are almost empty.

731
00:46:12.480 --> 00:46:15.570
For Emmanuel Radnitzky, better known as Man Ray,

732
00:46:15.570 --> 00:46:18.370
who is Jewish, the only option is to leave,

733
00:46:18.370 --> 00:46:20.053
like an exile in reverse.

734
00:46:21.440 --> 00:46:22.973
Man Ray left France.

735
00:46:24.030 --> 00:46:25.253
Ady chose to stay.

736
00:46:26.256 --> 00:46:30.860
[cheerful jazz music]
[film reel rattling]

737
00:46:30.860 --> 00:46:33.700
Man Ray turned his back on photography,

738
00:46:33.700 --> 00:46:36.273
seldom taking out his camera ever again.

739
00:46:37.286 --> 00:46:39.720
♪ And my heart beats so that I-- ♪

740
00:46:39.720 --> 00:46:41.270
I spent 20 years in Paris.

741
00:46:41.270 --> 00:46:43.760
I was fortunate to be able to go to California,

742
00:46:43.760 --> 00:46:46.080
where I lived in a large workshop in Hollywood,

743
00:46:46.080 --> 00:46:49.366
surrounded by palm trees, flowers and birdsong.

744
00:46:49.366 --> 00:46:53.720
♪ When we\'re out together dancing cheek to cheek ♪

745
00:46:53.720 --> 00:46:55.790
I declined most of the film work on offer

746
00:46:55.790 --> 00:46:57.073
and returned to painting.

747
00:46:58.116 --> 00:47:01.030
♪ I\'m in heaven ♪

748
00:47:01.030 --> 00:47:03.654
I had returned to my first love,

749
00:47:03.654 --> 00:47:05.654
but was still not regarded as a painter.

750
00:47:07.007 --> 00:47:12.007
♪ Seem to vanish like a gambler\'s lucky streak ♪

751
00:47:12.580 --> 00:47:14.250
I was living with Juliet,

752
00:47:14.250 --> 00:47:15.597
and that was enough for me.

753
00:47:15.597 --> 00:47:19.809
♪ Dancing cheek to cheek ♪

754
00:47:19.809 --> 00:47:22.580
[gentle piano music]

755
00:47:22.580 --> 00:47:24.980
On leaving the army in 1940,

756
00:47:24.980 --> 00:47:28.183
Paul Eluard and Nusch went underground in the Tarn region.

757
00:47:29.420 --> 00:47:32.170
Distributed by the Resistance, thousands of copes

758
00:47:32.170 --> 00:47:34.170
of his poem \"Liberté\" were parachuted

759
00:47:34.170 --> 00:47:36.423
by the Royal Air Force onto French soil.

760
00:47:38.170 --> 00:47:40.750
While many of his friends were forced to leave France,

761
00:47:40.750 --> 00:47:42.923
Picasso decided to stay in Paris.

762
00:47:43.780 --> 00:47:46.180
He worked in his Grands-Augustins studio,

763
00:47:46.180 --> 00:47:49.400
banishing himself in an internal exile.

764
00:47:49.400 --> 00:47:52.230
Stigmatized by the Nazis, his work was dismissed

765
00:47:52.230 --> 00:47:56.780
by Vichy propaganda as \"Judeo-Bolshevik degenerate art.\"

766
00:47:56.780 --> 00:47:59.323
But his celebrity status protected him.

767
00:48:01.240 --> 00:48:05.313
In 1943, Pablo ended his relationship with Dora.

768
00:48:08.030 --> 00:48:11.470
Dora Maar went to live alone, in the village of Ménerbes,

769
00:48:11.470 --> 00:48:13.685
in the house Picasso had given her.

770
00:48:13.685 --> 00:48:16.980
[gentle music]

771
00:48:16.980 --> 00:48:19.500
She abandoned photography for painting,

772
00:48:19.500 --> 00:48:21.863
seeking refuge in silence and faith.

773
00:48:23.320 --> 00:48:24.500
The destructive passion

774
00:48:24.500 --> 00:48:26.900
that consumed the weeping woman drove her

775
00:48:26.900 --> 00:48:28.785
to the edge of madness.

776
00:48:28.785 --> 00:48:31.330
[gentle music]

777
00:48:31.330 --> 00:48:32.980
Lee Miller became a correspondent

778
00:48:32.980 --> 00:48:35.090
for \"Vogue\" magazine during the war,

779
00:48:35.090 --> 00:48:38.283
covering the D-Day landings and the liberation of Paris.

