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Shymansky was initially reluctant to participate or even meet Kapadia, but he was swayed by the sight of Kapadia’s editing suite: the walls were plastered with his reporting and a comprehensive timeline of Amy’s life. It’s through this film we see teenage Amy cracking jokes in the backseat of a cab, singing “Happy Birthday” to her best friend, pulling her hair off her face with a barette to sing “Love is Blind” for a few record execs, accompanying herself with a few spare chords on an acoustic guitar.
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There is this radiance in her that you see in so many of those clips of stars before they were stars. She takes music seriously, but not herself. The candid shots reveal an Amy who is bright and witty and a bit of a flirt. What Shymansky brought to the table: 12 hours of private footage shot on handheld digital cameras at the beginning of Amy’s career. The key figure behind the film, aside from Kapadia, is Shymansky, who managed Amy from the time she was 16 years old (he was only three years her senior) until Back to Black. The individuals in Amy’s inner circle, he told Vulture, “made decisions I feel were not necessarily best for Amy,” and while they may be displeased with the outcome of the film, “this is the reality of what was going on.” Her sound is all contradictions: sultry and delicate, confident and vulnerable, knowing and naked.īut Kapadia stands by his work, saying he conducted interviews with over 100 people and insisting, essentially, that people who don’t like the documentary probably don’t like it because it’s true.
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She has janky teeth and a common accent and a singing voice that, while it predates the trend of addressing the unaddressable with “I can’t even,” inspires that exact reaction. The Amy with whom we spend a great deal of our time in Amy does not look, much, like our Amy. What we get in its place is something looser and not quite chronological, with Amy’s backstory folded in when thematically relevant. We are spared the conventional structure. Thankfully, it gives us her origin story without falling into the tired model of showing us a picture of her mom in the hospital while someone intones, “Amy was born on…” The interviews play over home movies or other video clips, not talking-head-style. An epilogue, practically.Īmy, a documentary on the singer-songwriter that premiered at the Cannes Film Festival, takes us back to the start. Even for a life as short as Amy’s, that is so little to go on. We think we know everything - don’t we always - but how much of her existence did we witness? Back to Black was released on October 27, 2006. That bird body beneath the beehive hair, the pinup cartoons and cursive words tattooed up her arms and across her chest, the thick sweep of black eyeliner that may as well have been tattooed on her face.Īnd of course she was a junkie and a trainwreck and a joke, and of course she self-destructed at the age of 27, oooooh, the 27 Club, and of course we can deal with this neatly, and fast: she was one of those doomed souls whose obituary was written in advance. So what is this song now? An inescapably catchy autopsy? Less than five years after “Rehab” was released, Amy died of alcohol poisoning. It landed on all the lists: best songs of the year, best songs of the decade, best songs of all time. Robinson,” one of those rare, perfectly crafted pop songs that doesn’t need to clear its throat before getting to the point. It starts with the chorus, like “She Loves You” and “Mrs. “ Rehab,” her musical distillation of this pivotal call, was a smash. Soon the world wanted every piece of her.
#WHAT HAPPENED TO AMY WINEHOUSE PROFESSIONAL#
Nick Shymansky, Amy’s first manager, describes this failure as “the moment we lost a very key opportunity.” Amy could have had professional help “before the world wanted a piece of her.” But when she asked her dad what he thought, he told her that she didn’t have to go. In her own words, she was “not, like, some messed-up person,” and she was, as her friends tell it, receptive to the idea of treatment. She had struggled with depression and bulimia. A handful of loved ones approached Amy Winehouse, before fame would make such intervention nearly impossible, about going to rehab. It happened just like the hook says it did. Should the song that made her famous even exist?