A refreshingly honest look at the life of Amy Winehouse

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By journalsofus.com


For his ‘unofficial’ 2009 John Lennon biopic nowhere Boy, Sam Taylor-Johnson had so little music to work with that the opening notes of “Hard Day’s Night” had to cover the entire film. You might think history will repeat itself back to BlackThe short but increasingly memorable story of Amy Winehouse, who rose to international fame in her teens and never turned 28, much less 30. Surprisingly, the Winehouse estate exists intact, and although one could argue that the singer’s trainwreck notoriety has Little Washed with snow to protect the living, there’s still a surprisingly hard edge here, in a rare film that gives a woman rock’n’roll agency for once, like a reverse-angle. Sid and Nancy,

In a way, any music biopic is off to a bad start, because the curse of sameness is always there: everything must conform to what we already know, and some must fill in the blanks for what we don’t. back to Black There are no exceptions in that regard, but it’s understandable – how do you explain to a teenage girl from London who is inspired by Dinah Washington, Sarah Vaughan, Charles Bukowski, Lauryn Hill and Charlie Parker unless she tells you? What’s refreshing, however, is that it’s free from the curse of timestamping (there’s no “Glastonbury: 2007”), which can be a hindrance outside the UK, where even non-music fans not only remember the whole tragedy on a large scale. But watched, and even played. painful real time.

What may not be immediately obvious is that back to Black This is the story as seen through the singer’s own eyes, which is a very smart way of avoiding the bullets that come with any attempt to tell the story of her rise and fall. Although there’s plenty of foreshadowing in Matt Greenhalgh’s script (you know, when his lovely Nan refuses to smoke cigarettes). Absolutely What’s Coming), This Is Not a Rehash of Asif Kapadia’s Almost Forensic Documentary Amy, which overturned the accepted narrative of Winehouse as willing tabloid fodder. Instead, it actually involves some of her self-sabotaging behavior, which may seem reckless but doesn’t seem to have tarnished any of the male members of the 27 Club.

in that way, back to Black Andrew is not Dominic’s musical equivalent. blond, despite a surprisingly unobtrusive score by Nick Cave and Warren Ellis. This isn’t a case of being careful what you wish for, or just another boring story about how the music industry chews out young talent. When Simon Fuller’s 19 management company called, Winehouse was not impressed. “I can’t fuck the Spice Girls,” she growls, and the anger rings surprisingly true (although she did sign with them later).

It’s a measure of Winehouse’s accelerated life that it takes only 20 minutes to take us from a family party to her first album and first glimpse of fame. Still, she is stubborn, resisting her management’s insistence that she stop playing guitar on stage (although she later gave it up entirely) and taking time to live her life and make that living. The experience led to finding new material for songs (although one of their biggest hits was a cover of The Zutons’ song “Valerie” in 2007). Interestingly, all these contradictions begin to add up, especially when Winehouse moves from saying, “Drugs are for mugs,” to smoking crack cocaine, which is quite radical in itself for a biopic. But it also indicates, in a very honest way, that we are Never I am going to get to the bottom of this story.

The crux of the film, but not the focus, is Winehouse’s relationship with Blake Fielder-Civil, which goes haywire. Very Lightly. Played by Jack O’Connell, “Blakey” is the catalyst that pushes the singer into public notoriety due to his alcohol and drug addiction (“You’ve got an eye for bad boys,” says Nan, who is putting it mildly. Keeping from). But, again, Taylor-Johnson plays an interesting game with the truth here; It’s surprising where the adults were – and her naive father Mitch paid a lot of bad press in this regard, thanks to Eddie Marsan’s very touching performance – but these decisions were her own, and Taylor-Johnson So did a tentpole, which – again – runs contrary to the sexist “candle in the wind” narrative that grows up around so-called “difficult” female artists.

At its center is relative newcomer Marisa Abela, who excels when freed from delivering expository biopic dialogue. Creature Amy Winehouse (a brief, Truth-style sequence on the streets of Manhattan is quite breathtaking). In those moments, we see the emergence of Amy Winehouse, a superhero origin story in which certain elements come together to create the elegantly raised, bruised and torn icon depicted on the poster (though the film takes its own stance on this point). Bets on what’s famous) The Beehive was inspired by Mary Weiss of The Shangri-Las or Ronnie Spector of The Ronettes).

Looking at the content, back to Black One unexpectedly leans into a minor key, which is probably better than the Queen of Hearts’ flirtatious delivery. It’s an unusual film in that it’s not limited to any one thing: it’s not about fame, it’s not about money, it’s not (really) about addiction. However, it paints an unexpectedly complex portrait of an artist who over the years has largely painted in broad and patronizing strokes, like the tattoo of Betty Boop she wore on her back. The musical biopic format doesn’t quite do it justice, but it will do justice hell Of an opera.

Topic: back to Black
Distributor: Focus Features
Director: Sam Taylor-Johnson
screenplay by: matt greenhalgh
Mould: Marisa Abela, Jack O’Connell, Eddie Marsan, Lesley Manville
Rating: R
running time: 2 hours 2 minutes

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