Back to Black, the Amy Winehouse biopic isn’t just boring, it’s indecent

Back to Black warns us about Hollywood’s habit of exploiting the pain and labor of great artists and turning them into smooth, empty products to sell at the movies.

The first biographical film about Amy Winehouse was released in theaters on Wednesday 24 April. The film is signed by Sam Taylor-Johnson, the director of Fifty Shades of Gray. In 2 hours, the film traces the life and career of the soul icon, his debut on the London jazz scene to the worldwide success of his second album, Back to black. He also focuses on his own love story with Blake Fielder-Civil and ends with his death in 2011at just 27 years old.

Amy Winehouse transformed into a product

Who would have thought that Amy Winehouse would transform into some sort of doll perched on high heels in a hair straightener movie reminiscent of a Netflix comedy-drama. Back to black even though we are talking about an artist sensitivity and talent crazy, a woman victim of the cruelty of patriarchy, of capitalism and addictions, says nothing.

Back to black it’s more a collection of scenes already seen everywhere than a film. Amy plays the guitar in her bedroom. About her He loves about her father about her who takes care of her. She drinks pints in one gulp and cries when her bad boyfriend leaves her for her ex. In front of this film cruelly disembodiedwe believe the director’s only goal was to prove it “Really, Marisa Abela imitates Amy Winehouse well”. The poor actress (whose talent and efforts cannot be denied) with a beautiful face self dress up as Amy more than she embodies it. She mimes an English accent that cuts with a knife and never stops grimace when he singsso much so that we wonder if he finished filming with a dislocated jaw.

Marisa Abela // Source: StudioCanal
Marisa Abela

Because it’s not about directing and writing, the film can’t help but degrade Marisa Abela’s physique a little to ape Amy Winehouse’s descent into hell. We make them lose weight in real life. We tangle her hair and apply mascra. But what’s the point of making a film that only serves to demonstrate that Amy Winehouse is imitable as long as we find an actress who can sing, tight clothes and a big wig? Obviously, it hurts us to see it this way emptied of its substance the memory, the legacy, the suffering of Amy Winehouse.

Indecent indulgence towards Blake Fielder-Civil, Amy’s husband and Mitch, her father

The same, inside Back to black, Jack O’Connell is just a guy with a completely transparent and interchangeable hat. Why did this man fascinate Amy so much? Why did she want to own it? Did he want her downfall or was he unaware of the damage he had caused her? All these questions that cinema could have addressed are not on the agenda.

The height of indecency is reached with the character of the father, a sort of father hen who they want us to believe has always been present and healthy towards his daughter. A very different version of events from that revealed by the documentary Amy in 2015. Mitch Winehouse has strongly criticized Asif Kapadia’s film. On the other hand, the father expressed only sympathy Back to blackabout which he said:

“It is not so It doesn’t make sense for me to make the film because I’m his father. But find the right people to do itit’s very important, and We will do it. »

What’s the point of a film that imitates an artist?

Back to black asks the question: what is the purpose of a biopic? Isn’t it a way of telling stories through staging, editing, sound – in short, through the language of cinema, the soul of an artist? When faced with an object like Back to blackthe biopic boils down to a sort of fan fictionwhere we use an artist’s name and image, we plunder a bit of their history by erasing areas too painful, too dirty for the general public in order to release the maximum bankable possible. Isn’t it terrible, when we know that it was Amy Winehouse’s light-hungry vultures that caused her downfall?

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Source: Madmoizelle

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