July 24, 2015 Leave a comment
In many ways the existence of this film is a tragedy. Obviously the portrait it paints of mental illness and substance abuse getting the better of an otherwise upbeat and talented young woman is tragic, but that this film could be made, entirely out of existing footage is a tragedy of its own. While certain home video and clips from appearances at awards shows and on talk shows are generally innocent enough, a certain amount of what we see comes from tabloid or other media sources content to exploit her for both good or bad, whatever would get ratings. Even before watching this film, I might be inclined to paraphrase the classic joke “what do you call 100 tabloid photographers at the bottom of the sea? A good start,” but in a few places here they capture the chaos and claustrophobia of the tabloid culture. Combined with other things like a reality TV show her dad gets involved with display the media behaving in a way that would border on criminal negligence. Surely there are individual freedoms that stand against a free press and free speech.
And yet the bulk of our interaction with any of these figures is through this media and few of us can really plead innocent of demanding more from our stars (though I don’t know if I’d be willing, out of respect or maybe just anxiety, to go up to a famous person randomly to ask for a photo or something), or maybe having a laugh at the latest erratic behavior from a fallen star. The most popular blog post I’ve ever done was a post taking the media to task for body shaming famous people for getting old, but the reason it got the hits was because it had a tag/picture of Amy Winehouse and the thought that it might be more tolerable to highlight her appearance as an anti-drug message, certainly than pointing to a 40 year old actress for having cellulite. In the context of watching this film, even that relatively minor statement feels wildly inappropriate.
The film’s success is it kind of condemns society for the way it exploits people, but does safely manage to avoid feeling like it is trying to capitalize on her life. Aside from this aspect, the film does do a good job building context from Amy’s life to show how she converted things into song. As much as I respect her voice, I only really like two, maybe three of her songs, so to some degree the film felt drawn out in part because of an excess of songs, though it rarely repeats a song. Still, Asif Kapadia has now firmly established himself as a master of the archival documentary, though I’d probably still give Senna the edge. I just kind of hope he can find a project that doesn’t revolve around tragedy.