780
00:48:39.460 --> 00:48:42.630
For an article on the revival of cultural life in Paris,

781
00:48:42.630 --> 00:48:45.590
she reunited her old friends in Pablo\'s studio

782
00:48:45.590 --> 00:48:47.493
as a tribute to past times.

783
00:48:49.550 --> 00:48:52.770
She followed the American army all the way into Germany,

784
00:48:52.770 --> 00:48:54.800
to Buchenwald and Dachau,

785
00:48:54.800 --> 00:48:56.713
where she uncovered the mass graves.

786
00:48:58.120 --> 00:48:59.820
She was the first photographer

787
00:48:59.820 --> 00:49:01.833
to reveal the horror of the camps,

788
00:49:03.460 --> 00:49:05.707
images that would forever haunt her.

789
00:49:08.441 --> 00:49:11.191
[dramatic music]

790
00:49:14.452 --> 00:49:17.913
Nusch died in the street at the age of 40 of a stroke.

791
00:49:17.913 --> 00:49:21.160
[dramatic music]

792
00:49:21.160 --> 00:49:25.083
Paul was consumed by a despair that never lifted thereafter.

793
00:49:26.391 --> 00:49:27.500
[dramatic music]

794
00:49:27.500 --> 00:49:31.080
For 17 years she was his inspiration,

795
00:49:31.080 --> 00:49:34.373
his muse and the central figure in his work.

796
00:49:35.870 --> 00:49:40.550
This icon of surrealism had made her life a work of art.

797
00:49:40.550 --> 00:49:43.187
Paul paid tribute to her in his collection of poems,

798
00:49:43.187 --> 00:49:46.230
\"Le Temps déborde,\" illustrated by photographs

799
00:49:46.230 --> 00:49:47.253
by Dora and Man.

800
00:49:50.089 --> 00:49:51.400
[film reel rattling]

801
00:49:51.400 --> 00:49:54.170
My affair with America ended in 1951,

802
00:49:54.170 --> 00:49:56.273
when Juliet and I returned to France.

803
00:49:56.273 --> 00:49:58.840
[film reel rattling]
[birds chirping]

804
00:49:58.840 --> 00:50:01.270
Thanks to Ady, I recovered all my works,

805
00:50:01.270 --> 00:50:03.689
which she had managed to keep from harm.

806
00:50:03.689 --> 00:50:06.439
[cheerful music]

807
00:50:11.420 --> 00:50:13.593
For some, photography was not art.

808
00:50:15.277 --> 00:50:18.477
\"Photography isn\'t art?\" I replied sarcastically.

809
00:50:18.477 --> 00:50:20.767
\"Then maybe it\'s the opposite.\"

810
00:50:22.960 --> 00:50:24.832
[intense music]

811
00:50:24.832 --> 00:50:27.499
[waves lapping]

812
00:50:28.480 --> 00:50:30.530
We went down to the south to visit Pablo.

813
00:50:32.120 --> 00:50:34.050
After his split with Dora,

814
00:50:34.050 --> 00:50:35.810
he settled on the Mediterranean coast

815
00:50:35.810 --> 00:50:39.857
with his new wife, Jacqueline, 50 years his junior.

816
00:50:39.857 --> 00:50:43.320
[car engine whirring]

817
00:50:43.320 --> 00:50:46.588
That evening, after dinner, Juliet began to dance.

818
00:50:46.588 --> 00:50:49.755
[cheerful jazz music]

819
00:50:52.890 --> 00:50:54.403
Pablo looked on silently.

820
00:50:55.690 --> 00:50:58.143
He reminded me of King Herod watching Salome.

821
00:50:59.057 --> 00:51:02.224
[cheerful jazz music]

822
00:51:03.800 --> 00:51:05.800
At the tip of the Cap d\'Antibes,

823
00:51:05.800 --> 00:51:09.450
the little beach of La Garoupe was still a wild place.

824
00:51:09.450 --> 00:51:11.250
People traveled around on the back of a donkey

825
00:51:11.250 --> 00:51:13.603
amid the smells of the pine and olive trees.

826
00:51:15.840 --> 00:51:17.710
It was all that remained of our days

827
00:51:17.710 --> 00:51:20.560
in the Mediterranean light, [waves lapping]

828
00:51:20.560 --> 00:51:23.010
bound together by our friendship

829
00:51:23.010 --> 00:51:25.737
and a shared passion for art.

830
00:51:25.737 --> 00:51:30.737
[waves lapping]
[melancholic music]

831
00:51:58.147 --> 00:52:03.147 line:15%
[birds chirping]
[melancholic music]