The year 2002 saw two artists based in London ready to make waves in the world of art and music. Sam Taylor-Johnson, a recent nominee for the Turner Prize, had just unveiled her video portrait titled ‘David’, featuring football legend David Beckham in sleep. It was showcased at the National Portrait Gallery and marked the onset of her quintessential collection known as ‘Crying Men’. This series highlighted emotive performances from renowned actors such as Gabriel Byrne, Robin Williams, Michael Gambon, Sean Penn, Laurence Fishburne, and Paul Newman. Meanwhile, a few blocks away, Amy Winehouse was working on her inaugural album, ‘Frank’. Both artists drew their inspiration from Camden Town, the lively, countercultural neighbourhood in which they resided.
Taylor-Johnson reminisces about the first time she witnessed Winehouse perform at a new-voices event at Ronnie Scott’s jazz club. Seated beside a friend, they marvelled at the powerful voice emanating from the petite shy singer, questioning its authenticity. Winehouse held a timid demeanor, portraying a reluctance to sing in front of a crowd. Yet, when she sang, her powerful voice echoed throughout the room. Taylor-Johnson admits that while their social circles overlapped, their interaction was limited due to their differing lifestyles and timings.
The year 2007 was a turning point for Winehouse as she was awarded two Ivor Novello songwriting awards. Her second record, ‘Back to Black’, achieved immense success and listed among the top-selling albums in the history of the United Kingdom. She made history the next year by winning five Grammy Awards, equalling the record for the most wins by a female artist in a single night. Unfortunately, the talented artist passed away in 2011 due to alcohol poisoning.
Rumours were rife about a Hollywood biopic featuring Winehouse shortly after her death with names like Noomi Rapace and Lady Gaga doing the rounds. However, it was Asif Kapadia’s Oscar-winning documentary, ‘Amy’ that was released in 2015. Notably, the film that portrayed the singer’s life and performances while under the influence irked Winehouse’s parents, Mitch and Janis.
When Taylor-Johnson embarked on the journey to create her latest biographical movie, Back to Black, she felt it was paramount to have a personal interaction with Mitch and Janis, the parents of Amy Winehouse, the story’s subject. As well as desiring authenticity in her portrayal, she emphasised the significance of retaining full artistic freedom. This sentiment was echoed by one of the movie producers, Alison Owen, who assured that she’d have full creative liberty over the project. The ownership rights of all the music used belonging to Sony and Universal eliminated any need for negotiation with Amy’s parents.
“I wouldn’t characterise our interaction as them giving their blessing per se”, she explains, “They found the process emotionally challenging. But, it was crucial for me to engage in deep conversations and spend time with them”.
The decision to cast Marisa Abela as Winehouse stirred up a considerable amount of controversy. Questions were raised about the motivations behind the film and the ethical implications considering Amy’s life was heavily scrutinised and exploited.
Moreover, working on the project was an immersive endeavour for the filmmaker. The intensity of the experience was such that Taylor-Johnson found herself conversing with Amy in her solitude. This raised concerns from her husband, Aaron Taylor-Johnson, who suggested a much-needed break.
However, any apprehensions towards the film’s approach can be mitigated given Taylor-Johnson’s compassionate perspective. Having battled bowel and breast cancer, she exudes a positive aura and empathetic approach. Her strong protective inclination towards Winehouse becomes apparent when speaking with her in London ahead of the movie’s first screening.
Taylor-Johnson describes explaining to his 12-year-old how people are still captivated by Billie Holiday and Sarah Vaughan, just like her. He posits that it could be due to the intensity of emotions transmitted along with the distinct resonance of their voices, which deeply connects with people. He elucidates that it’s not just about the lyrics or the stunning vocals, but something profound that strikes a chord with listeners.
The film recounts the early phase of Winehouse’s career, highlighting her meaningful relationships with her father, portrayed by Eddie Marsan, and grandmother, represented by Lesley Manville. The storyline also delves into her turbulent marriage with Blake Fielder-Civil, brought to life by Jack O’Connell. Marisa Abela delivers a passionate portrayal as Winehouse.
Taylor-Johnson wanted to emphatically portray that Winehouse was genuine and truthful, believing this to be a primary reason for her widespread admiration. He mentions how many grapple with concerns about public perception or reception of their work. However, in contrast, Winehouse’s stance of accepting or rejecting her as she was, reverberated through her creations. He describes her as a remarkable artist with multiple aspects – her faith, relationships and forthrightness.
In his study for the film, he unearthed pictures from varied perspectives which narrated a tale of her being consistently swarmed by numerous photographers. By shifting the focus onto Winehouse’s talent and authenticity, he attempts to present a new perspective. “In her capacity as Winehouse, Abela states in the opening sequence, “I’m not creating songs for popularity. I write because I can’t fathom an existence without it. My wish is for listeners to immerse themselves in my voice and momentarily forsake their worries.”
The movie distinctly paints a villain: before Amy Winehouse’s demise, the press and public consistently intruded her life, with humble jokes at her expense. In 2006, her prior boyfriend, Alex Clare revealed personal aspects of their relationship to the News of the World, under a sensational headline concerning Winehouse’s erratic behaviour. In Disaster Movie’s 2008 spoof, Matt Lanter is confronted by an uncouth, prehistoric “Amy Winehouse” who wields a bottle of liquor from her bouffant.
“It almost felt as though no one took into consideration her vulnerable state, her need for help,” Taylor-Johnson indicates while discussing the overt jokes made at the announcement of her Grammy nominations. She adds that during her research, she discovered a plethora of imagery for any particular day of Amy’s life, speaking volumes about the constant pestering of paparazzi that Winehouse was subjected to.
“I’m hopeful that we can now opt for empathy in such instances,” she expresses, drawing parallels between Kate Middleton’s struggles with public speculation and attention, Britney Spears, Princess Diana and Winehouse, who were all subjected to immense scrutiny during their lowest points. She feels it’s appropriate timing for such a film.
The movie ‘Back to Black’ will start screening from Friday, the 12th of April.