Rating: 2 out of 4
Running Time: 122 minutes
This film from Focus Features opens exclusively at cinemas on Friday, May 17.
London-based singer/songwriter Amy Winehouse lived a wildly successful but brief and tumultuous life. The immensely talented musician created a pair of iconic albums in the late 2000s before succumbing to the ravages of alcohol abuse in 2011. In this era of YouTube and social media, her personal problems were often all too visible for the public to see. Back to Black aims to tell the artist’s entire story, but those wanting a deeper understanding of the individual or the reasons for her tragic end won’t find the answers they might be hoping for.
Deeply inspired by her grandmother and ex-singer Cynthia (Leslie Manville), viewers see Amy Winehouse (Marisa Abela) performing songs at home and writing original numbers based on her own life experiences. Everyone, including father Mitch (Eddie Marsan) and friend Tyler (Spike Fearn), are quick to recognize her talent. Although many are taken aback by her bluntness and stubborn refusal to follow their advice, it isn’t long before she finds a record deal.
As this is occurring, the singer starts a wildly tumultuous relationship with video production assistant Blake Fielder-Civil (Jack O’Connell). Her first album is a success in the UK, but Amy begins struggling with alcohol and drugs with Blake. These issues become the source material for the second record, which is an even greater professional success. But sadly, her addictions and public behavior quickly spiral even further out of control.
There are definitely some interesting elements to this picture. Lead Abela certainly looks the part and is convincing as Amy Winehouse, delivering an unfiltered brashness as the singer sets off to be a star. She tells managers off and states her opinions on what makes for excellent music without holding back. The beginning of the film also makes the case that grandmother Cynthia is the reason for her love of ‘60s girl groups, as well as her outward appearance.
Amy’s early interludes with Blake are also interesting to witness, as the pair trade barbs at a local bar before forming an intense but deeply codependent and toxic connection.
Unfortunately, that’s as deep as the film gets in explaining its subject’s psychological issues. There is a specific reference to the relationship being exactly as described above. Additionally, the protagonist does deny any addiction issues (and later says she believes that she needs to suffer in order to write great songs). The film also shows the many ugly dust-ups and reconciliations between Amy and her partner and attempts to mark the passing of one family member as a reason for some of these self-destructive acts. However, as written, many of these moments feel inauthentic, a problem the movie never fully recovers from.
Of course, much of what is shown is what occurred in her real life, but some analysis or a specific look into the reasons for her addictions would have been welcome. As events progress and things become messier, the movie merely resorts to recreations of drunken public outbursts at performances (which can already be found on YouTube and other online outlets). The film doesn’t have any deeper insight into these professional stumbles, nor does it add any more understanding or revelations to her downward spiral.
At one point, the character also blames herself for her deterioration, but the movie makes sure to lay much of the blame on her father and Blake as individuals who seem to be solely taking advantage of the artist and her success. Once again, the final product appears to oversimplify what actually occurred and desperately needs to provide more insight than it ultimately provides.
Yes, Back to Black efficiently delivers the general details about Amy Winehouse and her short, tragic life. But sadly, most won’t leave the picture with any fuller understanding about who the woman was, or glean a clearer picture of her psychosis and that’s something of another tragedy for fans of the artist. Instead, most curious parties and fans will be better off returning to enjoying and appreciating the incredible music she left behind.
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By Glenn Kay
For the Sun
