WEBVTT

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[sheep bleating]

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So it was about two years ago.

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I was looking through this box of old family photographs,

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and I came across this one,

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This I could recognize immediately was my father,

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when he was very young,

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27, 28 years old in the Spanish Civil War.

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And here he is a picture of him treating this very ill

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patient, obviously female.

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And there\'s a certain tenderness about this photograph.

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And the fact, the expression on my father\'s face

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suddenly made me very proud of him

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and what he was doing in the Spanish civil war.

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And I didn\'t know who the patient was or the circumstances,

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but I thought I want to share this.

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So I put it on Twitter, and then over the next few days,

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there were a number of replies on Twitter,

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including one saying,

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\"Could you please give us more details of this picture?

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Where was it?

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Who was the patient?\"

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And I didn\'t know anything more about it.

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But I then looked on the back and here in my father\'s,

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rather bad writing that says,

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I think Front de Brunete Jr 37.

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Then it says, Mrs. Franck Capa of ce soir of Paris

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killed at Brunete.

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A day or two later, somebody replied saying,

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I think you\'re talking here about Gerda Taro.

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And now I didn\'t know who Gerda Taro was at all.

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And then the Twitter went viral.

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My father didn\'t talk a lot about the Spanish Civil War.

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In fact, I learned more about how he came to be there

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and what he was doing there from an interview,

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an oral tape interview that he gave back in 1992,

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which was fascinating.

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Any the other incidents saw anecdotes

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that you can give about the Brunete days.

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Well, the only thing that looking back at it

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was extra interest to me that we had a wounded woman

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more or less dead when she came into my hands,

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I found out much later that she was wife

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of the famous war photographer, Robert Capa.

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She was not in the army,

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she was the reporter newspaper woman.

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But I did not, not a clue who she was when I,

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somebody took a picture of me cleaning her up,

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the blood from her face, but I did not know who she was.

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[gentle music]

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Gerda Taro,

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that\'s the name you chose for yourself

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back when photojournalism was being invented.

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You took pictures of the Spanish republics

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desperate struggle.

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You were creating pioneering work,

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but you lost your life to the misery of war

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just before your 27th birthday.

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For many years, you sank into oblivion,

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and yet you\'ll picture speak to the roots

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of our shed history, the madness of men, the pain of war,

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but also the ideal of brotherhood

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and hope for a better world.

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Your mythical story deserves to be told,

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your pictures should be dug up.

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For that, we must go on a journey that mingles the present

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and the past.

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[horn whistling]

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We could begin the story in the late summer of 1937,

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Robert Capa, who Time Magazine would come to crown

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as one of the greatest photographers of all time

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was on a boat to New York.

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He owed his reputation, takes pictures

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of the Spanish Civil War, which was still raging

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when he crossed the Atlantic ocean.

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He had not been alone, he had taken up arms

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as a war reporter alongside Gerda Taro.

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As a tribute to the woman he had also deeply loved,

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he published a book of their pictures together

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dedicated to her.

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\"For Gerda Taro who spent one year at the Spanish front

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and who stayed on.\"

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Little did he know that was the last time

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that Gerda Taro\'s pictures would brought to light.

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[ship horn honking]

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For nearly half a century,

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they were indiscriminately mingled with those

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of her famous partner.

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We must follow his footsteps to find them once more.

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Gerda Taro never went to New York,

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yet that is where her works legacy lies,

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at the International Center of Photography,

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created in 1974 by Cornell Capa, Robert Capa\'s brother.

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He wanted to conserve the archives of activist

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photographers, of lost photographers,

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whose pictures aim to change the world.

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What makes some of Taro\'s work so powerful,

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I think is what she brings to each image.

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She was very passionately engaged with the publican cause.

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And I think that engagement is reflected

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in every single one of her images.

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Taro was not sort of objective fair and balanced reporter,

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she was highly partisan and she was making prints

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and images to support the Republican side.

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She was gonna go right up to the front lines.

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I mean, she wasn\'t gonna sit back and photograph babies

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and children and happy subject.

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She was really gonna go in deep and to show

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the kind of real casualty that she was seeing in Spain.

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And I think very image images absolutely reflect that

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broader engagement with war photography.

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[gentle music]

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She died, and her career was not even a year.

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And in fact, as a photographer at all,

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which is quite extraordinary that she\'s so quickly

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picked up the camera and immediately knew how to use it

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and to make effective strong graphic images.

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Journalists André Chamson wrote in 1937

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that she carried within her, the genie of Madrid

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made of a woman smile and the heart of a hero.

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Was it heroism?

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Where do the sense of agency,

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which led to risk her life 2000 kilometers away

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from her birth town come from?

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Maybe we can find the reasons for his Spanish engagement

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in Germany.

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In Stuttgart, the town where she was born

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on the 5th of August, 1910 in what was then still called

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the German Empire.

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[Irme speaking German]

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[soft music]

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Gerda Taro only carried that name for a year.

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She was born as Gerta Pohorylle to a Jewish family,

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immigrants from Galicia and Austrian province

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that passed over to Poland.

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She grew up during the great war,

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which led to the fall of the empire.

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Far from the political turmoil

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that violently scarred the young Weimar Republic.

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She became an elegant cheerful young girl

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with a gift for foreign languages and studying business.

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[Irme speaking German]

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In 1929, just as Gerda was turning 19,

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the economic crisis led the family to move to Leipzig

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a few hundred miles away.

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Her father had decided to set up a new business there.

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She soon met a young communist,

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a member of the Socialist Writers Union

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who would come to exert a significant influence

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over her future choices.

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His name was Georg Kuritzkes.

