There is an enigma about Weegee. His photographs fall into two distinct categories: on one side the news pictures made in New York during the 1940s, in a direct, raw documentary approach; on the other the pictures of starlets, politicians and society figures made in Hollywood the following decade, for which he willingly used distortions and tricks. Calling himself the greatest, he turned the spectacle of crime and then the spectacle of celebrity into one long autopsy.