Updated: April 6, 2021
Originally Published: March 19, 2015
Despite being past the years of youthful exploration, I find myself drawn to “Girls,” chiefly because of Lena Dunham’s compelling presence. It’s not the plots that resonate with me—I’m now a wife and mother, far removed from the carefree escapades of my twenties. I don’t crave more of the youth culture that’s already bombarding me daily, nor do I long for the hipster aesthetic that saturates my Brooklyn surroundings. Instead, I appreciate Dunham’s talent as a writer and her character, Hannah, whose quest to maintain her identity as a Creative Person captivates me. I love how she gazes up at the ceiling when speaking to others, and I find humor in Hannah’s mix of pretentiousness and self-mockery, a behavior we all exhibit at various stages of life. Her anxiety about being a fraud, coupled with a strange confidence, strikes a chord. I can’t help but think back to my own MFA days, chuckling and cringing at the memories of my own misguided attempts at seriousness.
Even though I’ve moved beyond the casual romances and heartbreaks typical of being in my twenties, I’m still eager to engage with Dunham’s thoughts. Her insights are witty, intelligent, and often filled with anxiety—elements I still relate to, even as my own experiences have evolved. My indignities now revolve around things like unexpected hair growth, while my joys include the simple pleasure of cozy nights on the couch. Yet, I remain fascinated by Dunham’s artistic evolution and her journey as a woman.
Dunham possesses a unique ability to reflect on herself with both critical and compassionate eyes, imagining how her perspectives will shift in the future. This depth of insight keeps me invested in her work, including her latest project—a documentary she co-produced with Jenni Konner, titled “It’s Me, Hilary,” which premieres on March 23rd.
Directed by Matt Wolf, the film focuses on Hilary Knight, the illustrator behind the beloved Eloise series written by Kay Thompson. It delves into the collapse of their professional and personal relationship and the profound impact it had on Knight. Most fans likely remain unaware of this story. Dunham herself appears in the film, revealing how much Knight’s illustrations influenced her own development. As someone who has a tattoo of Eloise and feels a connection to the character’s unapologetic self-acceptance, Dunham’s interest in Knight likely stems from her desire to portray an artist who achieved major success at a young age, only to face unforeseen challenges—something Dunham knows all too well.
Now at 88, Knight remains witty and creative, crafting films in his backyard, yet he feels thwarted by circumstances that have kept him from replicating his past success. The documentary illustrates the bittersweet narrative of two artistic souls whose partnership crumbled. Thompson, with her commanding presence, often overshadowed Knight, leading him to feel like he faded into the background, despite his talent as an illustrator. Over time, it became clear that Thompson harbored resentment toward Knight’s illustrations being as closely tied to Eloise as her text, ultimately leading to their professional rift.
Dunham poignantly reflects that it’s akin to “two people divorcing over their child, Eloise.” Knight’s regret is palpable as he signed contracts that barred him from drawing Eloise or anything resembling her without Thompson’s permission. Even after Thompson’s passing, dealings with her estate have complicated any further involvement he could have in the Eloise legacy. Although Knight has illustrated numerous works and created beautiful theater posters, none have matched the impact of Eloise.
Fran Lebowitz adds a glimmer of hope regarding Knight’s contributions. She notes that, despite the frustrating circumstances, he created something enduring—a rare achievement in the artistic realm. This sentiment likely resonates with someone like Dunham, who has experienced her share of recognition and challenges. She seems to aim to honor Knight, another deserving artist, whose struggles for acknowledgment parallel her own.
In this way, Dunham’s project not only sheds light on Knight’s journey but also reflects her own artistic desires and the universal quest for validation in creative endeavors.
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Summary:
Lena Dunham’s fascination with Hilary Knight, the illustrator of Eloise, is explored in her documentary “It’s Me, Hilary.” The film captures the complexities of Knight’s artistic journey and the fallout of his partnership with Kay Thompson, illustrating the struggles of creative individuals seeking recognition. Dunham’s connection to Knight reflects her own artistic ambitions and the desire to honor those who have shaped her, despite the challenges they face.