Directed by Sam Taylor-Johnson. Starring Marisa Abela, Jack O’Connell, Eddie Marsan and Lesley Manville.
Amy is a young woman with a fantastic voice and a talent for songwriting that belies her years. When her friend Tyler hands a demo tape to his manager at Island Records, they’re impressed. They sign Amy up and her first album Frank is a critical success.
When her record company suggest changes to her stage act, she rebels and says she needs time and space to come up with a new album. When she meets a young man named Blake in a pub in Camden their chemistry is intense, but Blake has his demons, as does Amy, she drinks too much and has bulimia, and what begins as a joyful romance quickly becomes more toxic. As Amy’s career sores to great heights her personal life plumets, and like vultures the paparazzi are circling…
Musical biopics are always popular, in recent years we’ve had the lines of Bohemian Rhapsody, Rocketman, and Whitney Houston: I Wanna Dance with Somebody, so it was odds on that eventually we’d get an Amy Winehouse biopic, even setting aside the fact that there was a great documentary, Amy, back in 2015.
That Back to Black works at all is down for the most part to the cast. Abela is very good as Amy and has a great voice. Is she remotely as good a singer as Amy? No, but then who is? That said it feels more believable that she uses her own voice rather than them dubbing over her with Amy’s singing. She shows us Amy’s vulnerability and her fire, even if I’ve heard people suggest the one thing she doesn’t bring to the role is how funny Amy was, but that’s likely not her fault. O’Connell is good as well, and manages to make Blake Fielder-Civil a fully rounded character rather than the moustache twilling villain it would be so easy to make him. In fact, the film is at its best in the early days of their romance which feel natural and sweet, and Abela and O’Connell have great chemistry. Marsan and Manville are reliably solid as Amy’s dad Mitch and her gran Cynthia.
Where the film falls down—beyond the overarching question of whether it’s poor taste to make such a film—is the script which is so on the nose that not only at one point does Amy say “Only mugs do drugs” but later on has her telling her dad that she won’t go to rehab! As for her bulimia, yes this is shown in the most turgid way possible by having her vomiting in the toilet. It dances around blaming anyone for Amy’s problems, even Amy herself, and really the only villains are the faceless paparazzi, and sure they were scum for the way they treated her, but the film seems to use them as cover and ignores other causes—in particular her dad Mitch gets a very easy ride and even Blake gets off a little easier than perhaps he should.
The worst part is the suggestion that the reason she was so messed up towards the end was down to Blake getting his new partner pregnant; boiling a female character down to purely her ovaries is never a great look.
It isn’t terrible, the performances and Amy’s songs are worth it, and Taylor-Johnson adds enough directorial flourishes to perk things up. It just all feels a trifle by the numbers, and even a trifle safe. Amy Winehouse was an incredibly talented, incredibly complex woman beset by many issues, some of her own making, many caused by external factors, and you can’t help feeling she deserved better than this.