Words by JANE CROWTHER
‘Never complain, never explain’ is a maxim Kate Moss legendarily lives by, but as exec-producer on this semi-biopic, she attempts to do some explaining on the May-December relationship of the supermodel and painter Lucian Freud during the months in which she sat for him for a portrait. We meet Moss (Ellie Bamber) smoking and speeding at the wheel of her vintage MBG in 2002, a supermodel and it-girl who is seeking some sort of enlightenment in an endless carousel of photo shoots, catwalks and club nights. When her friend Bella Freud suggests her artist father would like to meet with the possibility of painting her, Moss arrives at the National Portrait Gallery after an all-nighter, strutting the gallery and smoking her trademark cigarette. (Moss had said in a Dazed & Confused interview that she yearned to be captured by him). Charmed by Kate, Freud (Derek Jacobi) suggests she sit for him three nights a week for as long as it takes to finish the painting. Despite her misgivings over the amount of time it requires, Moss chooses to sit nude and the duo begin a conversation over the easel that unwinds over several months. Their unusual relationship lasted for the remainder of his lifetime.
Writer-director James Lucas explores fame, persona and creativity as Moss is habitually late and incenses Freud, they discuss his past lovers, she seeks to be truly ‘seen’. The painter is enchanted by her – possibly in love with her – and Moss comes to view Freud as the truth-teller in her life. In limiting the time-scale to the life cycle of the portrait (which is later sold for £3.9million), Moss & Freud charts a tumultuous time in the supermodel’s life as she meets Jefferson Hack and becomes pregnant with her daughter. It probably should feel more pop culture than it does, possibly because of the involvement of both parties (Freud’s estate helped produce). That makes for a somewhat toothless character study of either cultural icon. Both feel less vibrant and more conventional than their well-known profiles – perhaps the reality, or the result of careful curation. We learn that the duo smoked opium and discussed truth, image and artistic ownership – and how/why Freud tattooed Kate, but it feels somewhat sanitised.
That said, Ellie Bamber nails the idiolect of Moss – particularly her laugh – and body language, delivering a fully believable performance. She was cast with the blessing of the model to play her and the choice pays off. She brings Moss to intriguing life beneath a selection of wigs and well known fashion looks. She delivers real vulnerability to a public figure who has always maintained a purposeful distance from her audience. This film will continue that trend.
Words by JANE CROWTHER
Images courtesy of CORNERSTONE FILMS
Moss & Freud is out in cinemas now
