Yes. The true story movie LEE, which stars Winslet as Elizabeth 'Lee' Miller, a fashion model turned World War II correspondent for Vogue magazine, is based on her son Antony Penrose's 1985 biography of her titled The Lives of Lee Miller. Penrose worked with Winslet and the filmmakers to get the story correct, including giving them access to his mother's archives. Penrose told Winslet, who shares a striking resemblance to Lee Miller, that he had wanted her to play his mother ever since he saw her in Titanic.
"She'd learned photography from her father as a child," Kate Winslet told the Los Angeles Daily News, "and she'd always been familiar with how a camera worked."
Yes. According to Miller, when she was seven her mother was in the hospital and she had been sent to stay with family friends in Brooklyn. During her time away, she was raped by a sailor who infected her with gonorrhea. However, that same year, 1914, her father, Theodore Miller, had begun taking nude photographs of her. It has been speculated that it may have been her father who had sexually abused her. Lee had a volatile youth and was kicked out of nearly every school in the Poughkeepsie area.
Yes. According to Kate Winslet, Miller "hated being a model" and "was deeply uncomfortable doing that job." Miller only modeled for a short period in her 20s. This was likely also due to the fact that she had been exploited by her father as a child.
No, at least not age-wise. The Lee Miller movie portrays the men in Lee's life as being her age or younger. This does a disservice to understanding the real Lee Miller, who had a pattern of falling for older men. This was likely a result of the abuse she endured as a child. Miller's first husband, Aziz Eloui Bey, was 17 years her senior. They officially divorced in 1947. Her lover Man Ray was 17 years older as well. Her second husband, Roland Penrose, was closer in age but still seven years her senior. Actor Alexander Skarsgård, who portrays Penrose in the film, is almost a year younger than Kate Winslet.
A LEE fact-check reveals that like in the film, journalist Lee Miller used a Rolleiflex camera. This set her apart from many other photographers at the time. By shooting with a Rolleiflex, she was able to first look down at the image in her viewfinder and then raise her gaze to meet the eyes of her subject. This type of photography is more intimate and often makes the subjects less apprehensive about having their photo taken.
For the most part, her time as a photographer in WWII seems to be depicted accurately, at least in relation to what is known about the circumstances surrounding her photos. Following the D-Day invasion of France on June 6, 1944, Miller spent five days photographing the Battle of Saint-Malo, capturing the first recorded use of napalm. Over the course of the war, she covered events such as the London Blitz, the liberation of Paris, and the horrors of the concentration camps at Dachau and Buchenwald. In many cases, the filmmakers had to imagine how the circumstances that produced each photo affected Miller. This opened the door to a fair amount of fictionalization that may or may not be accurate, but is in line with what is known about Miller.
Yes. In early 1945, Lee Miller tagged along with Allied forces as they advanced into Germany. It was at this time that they discovered the horrors of the Nazi concentration camps at Dachau and Buchenwald. Miller's photographs from the camps are some of her most impactful. Hours after returning to Munich from Dachau on April 30, 1945, Miller visited the apartment of Adolf Hitler. Her close friend and fellow photojournalist David E. Scherman, portrayed by Andy Samberg in the film, photographed Miller bathing in Hitler's bathtub. They carefully set up the photo. A small portrait of Hitler was leaned against the tiled wall at the back of the tub. Miller's boots, still covered in the mud of Dachau, were deliberately placed on Hitler's bathmat, which was visibly soiled.
Yes. Like in the Lee Miller movie, the true story confirms that the effects of all she had seen and experienced during the war put a strain on her home life, including her relationship with her son, Antony Penrose. Her own history of childhood abuse also likely contributed to her struggles as a mother. She battled depression and turned to alcohol to numb her pain. Like many veterans, Miller never talked about her time in the war. It was only after her death in 1977 that her son Antony discovered her archive in the attic, including 60,000 negatives and prints of everything she had done during WWII. He also found her manuscripts and her writing. The discovery helped Antony to better understand his mother, including her struggles with PTSD, alcoholism, and depression.
Yes. While conducting our fact-check, we discovered that it took eight years to see the project through to fruition, mostly due to hurdles with securing funding. Winslet, who is both producer and star of the film, told People magazine that she sometimes thought to herself, "'Oh my God, how is this ever going to happen? How am I going to keep it going?'" According to HuffPost, Winslet was so determined to make LEE happen that she personally paid the crew's wages for two weeks during a precarious time in preproduction when financing had dried up.
"I wanted to tell this story of a middle-aged, flawed woman who had the courage to take a risk, and the determination to make her way into those male-dominated spaces," Winslet told the Los Angeles Daily News. "To bear witness and to be that visual voice for the victims of conflict."
Yes. Winslet sustained serious injuries on the first day of filming in Croatia when she slipped and fell. "I had three massive hematomas on my spine, huge," Winslet told HuffPost. "I could barely stand up." She was taken to a hospital as a precautionary measure.
In Lee's 1956 article "What They See in the Cinema", she expressed her fondness for the "heroic fare" of the cinema, including "the great big epic!" She continued, "I love extravagant and gorgeous 'historicals' – melodrama, ambiguity, inaccuracy and all, as long as the heroes are close-up close and the background has panoramic splendor."