Sometimes history offers up personalities that seem to float above the circumstances of their times, individuals that, by force of will or vision, do not live in history, they shape it.?Diana Vreeland: The Eye Has to Travel offers up Vreeland, a fashion editor, wit, and vivacious personality as this kind of character, a history-shaper, but also a woman who understood herself as playing that special role.
Writer and director Lisa Immordino Vreeland has a choice to make when approaching her subject, who is also her grandmother-in-law: do you tell a straight story of Vreeland?s life, or do you allow the documentary to take the shape of how Vreeland understood her own life, the ?faction,? as the Vreeland coins the term about mixing fact and fiction in the film? The filmmaker goes for ?faction,? which means taking at face value stories about Vreeland seeing Charles Lindbergh flying over her head on his famous flight to Paris, or the litany of personalities of La Belle ?poque that Vreeland imagines remembering filing through her parents? Parisian apartment when she was a little girl.
Perhaps none of this really happened, but?Diana Vreeland: The Eye Has to Travel makes the case that what is important is that Vreeland took these kinds of stretched truths and fantasies and built up her identity around them, allowing herself to live in a world more colorful, more possible, and more exciting than most of us will ever know. And it is the way that she lived that more than anything influenced her work at?Harpers Bazaar?and?Vogue, where she reinvented how the fashion industry saw itself. The documentary makes a strong case that Vreeland was a figure of historic importance, particularly to the fashion world. But that is not really the movie?s power. Rather,?Diana Vreeland: The Eye Has to Travel?plays like a call to arms, a crying carpe diem. Life is beautiful, darling. Go live it for real.
Source: http://frontrow.dmagazine.com/2012/09/movie-review-the-world-according-to-a-lion-of-fashion/
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