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In No Great Hurry is a fascinating documentary on one of the twentieth century's most beloved street photographers, Saul Leiter (1923–2013). Leiter―a contemporary of Diane Arbus and Richard Avedon―could have been celebrated as the great pioneer of color photography long ago (his fashion work was published in Harper's Bazaar and Esquire), but he was never driven by the lure of conventional success. Instead he preferred to drink coffee and photograph in his own way, amassing an archive of gorgeous work piled high in his New York City apartment. Intimate and beautifully rendered, In No Great Hurry follows Leiter as he deals with the triple burden of clearing a houseful of memories, becoming world-famous in his eighties, and fending off a pesky filmmaker.
“In No Great Hurry is as pleasant and unaffected as its very modest subject, the photographer and painter considered to be a pioneer—along with Robert Frank and Diane Arbus—of the 1940s-’50s New York School era of photography… Fortunately, [the film] never succumbs to cutesy hagiography.”
—Sam Weisberg, Village Voice
75 minutes
Color
1.85:1
English
In No Great Hurry is a fascinating documentary on one of the twentieth century's most beloved street photographers, Saul Leiter (1923–2013). Leiter―a contemporary of Diane Arbus and Richard Avedon―could have been celebrated as the great pioneer of color photography long ago (his fashion work was published in Harper's Bazaar and Esquire), but he was never driven by the lure of conventional success. Instead he preferred to drink coffee and photograph in his own way, amassing an archive of gorgeous work piled high in his New York City apartment. Intimate and beautifully rendered, In No Great Hurry follows Leiter as he deals with the triple burden of clearing a houseful of memories, becoming world-famous in his eighties, and fending off a pesky filmmaker.
“In No Great Hurry is as pleasant and unaffected as its very modest subject, the photographer and painter considered to be a pioneer—along with Robert Frank and Diane Arbus—of the 1940s-’50s New York School era of photography… Fortunately, [the film] never succumbs to cutesy hagiography.”
—Sam Weisberg, Village Voice
75 minutes
Color
1.85:1
English