Ben Whishaw Captivates in Ira Sachs’ Intimate ‘Peter Hujar’s Day’
Ben Whishaw shines in Ira Sachs’ 'Peter Hujar’s Day,' offering a deeply personal look at the famed photographer’s world through a single, revealing conversation.
Walking through the heart of London not long ago, I caught a glimpse of Ben Whishaw and instantly thought of his iconic role as Paddington. But Whishaw’s career is a tapestry of remarkable performances—he’s embodied John Keats, appeared in the James Bond franchise, and even had an early role in Nathan Barley. His versatility is undeniable, and in Ira Sachs’ latest film, ‘Peter Hujar’s Day,’ Whishaw delivers what may be one of his most nuanced portrayals yet.
Taking on the role of Peter Hujar, the celebrated yet underappreciated photographer, Whishaw brings a quiet authenticity to the screen. The film unfolds almost entirely through a single, extended conversation between Hujar and his friend Linda Rosenkrantz, played by Rebecca Hall. Their dialogue, set against the backdrop of a modest apartment, is the film’s heartbeat. The two shift from the sofa to the balcony to the bed, but the real movement comes from their words and the subtle shifts in their dynamic.
Capturing a Moment in Time
Hujar’s legacy is rooted in his portraits of the creative icons who defined New York’s art scene in the 1970s and ‘80s. Despite his influence, he never received widespread recognition during his lifetime. Sachs’ film, inspired by Rosenkrantz’s original taped conversation from 1974, offers a rare window into Hujar’s inner world. The project, which Rosenkrantz published years later, serves as the foundation for this cinematic experiment in memory and preservation.
The film’s structure is simple yet effective. The audience becomes a silent observer, privy to Hujar’s recollections of the previous day—encounters with figures like Allen Ginsberg and Susan Sontag, moments of introspection, and the mundane details that make up a life. Whishaw, cigarette in hand, delivers his lines with a cool detachment, while Hall’s Rosenkrantz listens intently, sometimes probing, sometimes simply absorbing his perspective.
A Study in Conversation and Character
‘Peter Hujar’s Day’ is not a film for everyone. Its appeal lies in its restraint and its focus on the nuances of conversation. There’s little action, and the visual changes are minimal, but the emotional depth is profound. The film doesn’t spoon-feed the audience; instead, it assumes a certain familiarity with Hujar and his milieu. This approach raises an interesting question: should a film require viewers to come prepared, or should it provide all the context needed?
What emerges is a meditation on memory, legacy, and the fleeting nature of fame. Sachs peels back the layers of myth surrounding Hujar and his contemporaries, offering an unvarnished look at the man behind the camera. The result is a film that feels both timeless and deeply specific, a tribute to a world that’s both distant and achingly familiar to those who know it.