The now-defunct Vibin.co.uk was my gateway to the sultry soul oozing through “Stronger Than Me” and “Know You Now.” Calling me spellbound that night in November 2003 by how Amy Jade Winehouse sang those songs would be an understatement. Since then, millions upon millions shared that same euphoria, but only for us to feel the same heartbreak later.
Back to Black is the first dramatized account of Winehouse’s life and attempts to capture the highs and lows of the too few years we had her. Attempts is the operative word here because Black is the most underwhelming musical biopic since 2017’s All Eyes on Me.
Industry star Marisa Abela gives being Amy Winehouse her best shot, and it’s a mixed bag. Her early work in Black feels extremely superficial and doesn’t move the needle. It’s not until the issues that haunted Winehouse enter the picture that Abela exhibits what she can do. Her most affecting scenes come when she shows the tolls tragedy, substance abuse, and toxic romance take once she’s achieved stardom.
The downside to Abela’s turn is the performance piece. To her credit, Abela bravely uses her own vocals to perform Winehouse’s songs, and she’s a talented singer. However, the problem is that she struggles, as anyone would, to capture Winehouse’s sound. Couple the sound issues with the unnatural “grooves” Abela does with the music, and the illusion of seeing her as Winehouse is shattered.
Aside from the actual tragedy that robbed us of Winehouse, Black’s real tragedy is how all parties behind the camera made her life into the most pedestrian film possible. It’s understood a movie full of drug binges and reckless acts would be an insult to Winehouse’s family, fans, and memory. At the same time, they left out plenty that would have made Black a more colorful, authentic film.
The most significant missed opportunity was the lack of attention to detail in all aspects of Winehouse’s life. It’s as if Black couldn’t find a lane or two to explore, so it threw Winehouse’s Wikipedia page on screen. Black’s glossing over the relationship made it seem more like an afterschool special romance gone wrong than an unhealthy union that led to one of the greatest albums of the 21st century and one of its biggest tragedies.
Even from a musical aspect, Black fails by practically never taking the movie behind the making of the music that gave the film its title and whitewashing Winehouse’s musical journey. The script mentions the influence black music played in Winehouse finding her voice. Beyond that, the only blackness in Black are the backup musicians, her one black friend with no lines, and the brief, silent appearances of the actor portraying Salaam Remi. Considering her well-known ties to artists like Nas, Yasiin Bey, etc., it's odd to leave that out entirely and not Winehouse’s story.
We witnessed Winehouse’s heavenly gifts take her to superstardom and the hellish demons that would rob the world of her and them far too soon. Back to Black makes the latter part sting a little more because it wasn’t up to the task of honoring her as she deserved. If you’re looking for a fitting tribute authentically honoring all sides of Winehouse’s life, you’re better off watching the 2015 documentary Amy.
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