Michael Mann is once again heading into the halls of history, but this time around it’s about those who document the violence rather than those who deliver it. Variety reports that Mann and Columbia Pictures are joining forces to tell the story of war photographer Robert Capa and his romance with fellow photographer Gerda Taro.
The good news: This isn’t simply another story where an artist’s achievements are reduced to their time between the sheets. To be adapted from Susan Fortes’ Waiting for Robert Capa (by scribe Jez Butterworth), the film will kick off when Capa (a refugee from fascist Hungary whose professional name was inspired by Frank Capra) meets a Jewish refugee from Nazi Germany - Gerda Taro (a name partly inspired by Greta Garbo). She becomes his assistant, learns photography, and the two fall in love. A year later, the Spanish Civil War begins, setting Capa up as “the most renowned war photographer ever” (including swimming to the shores of Omaha Beach with the troops on D-Day) while Taro becomes the first front-line female war photographer. The romance and success for Taro, however, was short-lived. She was killed only a year later during the Battle of Brunete.
This is a big passion project of Mann’s, and he “intends to make a gritty, low-budget film” out of the story. So thankfully, this won’t be a perfectly shot, epic romance of thundering scores and picturesque scenes of couples kissing.
Wow! Read so much about Taro and their relationship. Can’t wait for this already.
I don’t know what to do right now. This is the hardest it’s ever hit me, aside from that time driving on the highway in the rain with nowhere to pull over thanks to the ongoing construction. But still, maybe even harder because that was just for one night, one hour-long, tormented drive home. It’s been three days, one filled almost entirely with sleep, and I have yet to feel much better. I am feeling calmer and that is something but I know that at the drop of a hat I could collapse.
I’m so tired of being alone. These friends are not real, they won’t last. I know I shouldn’t be searching for relationships but I don’t know if you realize how badly I need someone.
There is a special bond you imagine when you are the first to speak to someone in the morning – when their voice struggles up still hoarse from the depths of unconsciousness, from their inner worlds that you couldn’t glimpse if you tried… they are vulnerable then, because they haven’t caught up with themselves yet. You think you’re closer to them than anyone else, because behind the eyes that are open now, there’s still the person that’s there when they’re closed. They may be moving, but their lips form words that their minds don’t quite control because the person is still wrapped in their voyager’s cloak of shadow, warmth, enigma… they’re still on the road from a place far, far away. When you wake someone up by telephone, it’s as though you’re connected to that mysterious place by the fine dark thread that their voice climbs up… as though in it you can still hear the reverberations of secret landscapes, echoes of cryptic dream-sense quests…
there is no director,
there is no conductor.
The world makes itself happen,
the play plays itself,
the orchestra plays itself.
And if the violin drops from somebody’s hand
and their heart stops beating
the man and his death never meet:
there’s nothing behind the glass;
the other side is nothing, is just a mirror
where my own fear regards me
with big eyes.
And behind this fear,
if only you look carefully enough,
there are grass and sunflowers
turning slowly by themselves towards the sun
without a God, a director, a conductor.” —Jaan Kaplinski, from ‘Evening Brings Everything Back’