‘Peter Hujar’s Day’ Review: Ben Whishaw Plays the Noted New York Photographer in Ira Sachs’ Magical 1974 Time Capsule of a Movie

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In the dynamic realm of biographical films, a biopic can assume various forms. It could mirror the scope of a novel by chronicling an entire life, or it might embody the focused essence of a short story, confined to a significant period. To put it simply, “Peter Hujar’s Day” could be described as a poetic take on the biopic. The film unfolds within a single day, but its deeper significance lies in the fact that it is a series of conversations between Peter Hujar (Ben Whishaw), the renowned 1970s and ’80s New York photographer, and his friend Linda Rosenkrantz (Rebecca Hall), where he recounts the events of the previous day.

It appears that Rosenkrantz and Hujar were working on a project together. On December 18, 1974, Rosenkrantz asked Hujar to document everything that occurred that day and meet the next day at her apartment on 94th Street in Manhattan. The intriguing aspect is that she requested this ordinary day, not a special one. The significance lies in the fact that it was an unremarkable day, focusing on whatever Peter Hujar happened to be doing.

A recently uncovered transcript of a past conversation has sparked an idea for filmmaker Ira Sachs (“Passages,” “Keep the Lights On,” “Love Is Strange”). He’s decided to create a movie based on this recording, faithfully recreating Hujar’s meandering account of his day, with each anecdote and pause mirroring the original. Ben Whishaw portrays Hujar, a seasoned freelance photographer transitioning into gallery art and downtown social circles. Rebecca Hall plays Rosenkrantz, who serves as a listening ear and provocateur. Although they have a friendly dynamic, it’s the authentic dialogues between them that draw you in.

In a small, intimate style reminiscent of a documentary, “Peter Hujar’s Day” is beautifully crafted and captivating to behold. Much like the “Before” trilogy or “My Dinner with Andre,” I have a deep affection for films that revolve around dialogue. To me, conversations are one of life’s greatest joys (a pleasure that may be at risk in the era of digital communication). For me, the sound of two people engaged in an honest exchange carries all the drama necessary. However, the movies I mentioned were intentionally designed to provide dramatic experiences. “Peter Hujar’s Day” is more of a daring exploration.

The portrayed Peter Hujar discusses intriguing topics, such as his assignment from The New York Times on that specific day to photograph Allen Ginsberg. However, it’s important to note that Hujar is not a flamboyant exaggerator of his experiences; instead, he often downplays his feelings. He casually mentions the unpaid freelance work he’s owed, his desire for a nap at 10:15 in the morning, phone conversations with Susan Sontag, preparing an Oscar Meyer Braunschweiger sandwich, a fictional character named Topaz Caucasian who many believed was real, further conversations (with Vince Aletti, Lisa Robinson, and Glenn O’Brien), and eventually visiting Allen Ginsberg’s Lower East Side apartment to take his portrait for the Times, an experience that proves challenging.

As a movie critic hailing from the same tri-state area, there’s something heartwarming about the distinctive accents I often encounter – especially when it comes from individuals like Peter Hujar. Born and raised in New Jersey, his life took an unexpected turn at 13 when he moved to a cramped apartment in New York City with his mother and her new partner. The household was far from idyllic, leading him to escape at the tender age of 16.

In “Peter Hujar’s Day,” the talented Ben Whishaw portrays Hujar with a charming vulnerability, accentuated by his floppy hair and dark stubble. His voice, reminiscent of the Jersey accents heard among many who flourished in the gay hipster subculture of 1970s New York, carries an undeniable charm. It’s endearing to see these individuals present themselves as sophisticated flamboyants, yet their roots in working-class life are unmistakable. Every word they speak echoes with a clear sense of aspiration.

Peter Hujar’s ‘Day’ revolves around the theme of aspiration. Upon visiting Allen Ginsberg’s apartment, Hujar encounters the renowned poet living in a state of self-imposed New York grime. Despite this, Ginsberg has transformed into more than just a poet; he is a media brand, a man who expresses disdain towards society and institutions like corporations and The New York Times. He even advises Hujar to offer sexual services to William S. Burroughs in order to capture a better photograph of him. This advice comes as a surprise to Hujar, given that he was 39 years old at the time, and this was his first assignment for the Times. However, Hujar, eager to impress the bohemian elite, follows Ginsberg’s guidance.

As a devoted admirer, I find this movie captivating and immersive in an unusual way. Instead of relying on conventional drama, it derives its essence from the absence of it. The seemingly monotonous sequence of events, presented in a casual manner to keep us intrigued, echoes the spirit of 1974 – particularly resonating with Andy Warhol’s Interview magazine. This publication was a collection of dialogues between various famous or semi-famous individuals, and the irony lay in the fact that these “interviews” were merely casual conversations about insignificant matters. This was emblematic of Warhol’s artistic vision and his perception of life: an abundance of triviality, yet profoundly meaningful at the same time. Some might argue that Warhol celebrated banality, but for us devoted followers, he was a sacred artist who saw the ordinary as extraordinary. He was expressing, “What is life if not this? And that’s enough.

The unique perspective presented in this film serves as a subtle, underlying message about our current lives, as depicted in “Peter Hujar’s Day.” This movie offers a pointillistic glimpse into a single day in the life of an under-the-radar photographer (Hujar, who passed away from AIDS in 1987, later gained significant posthumous acclaim). However, it is more than just a snapshot – it’s a tribute to the hidden spirituality found within the mundane.

One of its appeals lies in the fact that back then, with certain occupations, life was less interrupted by distractions. There were no internet, cell phones, multiple television channels, or surveillance systems tracking every click. It was an era where you could leisurely traverse a day, engage in an activity, and simply allow it to be what it was. “Peter Hujar’s Day” captures the ordinary in such a way that resonates with us because it subtly hints at an untapped sense of paradise.

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2025-01-27 21:47