‘Back To Black’: Amy Winehouse, always back to black | Culture

Cinema has always made biographies to suit the consumer about great musicians and singers who made mass audiences happy with their incontestable art and a personality with the capacity to make even stones fall in love. But in recent years the computers or the production companies’ income statements must have discovered that the business is very profitable, that there is a notable audience willing to see the cinema’s reconstruction of the lives of these mythological characters. It doesn’t matter if they have already achieved it or if they are still in this world and still active, despite their old age, in their dazzling work.

The abusive genre of biopic is delighted when the glorious but also tormented protagonists, after having been very upset for a long time, stop their self-destruction, review their conscience, find a powerful reason to redeem themselves, stop feeling alone and go back to giving some glorious concert and recording albums exceptional. Johnny Cash abandoned speed; Elton John, cocaine; Ray Charles, the horse; Freddie Mercury was taken away by AIDS, but he was already clean of drugs. And of course, there could be no happy ending in the moving, tragic and masterful portrait that Clint Eastwood made in bird of that god who played the sax called Charlie Parker. Eastwood did not follow any pattern of success to talk about that genius and junkie guy. That movie is great, as is Amadeus, in which Milos Forman recreated Mozart, but most of the infinite biopics about legendary musical figures (there are better and worse ones) are easily forgettable.

Singer and songwriter Amy Winehouse did not have much time on earth to create an enduring work, but in her 27 years of life (an age that was also fateful for other exceptional musicians such as Jimi Hendrix, Kurt Cobain, Janis Joplin, Brian Jones, Robert Johnson, Jim Morrison) demonstrated with just a couple of albums that he had a talent, a voice, a swing, an unusual style and feeling. He loved jazz and blues and his songs were infused with those sounds. About her Those privileged to her say that they saw her in concerts that on stage she seemed very broken and in very altered states until she grabbed the microphone and started singing. I did not have the privilege of seeing her perform live.

But you never get tired of listening to his album Back To Black. The film is titled like this. It is visible and also reaches a point of fascination when the lady starts singing. Sam Taylor-Johnson’s address is correct. Without further ado. But it is impossible to ignore that woman who is so painful, cyclothymic, intense, sensual, foul-mouthed and magnetic when the excellent actress appears. Marisa Abela (unknown until now to me) giving life, passion and helplessness to Amy Winehouse. Also a frequent and progressive state of alcoholism, sometimes happy but increasingly unhappy, combined or alternated with other drugs, including heroin, to which she is addicted by her thug and unpresentable boyfriend, with whom she maintains an exhausting love relationship ( or sadomasochism?), and the torturous harassment of journalists and paparazzi to the life of the scandalous diva. Marisa Abela makes Amy Winehouse credible, torn, tender and complex.

You understand her, you admire her and you pity her. She has a magnet. The one I can’t stand is her insubstantial father, that Jewish taxi driver who is always purring around her daughter, although I doubt he helped her with anything concrete. And I also hate her boyfriend’s thug and junkie. I only pay attention to her, so artistic and so hung up.

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