Updated: April 6, 2021
Originally Published: March 19, 2015
I may be a bit past the target demographic, but I find myself drawn to Girls largely because of Lana Turner’s presence. It’s not that I can completely relate to the plotlines (I’m a spouse and a parent now), nor do I seek out youth culture (I’m inundated with it daily—who needs more?). Living in Brooklyn, I’m practically drowning in handcrafted hipster aesthetics.
What captivates me is Lana’s talent as a writer and her character, Hannah, who is obsessively dedicated to remaining a Creative Person. I admire her quirky habit of gazing at the ceiling while chatting. Hannah often sells pretentious ideas while also poking fun at them—which is something many of us do, no matter our age. I appreciate her mix of panic over being unmasked as a fraud and her underlying confidence. Having probably made a fool of myself while pursuing my MFA, I found Hannah’s workshop scenes in Iowa both hilarious and cringe-inducing, bringing back memories of my own awkward attempts at artistic thoughtfulness.
The beauty of Girls is that it doesn’t matter that I’ve moved on from the casual flings, the thrills, and the heartbreaks of my twenties. My current indignities (hello, rogue hair growth) and joys (cozy nights on the couch) belong to someone far older than Hannah. Yet, I’m still eager to dive into Lana’s creative world. It’s insightful and humorous, full of anxieties. I’m intrigued not just by her relationships or quirks, but by her evolution as an artist and a woman.
When a writer possesses the ability to critique themselves with both sharpness and compassion, the outcome is impactful. As long as Lana continues to share her unique perspective, I’ll be keen to follow her endeavors—like her recent HBO documentary, which she co-produced with Jenni Konner, titled It’s Me, Hilary, set to air on March 23rd.
This film, directed by Matt Wolf, tells the story of Hilary Knight, the beloved illustrator behind the iconic Eloise books, penned by Kay Thompson. It delves into the dramatic fallout of the creative and personal relationship between Knight and Thompson, highlighting the unexpected consequences for Knight. It’s a narrative that many fans of the books might not know. Lana appears in the documentary, reflecting on the significant impact Knight’s illustrations had on her own childhood.
With a childhood admiration for Eloise (she even has a tattoo of the character), Lana’s interest in Knight’s story seems rooted in a desire to portray an artist who achieved early success but faced unexpected challenges. It’s as if she’s saying, “Look at the risks of talent and promise if things don’t go as planned.” The anxiety of losing something valuable—a feeling I know all too well as I navigate my middle age—is palpable in Knight’s experience.
Now at 88, Knight remains witty and creative, making films in his own backyard. He feels thwarted yet still believes there’s more to accomplish. The partnership with Thompson, the triumph of the Eloise book, and their unfortunate split create a bittersweet saga about the clash between two artistic souls. We learn that Thompson, a powerful and controlling figure, often overshadowed Knight, leading him to feel as if he faded into the background. Over time, it seemed Thompson resented Knight’s artwork being as integral to Eloise as the text itself, prompting tension that ultimately affected their relationship.
Lana notes that it felt as if “two people divorced and were fighting over their child, Eloise.” Knight’s deep regret stems from signing contracts that barred him from drawing Eloise or anything similar without Thompson’s approval. Even after Thompson’s passing, contentious dealings with her estate complicated his involvement in new Eloise projects. Despite illustrating other works and creating stunning theater posters, Knight has never recaptured the magic of Eloise.
In the film, Fran Lebowitz offers a glimmer of hope regarding Knight’s legacy. She acknowledges the frustration of being pushed out of Eloise’s world but asserts, “He created something that lasts. Almost nothing lasts. He made a beautiful thing that endures, and that is really rare.”
This perspective likely resonates with a high-achiever like Lana, who reveals that her childhood attraction to Eloise stemmed from recognizing a character with “a sense of place, and a sense that she deserves to be where she is.” Indeed, as someone who has basked in attention and accolades, it feels like Lana wanted to honor another deserving artist who hasn’t received the recognition he deserves—and perhaps never will.
In summary, Lana Turner’s documentary about Hilary Knight serves as a poignant reminder of the complexities of artistic collaborations and the bittersweet nature of creative legacies. It highlights the importance of recognizing and celebrating the contributions of all artists, especially those who may have been overshadowed by more dominant personalities.