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[Irme speaking German]

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\"A jazz enthusiast who dances like God,\"

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this is how Gerda I described Georg in a letter

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to her childhood friend.

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\"It\'s true that he\'s very young, but he\'s intelligent.

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He has amazing eyes, and he is incredibly in love with me.

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I\'ll tell you more if the Nazis don\'t beat me to death

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beforehand.\"

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[piano trills]

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This offhand sentence reflects an increasingly

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menacing political context for Gerda, Georg

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and her new Leipzig friends.

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Most of them were Jewish socialist or communist.

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Hitler\'s rise to power in January, 1933,

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intensify the crackdown on left-wing circles.

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On the 18th of March Gerta Pohorylle was arrested.

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She had been distributing anti-Nazi pamphlets.

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Yesterday\'s frivolous concerns

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made way for the need to protest.

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She was detained for two weeks.

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One of her fellow inmates later recounted that Gerta

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had arrived in their cell with a bright checkered dress,

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practically apologizing for it.

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It\'s just because she was going dancing

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when she was arrested.

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She added, \"none of us could compete with Gerda\'s patients,

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her confidence, her composure.\"

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[Irme speaking German]

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Would things have been different

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had she decided to follow Georg, her Leipzig sweetheart,

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who chose to go in exile in Italy?

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If she had not chosen Paris as her refuge for a new life.

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The city that she came to in the autumn of 1933,

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had a reputation of being a safe haven

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for German cultural and political immigrants.

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With one of her Leipzig friends,

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she settled into a former mates room,

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a few streets down from the Montparnasse cafes.

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The refugees met on terraces around cups of coffee,

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looking for jobs, exchanging the latest harrowing news

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from Germany.

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What could a 24 year old young woman possibly have felt

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as a foreigner in a strange city?

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The need to feed herself.

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She went from selling newspapers for awhile

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to becoming a typist.

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There was also a sense of freedom, she had no ties,

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anything was possible.

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In 1930 for about a year after her arrival,

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she met a young man on the terrace of the Café du Dôme.

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He was Hungarian Jewish, and he had also fled

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to escape Nazi-ism,

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a small camera slung around his shoulder.

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His name was not yet Robert Capa, but Andre Friedman.

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Andre Friedman actually had published his photographs

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before he came to Paris.

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He was working in Berlin in an agency there.

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It was in sort of an extraordinary situation

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where he was assigned to go photograph Trotsky

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was giving a lecture to students in Copenhagen.

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And typical Capa story he smuggled in his camera

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and was sitting right below Trotsky

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and made these extraordinary photographs from below

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with his arms extended.

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Really again, this the very,

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the hallmark kind of photograph by Capa, very physical,

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very emotional.

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So he had started his career

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and he clearly could see success,

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but it really, that was short lived.

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And when he came to Paris,

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he really had no reputation

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other than a few friends that he could call on.

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9th of September, 1935,

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\"Imagine mother, my hair is short.

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My ties hanging on my neck.

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My shoes are shiny and I appear on stage at seven o\'clock.

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It is the end of the Bohemian life.

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Naturally there is a girlfriend

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who would gain your acceptance also

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because she is not the last cause of my regulated life.\"

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30th of September, 1935.

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\"Our money is equal to zero,

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but we don\'t starve because what is needed for eating

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somehow we obtain.\"

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Gerda takes pictures and I make in lodgements.\"

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3rd of February, 1996,

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\"Today, I moved back to Gerda\'s,

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she helps me a lot because she has good relations

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with all the editors, and she takes me with her everywhere.\"

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8th of April, 1936,

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\"You can\'t imagine the way we live,

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up at seven hustling all day

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and spending the night manufacturing articles.

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I named Gerda, the racket one,

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she owns fewer clothes than me

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and it\'s continually ragged one place or another.

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[soft music]

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Taking pictures, writing captions,

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rushing from editors to agencies to sell them.

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The men who became Gerda\'s partner introduced her

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to photography and they experienced

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the reporter\'s job together.\"

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Was she the one to devise their new identity?

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Was it in order to create a space for her

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amongst the competition?

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The fact remains that in the spring of 1936,

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they took on new names,

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simple names that carried me the history, nor homeland.

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He became Robert Capa, she became Gerda Taro.

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00:18:53.349 --> 00:18:56.599 line:15%
[Irme speaking German]

262
00:19:17.965 --> 00:19:20.715
[crowd chanting]

263
00:19:23.725 --> 00:19:26.800
On the 14th of July, 1936 in Paris.

264
00:19:26.800 --> 00:19:29.200
The popular front celebrated Bastille Day

265
00:19:29.200 --> 00:19:30.730
for the first time.

266
00:19:30.730 --> 00:19:33.000
Capa and Taro were amongst the crowd

267
00:19:33.000 --> 00:19:34.800
beside theor friends of the time,

268
00:19:34.800 --> 00:19:37.630
other budding photographers, such as David Seymour

269
00:19:37.630 --> 00:19:40.890
also known as Chim or Henri Cartier-Bresson

270
00:19:40.890 --> 00:19:44.323
or even Fred Stein, one of Gerda Taro close peers.

271
00:19:45.920 --> 00:19:48.100
Capa for his part took the pictures

272
00:19:48.100 --> 00:19:49.823
that started to make him known.

273
00:19:52.160 --> 00:19:55.030
It seemed like if you think about the relationship,

274
00:19:55.030 --> 00:19:56.960
Capa was sort of a project for Taro,

275
00:19:56.960 --> 00:19:59.740
and Capa was very willing to be the project.

276
00:19:59.740 --> 00:20:04.740
And, Capa by himself had never really figured out the real

277
00:20:05.380 --> 00:20:07.570
steps to getting what he had wanted.

