Back to Black, the controversial biopic that details the life of legendary British singer-songwriter Amy Winehouse, has inspired some of the strongest critical reactions of 2024 so far.
One critic's even gone so far as to say Back to Black made them "gasp in horror" while others have criticised the accuracy of the portrayals of some the film's most pivotal figures.
But is the feedback justified? Back to Black opens with a teenage Amy, played by newcomer Marisa Abela, embracing her Jewish roots and surrounded by family.
About five minutes into the film, Mitch Winehouse, Amy’s father played by Eddie Marsan, takes centre stage to sing his rendition of Fly Me to the Moon.
Any fan of Amy’s knows what a divisive figure Mitch is. So, you’d be understandably mistaken for thinking his taking centre stage so early in the film, zapping the attention away from Amy, is a nod at what’s to come: a father who exploits his daughter’s most vulnerable moments in pursuit of his own success.
But director Sam Taylor-Johnson takes Marsan’s Mitch in a very different direction.
Mitch is painted as a protective father, so naïve to the evils of modern society that he doesn’t realise his own daughter is a drug addict until she literally says: "Dad, I’m an addict."
The fact the film got the sign-off from Amy’s estate can’t be overlooked.
It’s hard to believe this didn’t influence the portrayal of Amy’s family, especially given that Mitch Winehouse permitted filming to take place in the late singer’s former home.
In the pursuit of authenticity, decisions like these make the film feel invasive.
Abela brings an endearing innocence to Amy; she tells music moguls how she has no interest in money before they even sign her.
Amy’s capacity for love knows no bounds. Fatally, it's this same illimitable attitude she applies to drugs and alcohol.
Abela also masters Amy’s distinctive movements, but her acting shines brightest when she’s sharing the screen with Jack O’Connell, who plays Amy’s husband/ex-husband, Blake Fielder-Civil.
O’Connell is a standout, bringing to the role a jack-the-lad charm and confidence that makes you see why Amy fell for him.
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The ending’s implication that Amy relapsed after hearing Blake had become a father does a disservice to her complexity.
For someone so mesmerisingly successful and the talent of a generation, the film spends a lot of time painting Amy in light of the men in her life.
Despite this, it’s not quite so bad that one would need to "gasp in horror".
Words by Bridget O'Sullivan.
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