RADIOEINS HAPPYSAD AMY WINEHOUSE MOVIE
Mitch Winehouse has disavowed this movie and his portrayal in it, but it’s hard to argue with the scene where he shows up on St. That said, the movie depicts Winehouse as a victim of her own addictions and insecurities, a stubborn user abetted by enablers on all sides: Fielder-Civil the manager-promoter, Raye Cosbert, who kept pushing her back out on the road the father who decided the Amy Winehouse gravy train was more important than getting his daughter into rehab. The paparazzi weren’t there to cover her rise but her fall, and if they helped bring it about, it still sold papers. But we were all doing the same thing then. The culture turned against her “Amy” shows Jay Leno welcoming her onto “The Tonight Show” to sing and, a year or so later, making nasty jokes about a woman who was clearly and seriously ill. Kapadia goes to the celebrity news footage here, and it is terrifying from this point on, every scene of the singer in public is a seizure of flashbulbs, the screen writhing with paparazzi. She saw him go to prison for an incident in which a bar owner was assaulted, and she slipped further into substance abuse while he was away.
RADIOEINS HAPPYSAD AMY WINEHOUSE CRACK
She won five Grammys and married Blake Fielder-Civil, the boyfriend who had introduced her to crack cocaine. With the 2006 detonation of “Rehab” and the “Back to Black” album, Winehouse ascended to music-industry heaven and tabloid hell. If all you know of Winehouse is “Rehab” and the car-wreck of her life, the performance sequences in “Amy” have the power to convert you to a freshly mourning fan. Winehouse was an untrained singer but not an undisciplined one - not until the drugs took hold - and she shared with artists like Judy Garland, Janis Joplin, and Barbra Streisand an ability to channel volcanic emotions without ever quite losing control, the vibrato wobbling but refusing to spill over the top.
The film’s midsection, in which Winehouse secures a record contract, records 2003’s “Frank,” and embarks on tours and televised performances, makes the case for her talent, which was immense and unique. Aside from Bey, though, the interviews are conducted primarily off-camera, so the singer is allowed to take center screen as she morphs from meteoric talent to supernova to dark star. Kapadia, who made the excellent 2010 race-car bio-doc, “Senna,” interviews plenty who were there, from Winehouse’s loyal childhood chums Juliette Ashby and Lauren Gilbert and her first manager and close friend Nick Shymansky to the singer’s father, Mitch Winehouse, to music industry friends such as Yasiin Bey (better known as Mos Def) and Winehouse’s fatherly bodyguard, Andrew Morris. “Amy” doesn’t depart from the standard behind-the-music template, but it does deepen the format immeasurably, through the intimacy of its archival materials and the focus of its approach. She’s gaunt, hollow-eyed, a wreck one of the most famous people on the planet when the photos were taken, she seems almost existentially alone. Toward the end of “Amy,” Asif Kapadia’s devastatingly sad documentary on the life of neo-soul singer Amy Winehouse, the screen flashes a succession of images taken by Winehouse late at night in front of her computer. Amy Winehouse in concert in Asif Kapadia’s documentary.
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