278
00:20:07.570 --> 00:20:11.550
So Taro was this, you know, incredible, important,

279
00:20:11.550 --> 00:20:15.202
essential force behind his success.

280
00:20:15.202 --> 00:20:17.619
[soft music]

281
00:20:39.010 --> 00:20:43.887 line:15%
I\'m not sure how my father and Gerda Taro met.

282
00:20:45.220 --> 00:20:48.750
I assume it was either in a cafe or in a meeting,

283
00:20:48.750 --> 00:20:51.850
but they were certainly friends with the same people

284
00:20:51.850 --> 00:20:55.150
because of their political affiliation.

285
00:20:55.150 --> 00:20:58.960
They both had to flee because they were both active

286
00:20:58.960 --> 00:21:02.330
socialists and anti-fascists.

287
00:21:02.330 --> 00:21:04.380
So that\'s really what they had in common.

288
00:21:05.490 --> 00:21:07.650
I don\'t like to handle these very often,

289
00:21:07.650 --> 00:21:12.633
they\'re so delicate, they\'re like 70, 80 years old.

290
00:21:16.760 --> 00:21:19.850
All pictures of Paris in the thirties.

291
00:21:19.850 --> 00:21:24.850
So it\'s 90, 100 years old.

292
00:21:28.690 --> 00:21:30.780
My father was starting to become established

293
00:21:30.780 --> 00:21:34.100
as a photographer and he was taking a lot of street scenes,

294
00:21:34.100 --> 00:21:36.640
but he was also taking a lot of portraits.

295
00:21:36.640 --> 00:21:41.640
And Gerda asked him if her friend Andre Friedman

296
00:21:41.820 --> 00:21:44.580
could come and use their dark room.

297
00:21:44.580 --> 00:21:47.170
And their darkroom was in fact their bathroom.

298
00:21:47.170 --> 00:21:51.563
So that was her real introduction to photography.

299
00:21:52.800 --> 00:21:56.260
Fried used his Leica to take pictures of Gerda Taro

300
00:21:56.260 --> 00:21:58.380
in a few different situations,

301
00:21:58.380 --> 00:22:00.620
outside at the Cafe de Dome,

302
00:22:00.620 --> 00:22:04.083
inside in their apartment, which was his studio.

303
00:22:10.520 --> 00:22:15.520
Here she is as a model, she\'s posing here.

304
00:22:17.718 --> 00:22:20.653
This is not a refugee, as you would think a refugee.

305
00:22:22.310 --> 00:22:25.900
This is someone who\'s done fashion work before.

306
00:22:25.900 --> 00:22:28.913
And here, this is one of the funny pictures of her.

307
00:22:30.330 --> 00:22:33.607
She\'s always joking around with them, I am sure of that.

308
00:22:33.607 --> 00:22:36.819
And my father was a joker also.

309
00:22:36.819 --> 00:22:39.690
So I think between the two of them,

310
00:22:39.690 --> 00:22:42.060
they must\'ve had a lot of fun together.

311
00:22:42.060 --> 00:22:44.860
And here\'s one that shows her personality.

312
00:22:44.860 --> 00:22:46.730
She is very sure of herself.

313
00:22:46.730 --> 00:22:49.290
I wouldn\'t want to mess around with this woman.

314
00:22:49.290 --> 00:22:50.450
She\'s tough.

315
00:22:50.450 --> 00:22:52.243
She\'s got determination.

316
00:22:57.510 --> 00:22:59.600
Gerda Taro was a pioneer.

317
00:22:59.600 --> 00:23:04.600
She was an anti-fascist woman, pioneer photographer.

318
00:23:05.140 --> 00:23:06.220
That\'s unique.

319
00:23:06.220 --> 00:23:07.860
You know, we can only learn from her

320
00:23:07.860 --> 00:23:11.420
and from her photographs and what she went through

321
00:23:11.420 --> 00:23:12.683
and her courage.

322
00:23:28.175 --> 00:23:31.080
Dadaist poet Tristan Tzara, said to her that

323
00:23:31.080 --> 00:23:34.760
she didn\'t see the job as a mechanical and blind activity.

324
00:23:34.760 --> 00:23:38.053
It was a thought-out passion in service of a new humankind.

325
00:23:41.430 --> 00:23:43.820
Spain is an unavoidable stop for anyone

326
00:23:43.820 --> 00:23:45.580
retracing her footsteps.

327
00:23:45.580 --> 00:23:47.750
In the summer of 1936,

328
00:23:47.750 --> 00:23:50.053
it was Gerda Taro\'s trial by fire.

329
00:23:52.602 --> 00:23:55.269
[crowd singing]

330
00:24:03.040 --> 00:24:05.480
The country that she discovered with Robert Capa

331
00:24:05.480 --> 00:24:09.330
in the early months of August, 1936 was at war.

332
00:24:09.330 --> 00:24:12.320
On the 18th of July, a coup by General Franco

333
00:24:12.320 --> 00:24:14.400
marked the beginning of a violent clash

334
00:24:14.400 --> 00:24:16.740
between partisans of the military push

335
00:24:16.740 --> 00:24:18.840
and those of the Republican popular front.

336
00:24:20.158 --> 00:24:23.757
[indistinct chatters]

337
00:24:23.757 --> 00:24:26.480
\"When we reached Barcelona on August the 5th,

338
00:24:26.480 --> 00:24:28.030
the fighting was over.

339
00:24:28.030 --> 00:24:30.560
Shots no longer echoed in the streets.

340
00:24:30.560 --> 00:24:34.010
The dead had been taken away for the people had triumphed,\"

341
00:24:34.010 --> 00:24:35.113
wrote Robert Capa.

