“It all started with the photographs.” So says Lisa Immordino Vreeland about the lavish career of Cecil Beaton, the subject of her documentary, “Love, Cecil,” opening today at the Film Society of Lincoln Center’s Elinor Bunin Munroe Film Center. Beaton was one of the great creatives of the 20th century — photographer, illustrator, writer, diarist, scrapbooker, costume and set designer, aesthete, dandy, raconteur. Immordino Vreeland tells his story through his own words, on film and as narrated by Rupert Everett; interviews with people who knew him or have studied him, and through his glorious work. She treats that work with a mesmerizing, sometimes eerie lyricism. Anyone who loves fashion or who is intrigued by the power than can pulse from a single visual will be smitten — by the work. The man is a more complicated embrace. Beaton was born into Edwardian England, an era which, decades later, would figure prominently in his career. He came of age in the youth-centric whirl of the Twenties. “I started out with very little talent, and I was so tormented by ambition,” he tells us via Everett, who offers wide-ranging observations from Beaton’s copious diaries. That ambition was twofold, personal and professional. The humdrum of
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