Tag Archives: David Bowie

Estate Agency: The Authorised Music Biopic Debate

Directed by Kasi Lemmons (Eve’s Bayou [1997], Harriet [2019]) and written by Anthony McCarten (Bohemian Rhapsody [2018]), I Wanna Dance with Somebody (2022) follows the life of late American pop icon Whitney Houston, played by Naomi Ackie. Among the film’s executive producers is Clive Davis, the record producer who discovered Houston, while close involvement from Houston’s estate has reportedly come through representative Pat Houston, Whitney’s sister-in-law and long-time intermediary.

Much like print tome biographies, an authorised music biopic presents a veneer of authenticity. Consultation with living artists, or their family members and close confidantes if they have passed, would seem to ensure a certain degree of verisimilitude, rather than solely depending on unsubstantiated hearsay. When it comes to films, it’s also a considerable benefit to have access to the artists’ actual recordings (the 2020 David Bowie biopic Stardust suffered in this regard). Clive Davis, speaking to Variety about the Houston movie, said, ‘For me, it was important for the film to answer all questions honestly, authentically, about who Whitney was. Whether it was her sexuality, whether it was her addiction, whether it was how she and I worked together… We wanted to get it right. We wanted to get the music right, above all.’

And yet, despite such seemingly honourable intentions, authorised biopics still manage to inspire heated debate among both film and music critics, as well as the fanbases of the respective artists; the more famous and beloved the artist, the more passionate the debate. The genre can so often be defined by the things left out of a story, as opposed to the effective adaptation of what’s kept in…

Full feature for Curzon Journal

The Secret Life of Walter Mitty (Ben Stiller, 2013)

Based on James Thurber’s short story, The Secret Life of Walter Mitty stars its director Ben Stiller as an inexpressive, daydreaming underachiever who, provoked by a takeover at the print magazine he works for, finally takes risks and embarks on a convoluted global journey. The takeover is led by a felt-bearded Adam Scott, who plays an even more one-dimensional bastard than his character in Will Ferrell comedy Step Brothers. Two hours of gloopy, insipid, narcissistic wish fulfilment ensues, alongside an uncomfortably extended promotion for dating site eHarmony…

Full review for The Skinny