342
00:24:39.050 --> 00:24:42.433
Faces with joyful in Gerda Taro\'s first known pictures.

343
00:24:43.930 --> 00:24:47.023
Barcelona had chosen its side, and so had she.

344
00:24:48.440 --> 00:24:50.900
Once the Republicans, her brothers in arms,

345
00:24:50.900 --> 00:24:53.340
she who had fled a country plagued by Nazi-ism

346
00:24:58.440 --> 00:24:59.760
Through Capa\'s lens,

347
00:24:59.760 --> 00:25:02.100
we can see how wearing the classic overalls

348
00:25:02.100 --> 00:25:04.750
worn by militia women in the first months of the war.

349
00:25:14.746 --> 00:25:18.163 line:15%
[Lorna speaking Spanish]

350
00:26:33.736 --> 00:26:36.986 line:15%
[Irme speaking German]

351
00:27:13.868 --> 00:27:16.618
[acoustic music]

352
00:27:20.470 --> 00:27:22.000
After a few days,

353
00:27:22.000 --> 00:27:25.080
Taro and Capa took the road looking for a frontline,

354
00:27:25.080 --> 00:27:27.093
which was not always clearly to find.

355
00:27:30.040 --> 00:27:32.760
First it was the arrogant front in the north.

356
00:27:32.760 --> 00:27:35.173
Then Madrid, then Lucia.

357
00:27:36.780 --> 00:27:39.010
The conflict in Spain marked a turning point

358
00:27:39.010 --> 00:27:40.440
in war photography.

359
00:27:40.440 --> 00:27:43.670
It was the first time that small light cameras

360
00:27:43.670 --> 00:27:46.270
allowed photographers to get close up to the action.

361
00:27:49.050 --> 00:27:50.700
In the absence of fighting,

362
00:27:50.700 --> 00:27:54.200
Gerda Taro\'s camera captured farm life scenes at first,

363
00:27:54.200 --> 00:27:56.300
soldiers and peasants working together

364
00:27:56.300 --> 00:27:57.883
in a collective defense effort.

365
00:28:02.320 --> 00:28:04.890
On the Cordoba front in the south,

366
00:28:04.890 --> 00:28:07.600
Capa and Taro finally found what they needed

367
00:28:07.600 --> 00:28:09.650
to take the pictures they were looking for

368
00:28:09.650 --> 00:28:11.463
to stop people\'s consciences.

369
00:28:13.386 --> 00:28:15.760
[bombs exploding]

370
00:28:15.760 --> 00:28:18.370
A Spanish journalist who crossed their paths there

371
00:28:18.370 --> 00:28:20.513
wrote a very exhilarating enthusiasm.

372
00:28:22.520 --> 00:28:25.480
Without weapons was not much more than a camera,

373
00:28:25.480 --> 00:28:28.000
they face the most ravaged battlefields

374
00:28:28.000 --> 00:28:30.160
encouraging each other mutually.

375
00:28:30.160 --> 00:28:31.640
They would have photographed the enemies

376
00:28:31.640 --> 00:28:33.393
loaded gun barrels if they could.

377
00:28:35.335 --> 00:28:37.180
[guns shooting]

378
00:28:37.180 --> 00:28:38.750
This is where Capa took the picture

379
00:28:38.750 --> 00:28:41.230
that was to become a symbol of the drama playing out

380
00:28:41.230 --> 00:28:43.667
in Spain, \"The Falling Soldier.\"

381
00:28:45.720 --> 00:28:49.373
Decades later questions were raised about its authenticity.

382
00:28:54.010 --> 00:28:57.620
For the time being both photographers returned to Paris,

383
00:28:57.620 --> 00:28:59.623
feeling that they had found their place.

384
00:29:01.650 --> 00:29:05.390 line:15%
That first trip to Spain was incredibly successful

385
00:29:05.390 --> 00:29:09.060 line:15%
for Capa and slightly successful for Taro.

386
00:29:09.060 --> 00:29:11.080
But she had gone from very little,

387
00:29:11.080 --> 00:29:12.430
she\'d gone from sort of nothing.

388
00:29:12.430 --> 00:29:15.680
So she became, that really gave her the sense

389
00:29:15.680 --> 00:29:18.020
and the confidence that she could make photographs

390
00:29:18.020 --> 00:29:20.317
that were good for the magazines.

391
00:29:31.060 --> 00:29:36.060 line:15%
[rain pouring]
[wind blowing]

392
00:30:04.097 --> 00:30:07.680 line:15%
[Suzzana speaking Spanish]

393
00:32:36.863 --> 00:32:39.696
[bombs exploding]

394
00:32:55.983 --> 00:32:58.030
Returning to Spain a few months later,

395
00:32:58.030 --> 00:33:00.300
Gerda Taro found the country exhausted

396
00:33:00.300 --> 00:33:02.780
by a long winter of intense fighting.

397
00:33:02.780 --> 00:33:06.520
The military coup had led to a fratricidal war.

398
00:33:06.520 --> 00:33:08.490
Franco\'s army was actively backed

399
00:33:08.490 --> 00:33:11.293
by the Nazi air force and Mussolini\'s Italian troops.

400
00:33:12.540 --> 00:33:15.440
France and England had officially chosen not to intervene.

401
00:33:17.430 --> 00:33:20.900
On the Republican side, along with Soviet military aid,

402
00:33:20.900 --> 00:33:23.830
young volunteers poured in from all countries

403
00:33:23.830 --> 00:33:26.123
organized into international brigades.

404
00:33:27.090 --> 00:33:29.010
The impression that Gerda Taro made

405
00:33:29.010 --> 00:33:31.020
on one of these brigade members was that

406
00:33:31.020 --> 00:33:32.803
of an adorable young woman.

