Back to Black 2024

Back-to-Black-2024
Back to Black 2024

Back to Black” depicts years during which there had been an album released titled Frank, which came in 2003, and the album named after the film was released in 2006. Though don’t wait for learning about Amy the human or even a musician, Amy the human being, thank this goddamn Taylor-Johnson and Matt Greenhalgh for their pain and suffering, or Larson, he write the film in the first place. It is Amy the drug addict, bottom low and never surrender in this context, trying to make Back to Black a biographical movie. So, Back to Black with a plot.

Every film biopic has something in common with its audience always interested in the music especially if it is about the life and times of a musician. With Back to Black, while there are lots of performances where several of Amy’s songs can be heard, these songs are rarely more than background music or permissions pity placeholders that are easy to ignore. Such occurrences almost seem directed at mindless impersonations of Amy as a performer rather than the character that the filmmakers appear to make her look like. In the making of either album, the film provides next to no next time to make anything whatsoever. We get hardly enough background information in terms of what she does as an artist a few bullet points at most like a placement of style in bed with a guitar and oh, I git with Mark Ronson or something.

In ‘Back to Black’ she addresses her third studio album, which does not portray the image Amy had. She remains unknown to the unfamiliar audiences who would be new to her music. Nor does it highlight the immense adoration from the motherland and the transition of her fame to America. None of the factors that made Amy and her music so popular are taken into consideration. The film barely scratches the surface of her music career. Otherwise, it resembles the whining of a tormented love affair, drug addiction, and spontaneous tattoos.

A good number of the live performance sections highlight either the struggle with staying clean or the obsessive yearning she has for the on and off romance with Blake (Jack O’Connell). As far as the single clip of Back to Black’s recording is concerned, it depicts her distress while singing the titular song and saying he’s killed me then jumps to black and white where Amy is high. Not even her addiction, the misguided central theme of the film, is given the weighty treatment it deserves. The jump-cut treatment it receives seems to suggest that it is more straightforward, and the viewers already understand how things develop.

On stage, Abela, with all the effort that she could exude, tries to mimic Amy in photographs and dance movements, which is not very impressive.

One’s body movements, however, were less of importance, and even when drawn, there is an irritating pretense about her portrayal. Abela was out of her league trying to impersonate Amy Winehouse’s voice due to the gimmicky wig montage and her foreign accent, both of which were in themselves signature charismas of the late songstress.

These sequences along with the retrospective focus on drugs do not constitute interesting revelations as they are pretty much the preordained conclusion of any narrative revolving around Amy. Each snag for a pint or a snifter looks like a cheeky wink towards an event such as our society is too acquainted with. They set out Amy right from the beginning of the movie, as an adulterous, silver tongued, heart thieving ice queen who is doomed to her fate. The same goes for Blake, who was seen as a mere victim of Amy’s duplicitous personality rather than being responsible. A lack of evidence is a poor excuse, however, as when explaining the history of somebody there are no innocents, and defining the extent of one’s guilt does not protect from the guilt itself.

Pop culture might treat it differently in 2024, but it is difficult not to think of the treatment Amy received as plain disgusting. We remember Britney and say we will not do it again. The optimistic thought here would be that perhaps when Winehouse died people might have treated her better for her legacy than during her life, however, this is hardly helpful for the audience as it sets their expectations too high When it comes to portraying abuse in the film, Taylor-Johnson does not shy away from depicting the scale of harassment Amy experienced from the paparazzi. But in that kind of depiction, the film ends up being as offensive as the cameras. The needless levels of romanticism and immaturity represent an erasure of life from the narrative. Ironically, the very type of sensationalism she attempts to criticize is the essence of her accounts. It is hard to see how Voyeurism and fascination could exist without marketing the Drama which Amy became addicted to and in return became a marketing tool.

Back to Black” has become a disgraceful portrayal of Amy Winehouse; Binge drinking? heartbreak? This is all there is to her music, apparently.

It should be such a sick sight. Any woman, in this case, Amy, is portrayed as nothing unless her most chronic states are shown and peeked at and presented to her audience an audience that seeks something dramatic. Amy’s addiction is certainly encapsulated in her life’s story, but to make it her life story as a whole while ignoring her actual humanity and other aspects of her life, is appalling.

It is sad to think that the fans who adore her, will have to endure watching a film that is more offensive than emotional. It is sad. Back to Black repeats the same self-claimed expectations of this woman, pacing the cheers together: ”I would be long gone and would not exist. I want to be known. Remember my name! I want to be associated with my voice!” Sadly the film did focus on the darkness, and the more disappointed people will have to endure after leaving the theater instead of shame for their feelings of depression depression when coming out.

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