The continued influx of music biopics throughout the past decade has not deterred filmmakers from contributing to what feels like an overstuffed cinematic genre. Now, with Sam Taylor-Johnson’s Back to Black, the new film centered on R&B/soul/jazz singer-songwriter Amy Winehouse (played by Marisa Abela), there’s just cause to finally pump the brakes.
Back to Black doesn’t focus on the creation of one of the most critically acclaimed best-selling albums by a female artist of all time; instead, it turns its attention to the inspiration for the album—Winehouse’s tumultuous relationship with Blake Fielder-Civil (played by Jack O’Connell). That’s all fine and well; it’s an interesting way into the album and this part of Winehouse’s story. But, following incessant media coverage back in the aughts, it still begs the question—why did anyone find this film necessary to make?
Most casual music fans are aware of the tragic story of Winehouse, who passed away on July 23, 2011, at the age of 27 due to alcohol poisoning. Heading into the film with the knowledge that there isn’t a happy ending lying ahead evokes a certain kind of sadness when watching a depiction of a singer’s life cut far too short.
Back to Black picks up Winehouse’s story shortly before the eventual Grammy winner signs a deal with Island Records, declaring to her soon-to-be manager, “I ain’t no f—ing Spice Girl,” while at home in London. Though her parents’ fractured relationship negatively impacts the singer, we see the close relationship with her Nan, Cynthia (Lesley Manville), who is Winehouse’s biggest supporter. In the film, Nan serves as a style icon of sorts for her granddaughter, who adopts a beehive as part of her signature look before heading off to record the album that would make her known across the globe.
Following the success of Frank, Winehouse’s record label is eager for her to get back in the studio to create an album that could cross over the U.S. She abruptly leaves a meeting with her label to go “live her songs.” She heads to a local pub, where she meets an overly charming Fielder-Civil that very same afternoon. On one hand, the scene establishes their immediate chemistry. Still, writer Matt Greenhalgh’s creative license is clearly at work to make these two characters cross paths at a pivotal point in Winehouse’s life and career. Even with Winehouse’s early success moving quickly through the beginning of the film, this extended pub meet-cute comes across as far too convenient on screen.
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