407
00:33:33.870 --> 00:33:36.250
This is how he described her arrival amongst them

408
00:33:36.250 --> 00:33:37.163
in his diary.

409
00:33:38.037 --> 00:33:39.710
\"She wears trousers,

410
00:33:39.710 --> 00:33:42.480
a baret on her beautiful strawberry blonde hair

411
00:33:42.480 --> 00:33:44.460
and a small revolver.

412
00:33:44.460 --> 00:33:46.300
It is not hard to imagine the effect

413
00:33:46.300 --> 00:33:48.960
that the graceful reporter\'s arrival had.

414
00:33:48.960 --> 00:33:52.050
To welcome her two bottles were opened.

415
00:33:52.050 --> 00:33:54.350
One could even hear the young girl\'s bright laughter

416
00:33:54.350 --> 00:33:55.307
from outside.\"

417
00:34:01.800 --> 00:34:04.750
Gerda Taro and the fighters shared the same hopes,

418
00:34:04.750 --> 00:34:07.703
the same generosity, and often the same age.

419
00:34:08.720 --> 00:34:12.150
The same disillusionment also, the same pain

420
00:34:40.350 --> 00:34:43.400
They valued her talent and her courage.

421
00:34:43.400 --> 00:34:47.193
Some nicknamed her Pequenia Rubia, the little blonde girl.

422
00:34:48.050 --> 00:34:49.740
They even whispered that had brought luck

423
00:34:49.740 --> 00:34:52.540
to have the small reporter by their side for a few days.

424
00:34:55.192 --> 00:34:58.775 line:15%
[Suzzana speaking Spanish]

425
00:35:20.200 --> 00:35:21.780
As the weeks went by,

426
00:35:21.780 --> 00:35:24.040
she often went to Spain alone.

427
00:35:24.040 --> 00:35:26.933
Her love story with Robert Capa started to wither away.

428
00:35:29.160 --> 00:35:31.760
Perhaps there was no space for love in times of war.

429
00:35:34.870 --> 00:35:39.020
Their professional relationship on the other even doubt,

430
00:35:39.020 --> 00:35:42.900
she who was once an apprentice became a respected partner

431
00:35:42.900 --> 00:35:45.350
and her name became well-recognized in the press.

432
00:35:46.230 --> 00:35:48.153
It soon started to appear alone.

433
00:35:53.329 --> 00:35:57.746
[reporter speaking foreign language]

434
00:36:11.620 --> 00:36:13.110
Her gaze stood out

435
00:36:13.110 --> 00:36:15.160
for it was in touch with the pain of war.

436
00:36:18.320 --> 00:36:21.030
I think actually the most pivotal story

437
00:36:21.030 --> 00:36:22.890
is the morgue story.

438
00:36:22.890 --> 00:36:26.210
For which she received a cover story on magazine

439
00:36:26.210 --> 00:36:29.160
for that and a full page with her clear and full credit.

440
00:36:29.160 --> 00:36:32.970
And I think it\'s also subject matter that really

441
00:36:32.970 --> 00:36:35.440
pulls her apart from Capa at that point,

442
00:36:35.440 --> 00:36:39.320
and does a story that he didn\'t do and never did

443
00:36:40.360 --> 00:36:42.363
in that kind of proximity to death.

444
00:36:43.800 --> 00:36:46.493
This is I think, where Taro becomes Taro.

445
00:36:52.108 --> 00:36:55.525 line:15%
[Lorna speaking Spanish]

446
00:37:44.477 --> 00:37:46.894
[soft music]

447
00:37:49.740 --> 00:37:51.170
But the Western democracies

448
00:37:51.170 --> 00:37:53.293
turned a blind eye to the Spanish pain.

449
00:37:57.000 --> 00:37:59.760
Is this why Gerda Taro started to take increasingly

450
00:37:59.760 --> 00:38:00.773
greater risks?

451
00:38:05.280 --> 00:38:08.307
The spring of 1937 transformed her,

452
00:38:08.307 --> 00:38:10.420
her signature was as sought after,

453
00:38:10.420 --> 00:38:13.330
as that of her colleagues Capa and Chim.

454
00:38:13.330 --> 00:38:17.643
And yet a few weeks later, she would pass into oblivion.

455
00:38:26.120 --> 00:38:27.970
Looking at her last negatives,

456
00:38:27.970 --> 00:38:30.760
one cannot help, but wish to warn her

457
00:38:30.760 --> 00:38:33.030
to not meddle in the battle of Brunete.

458
00:38:33.030 --> 00:38:35.100
The great offensive with which the Republicans

459
00:38:35.100 --> 00:38:37.483
hope to save Madrid from Franco\'s menace.

460
00:38:39.450 --> 00:38:43.540
To go back to Paris, my Capa awaited her to go to China,

461
00:38:43.540 --> 00:38:45.890
where he had obtained a contract for them both.

462
00:38:46.810 --> 00:38:49.480
To not wish to show the world a Republican victory

463
00:38:49.480 --> 00:38:52.613
at all costs in this early month of July, 1937.

464
00:38:58.294 --> 00:39:01.544 line:15%
[Sven speaking French]

465
00:39:58.833 --> 00:40:01.666
[bombs exploding]

466
00:40:02.693 --> 00:40:05.943 line:15%
[Sven speaking French]

467
00:40:39.290 --> 00:40:40.840
In a general panic,

468
00:40:40.840 --> 00:40:43.510
she left the frontline by hopping onto the running board

469
00:40:43.510 --> 00:40:45.253
of a car transporting the wounded.

