More than anyone else, it was Arthur Fellig, self-insistently known as Weegee the Famous, whose “photographs of the poor were made—at least, originally—for the poor themselves,” Thomas Mallon writes.
Usher Fellig was born into a family of Galician Jews in 1899. He became Arthur sometime after arriving on the Lower East Side, ten years later. According to Bonanos, his “sense of family” was so “minimal” that he miscounted his own siblings in that memoir. The Felligs joined the tenement dwellers who would soon constitute much of Arthur’s subject matter.
was the first to give Weegee the individual credit lines he was soon commanding from everyone else. Bonanos resurrects the inky roar of this world with a fine, nervy lip: Weegee’s murder pictures broke through not because of their “binary quality of life and death” or their “technical felicity . . . with angles and shadow play” but mostly because their sprawled, bleeding, well-hatted and finely shod gangsters made them “more fun” than all the others.
Weegee’s pictures are full of actual sleepers—along with those coöperatively feigning slumber for the camera—in bars and doorways, atop benches and cardboard boxes, in limousines and toilet stalls, at Bowery missions or backstage. He became to shut-eye what Edward Weston was to peppers and Philippe Halsman would be to jumping. Even his photographs of mannequins, another frequent subject, seem to evince a fascination with, and perhaps a yearning for, rest.
The secret of Weegee’s photography—and the M.O. of his coarse life—was an ability to operate as both the giver and the getter of attention. Weegee didn’t learn to drive until the mid-nineteen-thirties, and before getting his license he relied on a teen-age driver, who took him not only to breaking news but also to his favorite brothel, in the West Seventies. The madam there, named May, “had peepholes in the wall,” and she and Weegee would watch the boy chauffeur perform in the next room.
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