El ocaso de una estrella

Now that I am fortysomething (which amazes even me), I can look back and remember the Supremes final appearance on the Ed Sullivan show...and I can also remember Ed announcing that "Miss Ross is leaving the Supremes to pursue an acting career". An acting career....who does she think she is? I pondered this question for the longest time, and remained disappointed in Diana Ross until the very first moments of "Lady Sings the Blues", which play like a jazz tune that seems, at first, to make no sense until you as the listener finally tune into the music which actually made sense all along. Diana Ross dosen't so much act the part of Billie Holiday -- she crafts an unforgettable performance that both embodies the spirit of Holiday while also demonstrating the simplest but most complicated acting demands....she simply poses the question, "What if this were my life?". She produces an acting performance that, coupled with the personalized Holiday vocal interpretations, pull the audience into a deeper and deeper sense of completely going on the character's complete life journey -- you completely believe Ross is Holiday because she is so sure of herself -- SHE believes it -- completely. The story follows a typical formula, but the true reason to watch this film is the acting lesson that Ross teaches. Watch this one -- and learn a little something about craft -- from a master instructor, way ahead of her time.

Diana Ross stars in this pseudo-biographical film about the great singer Billie Holiday, who died in 1959. Although the film is clichéd and melodramatic in many ways, Ross overcomes these shortcomings with a performance that captures the tragedy of Holiday's life and conveys the enormity of her singing talent. There are many classics crammed into the film but none so well done as "Good Morning Heartache" and "God Bless the Child." ---from Musicals on the Silver Screen, American Library Association. 2013

Diana Ross is quite superb as jazz singer Billie Holiday, but even so this clichéd bio-drama of the drug-addicted torch diva from the 1930s is hardly convincing. After an enjoyably overwrought prologue (with Holiday brutally incarcerated like a gangster out of a Jimmy Cagney flick), the movie sputters along familiar territory, and the burnished, brackish look of the picture--probably meant for prestige--is a visual downer. The tone wavers at times (a comedic sequence with Scatman Crothers is either a distraction or a relief), and the film's flashback structure is a cheap gimmick (you know you're in for it when the filmmakers start super-imposing headlines across the screen--it's movie shorthand for "we're running out of time"). Ross is a spectacular drawing card, but this vehicle for her debuting acting talents leaves much to be desired. **1/2 from ****

The first question that would run across the mind of anyone who'd watch this movie is: "Can Diana Ross act?" The answer, I'm glad to say, is an unequivocal "Yes." And I think that's what the director wanted to clear up right from the very first scene, with a flash forward to Billie Holiday's drug bust while the credits were still on. Ms. Ross, devoid of make-up and with "crazy hair," put on an extremely convincing performance of heroin (or coke) withdrawal, replete with howling.

Her performance is the highlight of the movie, which unfortunately felt like it ran way too long, and I found myself constantly checking the run time. It wasn't bad as a musical. As I had read previously, Ms. Ross didn't seek to imitate Billie Holiday's style, and instead created a distinct and appropriate - yet similar - jazz style of her own just for the movie (check out "Good Morning Heartache"), and I, being a fan, didn't mind the song interludes.

What dragged the movie was the constant focus on Holiday's drug addiction (to showcase more of Ms. Ross's acting?). It felt like there was scene after scene of her being drug-addled, whining, and screaming, which began to abrade after a while. It's too bad, since with better direction and screenplay, coupled with Ms. Ross's capable acting and singing, this could've been one of the truly great musical biopics.

Before watching this I knew that it wouldn't be factually correct. I knew that Diana Ross would sing in her own style without trying to imitate the real Billie Holiday. And I knew that this film was hated & protested by Billie's real life associates and family. I watched it anyway expecting to enjoy it the same way I enjoyed Amadeus even though it stepped all over the real Mozart. I mean, c'mon people, if we want history we should go to a library, not a movie theatre.

But with all that said I was still horribly put off by the lack of continuity with the spirit of Billie's life. For one thing, Diana's portrayal made Billie look like a blabbering halfwit. Even in the scenes where she's supposed to be stone cold sober she acts like a flake. If you've ever seen footage of the real Billie, you know that the real Lady was a tough, sharp, smart human being. You don't survive on the streets of New York by being an idiot the way she's shown to be in the film.

Next, the performances were shown totally out of context. For example, the song "My Man" is a chilling song about spousal abuse, but in the movie they gloss it up to be a feel-good homage to her guardian angel of a husband Louis McKay. In real life, Louis was as abusive as all of her husbands (hence the song "My Man"). This is just one example of the many incorrect interpretations this movie presents of Billie's music and her life.

OK, but like I said in my 1st paragraph, I can allow the director some poetic license if the movie is worthwhile. Unfortunately this movie didn't deliver. Instead of focusing on the true hardships and trials that plagued Ms. Holiday, we get a whole bunch of clichés about drug use, trying to make it in the business, and how you're supposed to be good to your friends. I'm not sure if this was supposed to be about Billie Holiday or if it was just an ABC afterschool special with clever packaging.

The acting was good (if you choose to accept the idea of Billie Holiday being a weak minded flake), and there were several dramatic moments that were well staged. But here's my biggest gripe: the musical score KILLED this movie! It's supposed to be a 1940s jazz biopic, so why are we getting 70s "star search" orchestrations? You know, like the cheezy swelling violins and pseudo-disco drums when Ed McMahon reads the winner of the competition. Talk about an anachronism, to say nothing of the way it cheapens some otherwise powerful moments.

Lastly, I have to say that fans of Billie's music will be pretty annoyed at Diana Ross's versions. They are two totally different singers. Billie sang in a lower register (except when hitting those high notes which she always did clean & clear WITHOUT vibrato) whereas Diana prefers theatrics in the upper register and doesn't go very low at all. This is really a movie for Diana Ross fans or for casual jazz listeners who have never heard of Billie Holiday. Like another reviewer suggested, if you're truly interested in Billie, you should buy some of her records or try to find some old films of her performances. Her music is the best biography you'll ever get.