470
00:40:47.470 --> 00:40:51.250
After a few miles, a Soviet tank came out of a wheat field

471
00:40:51.250 --> 00:40:53.480
and accidentally crashed into the car.

472
00:40:53.480 --> 00:40:55.563
Seriously wounding Gerda Taro.

473
00:41:02.533 --> 00:41:05.783 line:15%
[Sven speaking French]

474
00:42:00.504 --> 00:42:03.087
[somber music]

475
00:42:17.110 --> 00:42:19.250
After her accident Gerda Taro

476
00:42:19.250 --> 00:42:20.910
was taken to the British hospital

477
00:42:20.910 --> 00:42:22.410
in the town of Ellis Correale.

478
00:42:23.250 --> 00:42:27.770
She died that in the early hours of the 26th of July, 1937,

479
00:42:27.770 --> 00:42:30.553
after having asked what had become her camera.

480
00:42:39.346 --> 00:42:42.596 line:15%
[Irme speaking German]

481
00:43:27.010 --> 00:43:29.450
Her body was repatriated to Madrid

482
00:43:29.450 --> 00:43:31.490
where awake was held in the winter garden

483
00:43:31.490 --> 00:43:34.260
of the Alliance of anti-fascist intellectuals,

484
00:43:34.260 --> 00:43:36.910
the friends she had said goodbye to two days earlier.

485
00:43:37.760 --> 00:43:40.620
Artists and political figures paid her tributes,

486
00:43:40.620 --> 00:43:43.717
such as writer, Léon Moussinac, who wrote

487
00:43:43.717 --> 00:43:48.530
\"The pain we feel we here comrades has spread like blood.

488
00:43:48.530 --> 00:43:50.950
We shall not forget the harsh trace of our tears

489
00:43:50.950 --> 00:43:53.563
on our cheeks, nor in our eyes Gerda.

490
00:43:54.480 --> 00:43:58.380
The, oh, so clear message of your youth, of your courage,

491
00:43:58.380 --> 00:43:59.367
of your struggle.\"

492
00:44:09.200 --> 00:44:10.700
You know, over the years there\'ve been

493
00:44:10.700 --> 00:44:13.080
a variety of things written about Taro,

494
00:44:13.080 --> 00:44:18.080 line:15%
and some of which have taken a very fictitious direction,

495
00:44:18.450 --> 00:44:22.008 line:15%
in part, because we know so little about her,

496
00:44:22.008 --> 00:44:25.150
and that the fact that she died having

497
00:44:25.150 --> 00:44:27.050
only worked for such a short time,

498
00:44:27.050 --> 00:44:29.770
there\'s so much potential in any direction

499
00:44:29.770 --> 00:44:30.603
she could have taken.

500
00:44:30.603 --> 00:44:33.943
I mean, people who die young are very easy to mythologize.

501
00:44:42.270 --> 00:44:44.660
As soon as she had Gerda Taro\'s

502
00:44:44.660 --> 00:44:46.003
image started to fade.

503
00:44:47.220 --> 00:44:50.120
Hardly any known photos remain of the funeral

504
00:44:50.120 --> 00:44:52.663
organized for her by the French communist party.

505
00:44:53.820 --> 00:44:55.910
No film archives showing the procession

506
00:44:55.910 --> 00:44:57.683
followed by thousands of people,

507
00:44:58.970 --> 00:45:01.370
crossing Paris towards the Father Lachaise cemetery

508
00:45:01.370 --> 00:45:03.403
on the 2nd of August, 1937.

509
00:45:07.080 --> 00:45:10.230
Louis Aragon, who led the daily communist newspapers

510
00:45:10.230 --> 00:45:13.930
Ce Soir that had published many of Gerda Taro\'s pictures

511
00:45:13.930 --> 00:45:16.700
later wrote, \"The people of Paris held

512
00:45:16.700 --> 00:45:19.250
an extraordinary funeral for little Taro,

513
00:45:19.250 --> 00:45:21.900
and all the flowers of the world seemed to be there.\"

514
00:45:29.405 --> 00:45:32.655 line:15%
[Irme speaking German]

515
00:45:53.906 --> 00:45:56.525
[soft music]

516
00:45:56.525 --> 00:45:57.750
Who cared about the Spanish Civil War

517
00:45:57.750 --> 00:45:58.973
once it was over?

518
00:46:00.950 --> 00:46:05.770
In 1939, Franco had only just seized power through blood.

519
00:46:05.770 --> 00:46:08.303
But the second world war came to erode his memory.

520
00:46:09.420 --> 00:46:11.160
After having photographed the Exodus

521
00:46:11.160 --> 00:46:13.910
of Spanish Republicans fleeing their country,

522
00:46:13.910 --> 00:46:15.850
Robert Capa immigrated to New York

523
00:46:15.850 --> 00:46:18.140
to be with his mother and brother Cornell

524
00:46:18.140 --> 00:46:21.010
and continued to cover the world\'s conflict.

525
00:46:21.010 --> 00:46:24.383
He himself lost his life in Indo-China in 1954.

526
00:46:29.090 --> 00:46:31.300
The portrait of the greatest war photographer

527
00:46:31.300 --> 00:46:32.930
traveled the world,

528
00:46:32.930 --> 00:46:34.920
and nobody remembered that it had been taken

529
00:46:34.920 --> 00:46:38.653
on the Segovia front by a woman named Gerda Taro.

530
00:46:43.319 --> 00:46:46.736 line:15%
[Lorna speaking Spanish]

531
00:47:18.090 --> 00:47:21.690
Taro\'s legacy was completely wrapped up in Capa\'s

532
00:47:21.690 --> 00:47:25.540
because all of her family died during world war II.

