Search
3D 5th Wave 80s Cinema A Night of Horror Action Activism Adaptation Adelaide Film Festival Adventure Advocacy African American Age of Adaline AI albanian Alien Abduction alien covenant aliens altzheimers amazon Amitabh Bachchan Animation anime Ari Gold Art Asian Cinema Australian film AV Industry Bad Robot BDSM Beach Boys Berlinale BFG Bianca Biasi Big Hero 6 Biography Biopic Blake Lively B-Movies Bollywood Breast Cancer Brian Wilson Brisbane Camille Keenan Cancer candyman Cannes cannibalism Cannon Films Cesars CGI Chapman To Character Actors Charlie Hunnam Charlize Theron Chemsex China Lion Chloe Grace Moretz Chris Hemsworth Chris Pratt Christchurch christian cinema christmas Christopher Nolan Classic Cinema Close Encounters Cloverfield Comedy Coming-of-Age Conspiracy Controversy Crowd-sourced Cult Cure Dakota Johnson Dance Academy Dardennes Brothers darth vader Debut Deepika Padukone Depression Disaster Movies Disney Diversity Documentary doomsday Dr Moreau drama Dustin Clare Dystopic EL James eli roth Elizabeth Banks Entourage Environmental Epic Erotic Cinema Extra-terrestrial Extreme Sports faith-based Family Film Fantasy Father Daughter Feminism Fifty Shades of Grey Film Film Festival Foreign found footage French Cinema Friendship Fusion Technology Gareth Edwards Gay Cinema Ghostbusters Ghosts Golan Globus Gothic green inferno Guardians of the Galaxy Guillermo del Toro Gun Control Hacker Hailee Steinfeld Han Solo Happiness Harrison Ford Harry Dean Stanton Hasbro Haunted house Hhorror Himalaya Hitchcock Hollywood Holocaust horror Horror Film Housebound Hunger Games Idris Elba IFC Midnight IMAX In Your Eyes Independence Day Independent Indian Film Indigenous Infini International Film Internet Interstellar
Main | LOVE AND SAUCERS »
Saturday
May202017

WHITNEY: CAN I BE ME

Featuring: Whitney Houston, Bobby Brown, Cissy Houston, Robyn Crawford and John Russell Houston Jr.,
Writer: Nick Broomfield.
Directors: Rudi Dolezal and Nick Broomfield.

Screens at Sydney Film Festival on June 7th and 9th, then in national wide release from June 15.

Rating: 4.5/5

Returning to the ‘music icon dissection’ sub-genre of his most commercial works Kurt & Courtney (1998) and Biggie and Tupac (2002), Nick Broomfield hits a shattering high note with Whitney: Can I Be Me, a soaring celebration of a once-in-a-generation talent and a heartbreaking study into the corrosive pressure that fame and addiction can inflict.

The British documentarian’s skilful manipulation of archival material and interview content is combined with remarkable reels of never-before-seen film, shot in 1999 by Rudi Dolezal. The music video maestro (Freddie Mercury: The Untold Story, 2000; Sarah Brightman: Harem A Desert Fantasy, 2004) accompanied Whitney Houston and her massive live show entourage as they traversed Europe on what would be her last successful tour. It can be surmised that Dolezal was crafting an insider documentary along the lines of Madonna’s Truth or Dare, but as the gruelling schedule persisted, the songstress’ health and performances deteriorated and the footage became unreleasable.

Houston, who passed away February 11, 2012 at the age of 48 in a bathroom at the Beverly Hills Hotel, is recalled as a precociously talented pre-teen belting out gospel standards in her New Jersey neighbourhood church. The uniqueness and scope of her majestic voice is clear to all who come into her world, none more so than her driven mother Cissy and loving father John. Broomfield has dug deep to find early live shows and Houston’s first TV appearances, including her Tonight Show debut at the age of 19; the footage is still awe-inspiring to watch.

The first act of Whitney: Can I Be Me is a rousing ode to her vocal range and the meteoric rise to superstardom that she achieved under record boss, Clive Davis. But the seeds are sown for her downfall, as well; she was a recreational user from an early age and, more worryingly, she is pilloried by the black community for selling-out her African-American roots and refashioning herself as a mainstream-friendly pop princess. Broomfield drills down on the combination of elements that factored into his subject’s fate, most tellingly her need to hide her bisexuality and long-term relationship with closest confidant, Robyn Crawford, and her co-dependent marriage to rapper and fellow substance abuser, Bobby Brown.

Stylistically recalling fellow Brit Asif Kapadia’s similarly tragic Oscar-winner Amy (2015), Broomfield eases his pacing to allow for a deeper, more soulful understanding of just how far Houston had descended into mental and physical ill-health (in one unforgettable moment, Diane Sawyer rattles off a list of narcotics and asks, “Which is your greatest demon?”; Houston replies, “I am.”) The final period of Whitney’s life, in which her behaviour became erratic and her voice weakened, has been the subject of much public derision but Broomfield, not always known for his subtlety with his celebrity subjects, admirably refuses to include well-circulated footage of her sad last performances. Instead, he is blunt about the human tragedy of her final days and the hotel room details of her death, which portray a woman in the grip of the darkest thoughts.

There are some ‘easter egg’ moments along the way that provide brevity, including the revelation that it was The Bodyguard co-star and producer Kevin Costner’s decision to pull all instrumentation from the beginning of Houston’s biggest hit, I Will Always Love You. Broomfield opens the film with a single take live rendition, tight on Houston’s face as it contorts and strains to command the arrangement, all captured by Rudi Dolezal’s camera 18 years ago.

The footage reveals both the physical toll and emotional connection that Houston shared with her biggest hit, which has gone through incarnations as blockbuster ballad to kitschy joke to where it stands today; an achingly emotional testament to one of the greatest singers and most-troubled public figures that popular entertainment has ever known. A description that is also entirely appropriate for Broomfield’s and Dolezal’s film.

References (2)

References allow you to track sources for this article, as well as articles that were written in response to this article.

Reader Comments

There are no comments for this journal entry. To create a new comment, use the form below.

PostPost a New Comment

Enter your information below to add a new comment.

My response is on my own website »
Author Email (optional):
Author URL (optional):
Post:
 
Some HTML allowed: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <code> <em> <i> <strike> <strong>