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Robert Capa was arguably the finest photojournalist of the twentieth century and without doubt its greatest combat photographer-he covered every major conflict from the Spanish Civil War to the beginnings of Vietnam. An inveterate gambler who coined the dictum "if your pictures aren't good enough, you're not close enough," Capa risked his life again and again, most dramatically as the only photographer landing with the first wave on Omaha Beach on D-Day, and he created some of the most enduring images ever made with a camera.
But the drama in Capa's life wasn't limited to one side of the lens. Born in Budapest as Andre Freidman, Capa fled political repression and anti-Semitism as a teenager by escaping to Berlin, where he first picked up a Leica and then witnessed the rise of Hitler. By the time his images of D-Day appeared in Life Magazine, he had become a legend, the first photographer to make his calling appear glamorous and sexy, and the model for many of the most intrepid photographers to this day. In 1947, after a decade covering war, he founded a cooperative agency-Magnum-and in the process revolutionized the industry. For the first time, photographers would retain their own copyrights and negatives, and nearly half a century later, Magnum remains the most prestigious agency of its kind.
By the time he died, at just forty-one in 1954, Capa was not only the greatest adventurer in photographic history. He had become a colleague and confidant to writers Irwin Shaw, John Steinbeck, and Ernest Hemingway and director John Huston, and a seducer of several of his era's most alluring icons, including Ingrid Bergman.
From Budapest in the twenties to Paris in the thirties, from post-war Hollywood to Stalin's Russia, and from New York in the fifties to Indochina, Blood and Champagne is a wonderfully evocative account of Capa's life and times. Based on extensive interviews with Capa's friends and contemporaries, as well as FBI and Soviet files and other previously unpublished materials, Alex Kershaw's biography is every bit as compelling as its charismatic subject.
- Sales Rank: #694739 in Books
- Published on: 2003-07-25
- Original language: English
- Number of items: 1
- Dimensions: 9.68" h x 1.19" w x 6.40" l,
- Binding: Hardcover
- 304 pages
Amazon.com Review
"It does seem to me that Capa has proved beyond all doubt that the camera need not be a cold mechanical device," John Steinbeck wrote of photojournalist Robert Capa in a quote that launches this well-written, exhaustively researched biography. "Like the pen, it is as good as the man who uses it. It can be the extension of mind and heart." That’s quite a compliment coming from an author like Steinbeck, but then Capa won the respect and friendship of some of the brightest talents of his generation; other admirers and poker buddies included Ernest Hemingway and John Huston, and among his many loves was actress Ingrid Bergman. Capa won fame slogging through the blood and grime to capture vivid images of five different wars, from the Spanish Civil War (where he wasn't above staging some of his photographs), through the landings at Omaha Beach on D-Day (which he chronicled for Life magazine as the only journalist to wade ashore with the first wave of G.I.s), to the early days of the Vietnam conflict (where he was killed in action at the age of 41 while covering the French army, soon to be replaced with disastrous results by the Americans). Born a Hungarian Jew named André Friedmann, another great writer, John Hersey, famously dubbed the swarthy chain-smoking photographer "the Man Who Invented Himself," and author Alex Kershaw contends that one of his greatest achievements was the legend that he created for himself. A California journalist who contributes to The Guardian and The Sunday Times Magazine, among others, Kershaw brings Capa and his times to life with bright, vivid writing and telling anecdotes, using a fascinating personal odyssey to put the man's professional accomplishments in perspective. "Capa was the first photographer to make photojournalism appear glamorous and sexy," he writes. Of course, that distinction and all others take a back seat to the photos themselves, and this book’s only shortcoming is that it does not include any examples of the great man’s work.--Jim DeRogatis
From Publishers Weekly
Robert Capa was the archetype of the intrepid war photographer. Asserting that "if your pictures aren't good enough, you're not close enough," Capa braved combat in the Spanish Civil War, hit Omaha Beach in the first wave on D-Day, and jumped behind German lines with American paratroopers, returning with visceral pictures-like the famous (and possibly staged) "falling soldier" photo of a Spanish Republican militiaman who had just been shot-that defined our idea of what modern war looks like. "Profligate, passionate, impulsive," Capa was a ladies' man who liked nice togs, hobnobbed with the rich and famous, got caught up in anti-Fascist and Popular Front politics, and played poker compulsively when he was not risking his life in combat-in other words, he practically invented the persona of the celebrity photojournalist. He also co-founded the pioneering Magnum photo agency, which gave freelance photographers ownership and control of their photos. Journalist Kershaw gives an engrossing account of Capa's impossibly romantic life, elegantly evoking both the horror of the front lines and the glamour of wartime Madrid, London and Paris, where Capa befriended the likes of Ernest Hemingway and romanced the likes of Ingrid Bergman. Packed with arresting anecdotes and character studies, Kershaw's biography is a worthy companion to Capa's work. Photos.