533
00:47:25.540 --> 00:47:27.460
There was no one there to take care of it.

534
00:47:27.460 --> 00:47:31.010
And there was no one site or location

535
00:47:31.010 --> 00:47:33.010
where the work were remained,

536
00:47:33.010 --> 00:47:35.190
but it was all spread out in diverse places.

537
00:47:35.190 --> 00:47:39.250
So it was, as Cornell was scooping everything up,

538
00:47:39.250 --> 00:47:41.520
Taro was just a part of that.

539
00:47:41.520 --> 00:47:43.650
Taro story was only a small chapter

540
00:47:43.650 --> 00:47:45.903
within the larger legacy.

541
00:47:51.230 --> 00:47:53.270
Would her story have ended there

542
00:47:53.270 --> 00:47:55.200
without the extraordinary discovery

543
00:47:55.200 --> 00:47:57.943
that was made 70 years after her death.

544
00:47:59.010 --> 00:48:00.630
On the Eve of the millennium,

545
00:48:00.630 --> 00:48:02.550
she was no more than a shadow,

546
00:48:02.550 --> 00:48:04.480
at most she was remembered as one of

547
00:48:04.480 --> 00:48:06.700
Robert Capa\'s girlfriends.

548
00:48:06.700 --> 00:48:09.220
But one day, a few thousand negatives

549
00:48:09.220 --> 00:48:12.140
from the Spanish Civil War that were believed to be lost

550
00:48:12.140 --> 00:48:14.320
were found by chance in Mexico,

551
00:48:14.320 --> 00:48:16.953
with the heir of the Mexican ambassador to Vichy.

552
00:48:24.010 --> 00:48:26.130
They had been gathered by Robert Capa

553
00:48:26.130 --> 00:48:28.863
then lost at the turmoil of the German occupation.

554
00:48:36.150 --> 00:48:38.040
One third of these negatives,

555
00:48:38.040 --> 00:48:41.390
which make up what is now known as the Mexican suitcase

556
00:48:41.390 --> 00:48:43.470
are attributed to Gerda Taro.

557
00:48:43.470 --> 00:48:46.740
thus bringing her work which had sunk into oblivion

558
00:48:46.740 --> 00:48:47.703
back to life.

559
00:48:49.470 --> 00:48:53.760
You can see the film goes in,

560
00:48:53.760 --> 00:48:57.290
the rolled film goes in and the squares on the bottom.

561
00:48:57.290 --> 00:49:02.290
And then the top had squares to mark the content

562
00:49:03.960 --> 00:49:05.833
of the corresponding film.

563
00:49:10.130 --> 00:49:12.920
When the news, the Mexican suitcase first appeared

564
00:49:12.920 --> 00:49:15.500
internationally, it became such an sensation

565
00:49:15.500 --> 00:49:18.800
because I think it touched on everyone\'s fears

566
00:49:18.800 --> 00:49:21.610
and everyone\'s hope and dreams and desires

567
00:49:21.610 --> 00:49:24.743
that something lost to them years later would return.

568
00:49:28.471 --> 00:49:31.721 line:15%
[Irme speaking German]

569
00:50:02.962 --> 00:50:07.545
One of my favorite films in the suitcase is of Taro\'s

570
00:50:08.500 --> 00:50:11.740
of the morgue, outside the Morgan Valencia.

571
00:50:11.740 --> 00:50:15.130
She starts outside and the interior of the morgue,

572
00:50:15.130 --> 00:50:17.030
looking out through the gates,

573
00:50:17.030 --> 00:50:19.460
looking at all of the people who had come to gather

574
00:50:19.460 --> 00:50:22.160
to find out information about their families.

575
00:50:22.160 --> 00:50:27.160
And you can see her literally walking pacing like a panther,

576
00:50:27.310 --> 00:50:32.310
looking at the faces of the people in the morgue and framing

577
00:50:32.770 --> 00:50:36.060
and really looking what is the best shot here.

578
00:50:36.060 --> 00:50:38.190
And I think at the seventh frame,

579
00:50:38.190 --> 00:50:41.070
she turns her camera finally vertically

580
00:50:41.070 --> 00:50:45.000
and then takes one shot and then goes in closer

581
00:50:45.000 --> 00:50:46.480
and gets a second shot.

582
00:50:46.480 --> 00:50:49.070
And it\'s that picture that ends up in the,

583
00:50:49.070 --> 00:50:50.710
the cover of Regards magazine.

584
00:50:50.710 --> 00:50:51.940
You really see her work.

585
00:50:51.940 --> 00:50:56.180
You really see her struggling to figure out what is going to

586
00:50:56.180 --> 00:51:00.040
ring to the editors and ring out to the

587
00:51:00.040 --> 00:51:01.700
ultimate readers of the magazines.

588
00:51:01.700 --> 00:51:03.880
And you just don\'t see that in a pile of prints,

589
00:51:03.880 --> 00:51:07.467
because you may have only that one selected image.

590
00:51:07.467 --> 00:51:10.253
So you have no idea where it became before or after.

591
00:51:21.580 --> 00:51:26.480
One day I got a call from Cynthia Young,

592
00:51:26.480 --> 00:51:29.120 line:15%
who\'s a curator at the ICP.

593
00:51:29.120 --> 00:51:32.400 line:15%
And she said, \"I have some interesting news for you.

594
00:51:32.400 --> 00:51:37.353
We just got back all of Robert Capa\'s pictures,

595
00:51:38.460 --> 00:51:42.090
negatives from Mexico in this thing,

596
00:51:42.090 --> 00:51:44.340
we\'re calling the Mexican Suitcase,

597
00:51:44.340 --> 00:51:49.340
and we found two rolls of Fred Stein\'s pictures in it.\"

598
00:51:50.360 --> 00:51:52.753
And I was stunned.

599
00:51:57.430 --> 00:52:02.060
I know that my father gave those negatives to Capa.

600
00:52:02.060 --> 00:52:06.860
In fact, during the big funeral procession for Gerda Taro

601
00:52:06.860 --> 00:52:09.750
my father saw Capa leave the Cortez.

602
00:52:09.750 --> 00:52:11.367
He just couldn\'t take the pain.

603
00:52:11.367 --> 00:52:14.190
It was too much for him. He couldn\'t stand it.

604
00:52:14.190 --> 00:52:18.810
My father realized just how intense his feeling

605
00:52:18.810 --> 00:52:23.810
and the devastation that he felt for the loss of Taro.

606
00:52:24.070 --> 00:52:28.270
So because of that, he offered Capa of these negatives.

607
00:52:28.270 --> 00:52:33.270
And I think that Capa put these negatives of Gerda Taro

608
00:52:33.860 --> 00:52:36.350
together with the rest of his negatives

609
00:52:36.350 --> 00:52:37.960
of the Spanish Civil War,

610
00:52:37.960 --> 00:52:40.290
because that was a chapter in his life

611
00:52:40.290 --> 00:52:42.903
that he wanted to keep that chapter together.

612
00:52:54.640 --> 00:52:56.480
Looking at your images,

613
00:52:56.480 --> 00:52:59.340
the outline of your shadow hones your negatives,

614
00:52:59.340 --> 00:53:01.803
just as it hones this journey on your footsteps.

615
00:53:06.350 --> 00:53:09.933
For decades, your story was blended with Robert Capa\'s,

616
00:53:10.790 --> 00:53:13.150
Elena Garrow, the Mexican writer whose path

617
00:53:13.150 --> 00:53:16.110
you crossed in Spain wrote that you were

618
00:53:16.110 --> 00:53:19.310
surrounded by the tragic romantic aura of young,

619
00:53:19.310 --> 00:53:21.153
handsome, adventurous in love.

620
00:53:26.660 --> 00:53:28.610
How can we resist the myth?

621
00:53:28.610 --> 00:53:31.513
How can we grow your rightful place in history?

622
00:53:37.770 --> 00:53:38.603
You know, over the years,

623
00:53:38.603 --> 00:53:42.780
I\'ve read so many articles about Taro proposals,

624
00:53:42.780 --> 00:53:46.410
and I\'ve been shocked and struck by the fact that

625
00:53:46.410 --> 00:53:50.400
they wanna do a project on Gerda and Capa.

626
00:53:50.400 --> 00:53:54.020
And there\'s this real imbalance of how they approach

627
00:53:54.020 --> 00:53:55.890
the people that there\'s this intimacy,

628
00:53:55.890 --> 00:53:59.080
you know immediate intimacy with Taro as a woman,

629
00:53:59.080 --> 00:54:01.350
and that they can immediately call her by her first name

630
00:54:01.350 --> 00:54:06.110
with Capa is sort of the respected man

631
00:54:06.110 --> 00:54:09.600
whose name you\'re only gonna refer to by the last.

632
00:54:09.600 --> 00:54:12.500
It\'s an interesting difference

633
00:54:12.500 --> 00:54:15.770
in the way that we approach male historical figures

634
00:54:15.770 --> 00:54:17.830
and female historical figures.

635
00:54:25.223 --> 00:54:28.640 line:15%
[Lorna speaking Spanish]

636
00:54:54.125 --> 00:54:57.375 line:15%
[Irme speaking German]

637
00:55:19.240 --> 00:55:20.470
One may want to fit

638
00:55:20.470 --> 00:55:22.940
all the puzzles pieces together,

639
00:55:22.940 --> 00:55:25.223
but we must accept that some are missing.

640
00:55:26.450 --> 00:55:28.863
Accept that we shall never hear your voice.

641
00:55:33.070 --> 00:55:36.343
And suddenly see you appear in an archive.

642
00:55:37.500 --> 00:55:41.750
You were in Valencia on the 4th of July, 1937

643
00:55:41.750 --> 00:55:43.810
to cover the opening of the rightest Congress

644
00:55:43.810 --> 00:55:45.160
for the defense of culture.

645
00:55:47.360 --> 00:55:51.520
While war was raging around 200 writers from 30 countries

646
00:55:51.520 --> 00:55:53.200
were there to showcase their support

647
00:55:53.200 --> 00:55:55.100
to the Spanish Republic struggle

648
00:55:55.100 --> 00:55:57.453
and their unwavering resistance to fascism.

649
00:56:01.490 --> 00:56:04.060
A Soviet filmmaker captured your silhouette

650
00:56:05.160 --> 00:56:08.193
fleeting shots filmed just before your passing.

651
00:56:29.590 --> 00:56:34.070
Today and dying traces of you remain, your photographs

652
00:56:37.890 --> 00:56:41.900
And attribute paid by Léon Moussinac who recalled,

653
00:56:41.900 --> 00:56:44.340
this fearfully vivid image,

654
00:56:44.340 --> 00:56:48.280
the sharp charming deliberate outline of a woman

655
00:56:48.280 --> 00:56:50.600
above the Brunete wheat fields.

656
00:56:50.600 --> 00:56:53.540
A small child surfaced striking the sky while

657
00:56:53.540 --> 00:56:57.770
suddenly out of the quiet, the quiet of farewell,

658
00:56:57.770 --> 00:57:01.703
a skylark busts into song, and Gerda smiles.

659
00:57:07.077 --> 00:57:10.077
[soft violin music]