Copyright 2003 Reed Business Information, Inc.
From The New Yorker
André Friedmann, a.k.a. Robert Capa, war photographer, bon vivant, and co-founder of Magnum, the legendary photo agency, remains the archetype of the committed photojournalist, risking his life to capture indelible images of the Spanish Civil War, Japan's invasion of China, Second World War battles in North Africa, Italy, France, and Germany, and Israel's war for independence. A Hungarian refugee who arrived in Paris in 1933, Capa transformed himself into a charming, caustic adventurer, a high-stakes gambler who left behind a heartbroken trail of beautiful women (including Ingrid Bergman). Kershaw is sympathetic, but by no means blind to his subject's technical, personal, and occasionally ethical limitations, and he conscientiously corrects the romantic embellishments that Capa made to his life story. No matter who tells it, there's a haunting inevitability to the story's end, when, in 1954, Capa finally runs out of luck—at the age of forty, the first American correspondent to die in Indochina.
Copyright © 2005 The New Yorker
Most helpful customer reviews
4 of 8 people found the following review helpful.
It's okay
By A photographer
Capa is one of the romantic characters of journalism, a free spirit with an insatiable appetite for risk-taking, alcohol, cigarettes and women. That he died at age 40 in the line of duty as a war photographer has only embellished his image. These are the facts we have known about Capa for decades, reported nicely in Whelan's biography in the 1980's. This book doesn't expand on this information very much.
If you leave out the sections about the famous women he bedded, this would be a much shorter book. It's tawdry in that regard but that does keep the book rolling along. Overall, it's not a bad biography of Capa. It does seem to me to borrow heavily from Whelan's biography and from Capa's own book "Slightly Out Of Focus". If you're familiar with those books, there are no new revelations here.
I do take issue with one small point. Capa is constantly referred to as having Leicas dangling around his neck, using Leicas on assignments and holding Leicas. While I do not doubt Capa used Leicas--along with other brands of cameras--during his career, Kershaw's repeated references are tedious. This is especially true when one considers that Capa is closely identified with the now defunct 35mm Zeiss Contax, he used Contax cameras during the D-Day invasion and he was using Contax cameras at the time of his death in Indochina in 1954. In fact, the two photographs in Kershaw's book that show Capa with a camera "dangling around his neck" actually show him with Contax cameras, not Leicas.
That small point is indeed small, however, it begs the question of how correct the other information might be. Of course biographies are often based on hearsay and ancedotal information, the veracity of which is open to interpretation. Maybe Kershaw was just invoking creative license and using Leica as metaphor. It's not a point any non-photographer reader would even notice. Still, I find it a little troubling.
Overall, this is a decent but derivative sketch of Capa.
10 of 11 people found the following review helpful.
superb - the best account yet
By A Customer
A great, cinematic read - a shame that the estate did not allow photographs, but they never will. Yet this book is so vivid and esxciting that you don't notice the images not being there - you see them in your head. Really tremendous research, so much more objective than the authorized hagiographer Whelan's account, and this will one day be a movie - it just feels so right. A great, great tale told very well by Kershaw. Best bio on a photographer ever written.
6 of 7 people found the following review helpful.
AS GOOD AS IT GETS
By A Customer
This book is a story, told to be thrilling and informative and will stand the test of time as the best book written about the trade of war photography. It should be a film because the action and character development are well plotted. And if you want to know, close up, about the great moments of the last century, then here is a ring-side seat on history in the making too. Inspiring stuff. If only there were more biographies written like this.
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