Quiero Bailar con Alguien: La Historia de Whitney Houston

I like a biopic as much as the next person. But when one creates a biopic, they have to show a different side to the person we know behind the celebrity, or something the average person doesn't really know up until this point.

This film ain't one of them.

The film takes up way too much of its runtime showing Whitney's iconic performances in their total. Which not many music biopics do and for good reason; we can just watch them elsewhere.

It also doesn't focus in too much on her personal life. The domestic and drug abuse between her and Bobbi was toned down, her relationship with Robyn, arguably the best moments in the film, are fleeting, and the film is way too nice to Clive Davis (not surprising since he executive produced the film) who was like her family, but also like her family, tried to mould her into something she was not.

It's clear that to this day, people still want to control Whitney's legacy. So as a result, the film cannot explore the complexities, flaws, turmoils and difficulties of this incredibly talented woman. Because there is no doubt, she was a one of a kind phenomenal singer.

But the film is not interested in going further into her inner emotional life - only scratching the surface and emphasising her talent.

I would suggest watching the Kevin MacDonald documentary, which focuses more on why Whitney ended her life the way she did and the clues to her inner turmoil, while also listing her contributions to the music world and the things she loved the most in life.

Let's start with the most important fact: Naomi Ackie kills it as Whitney Houston in "I Wanna Dance with Somebody." When her casting was announced, some were put off by their lack of close physical resemblance. No matter: Ackie handily disappears into the role. She is particularly expert in capturing the cadence of Whitney's speech, conveying her fiercely independent personality in all its charisma and occasional prickliness.

This is a movie that puts Whitney's career front and center, with a special emphasis on her relationship with Arista records founder Clive Davis. Stanley Tucci makes for an impressively spot-on Davis, although perhaps his portrayal is a bit too reverent. The scene where he confronted her over her spiraling drug addiction was tough to watch. I appreciated the lack of cheap psychological gimmicks to explain away her troubles.

Whitney's important, long-lasting lesbian relationship with creative director Robyn Crawford is finally given its fair shake here. Crawford is a deeply fascinating figure in her own right, and their scenes together pop. Apparently, Crawford has written a book on her experiences and I'm very curious to check it out.

The musical highlight is the near superhuman medley of "I Loves You Porgy", "And I Am Telling You I'm Not Going" and "I Have Nothing" from the 1994 American Music Awards. Whitney's original voice is thankfully used for the singing parts, as if any other choice was possible for the greatest vocalist of the 20th century!

Music biopics do seem to bring out a special kind of snobbery and faux-cleverness from critics at times. Were you really not expecting to see Whitney singing in church or signing her first record deal? These are the facts of her life! They are told beautifully and compellingly here.

For those of us who grew up listening to Whitney Houston as her story was splashed across the news and into our lives as it happened, there is nothing new here. We would have been better served if the filmmakers just did a documentary with the real Whitney Houston spliced into it here and there, as I didn't find the actress believable in the role. She may have studied her mannerisms etc. But it didn't work. Whitney was a very good looking woman, who could sing, she had style (or her stylist had) but she carried it off. Usually with Biopics you forget that its an actor playing a part but this didn't happen and it was distracting. Save yourself the time and just watch the real Whitney in a few videos on YouTube.

I Wanna Dance With Somebody is a bit hit and miss for me.

The big hit is Naomi Ackie's performance. I was completely transported and absorbed by her portrayal of Whitney, and thought she handled the role perfectly. Obviously the music was always going to be great so that's another real point in this film's favour.

The miss for me comes in the form of the structure and storytelling. There is always a balance to strike in a musical biopic between how much you focus on the music and how much you focus on the person. For me this film got this balance wrong and spent too long showing full performances of Whitney and showing off her voice. We know she had an incredible voice, and as great as it is to hear it over and over, I would have liked to dig down into the woman herself even more.

When we dig down into her personal life, her relationship with Bobby Brown, her relationship with her mother and father, her treatment by the press and her drug issues, everything felt very surface level. Particularly the latter two.

I appreciate that the film perhaps didn't want to tread too heavily down these dark avenues which is entirely reasonable, but it does mean the film lacks punch at times. As a result the highs are never particularly high and the lows are never too low which diminishes the impact of the film.

I did also think that the film was a tad too long and could have been trimmed by 10 minutes at least.

Considering there are so many musical biopics these days I can't help but compare this film to others that have hit the screens in recent years such as Elvis, Bohemian Rhapsody, Rocketman, and this is easily lagging behind in this pack. Still, it boasts a terrific performance from Ackie, a great soundtrack, and several powerful moments. However as a whole the film does feel rather muted.

If you can overlook the fact that she looks nothing like Whitney Houston, Naomi Ackie manages the impressive task of channeling the icon in a manner that feels both authentic and respectful. My problem with this overlong 2022 biopic is the Wikipedia-level approach that director Kasi Lemmons and screenwriter Anthony McCarten took in telling Houston's story with one familiar scene or performance moving to the next with little sense of dramatic transition. It comes as no surprise that McCarten wrote the similarly elliptical "Bohemian Rhapsody". Some moments (like the "How Will I Know?" video and the national anthem at the Super Bowl) were captured faithfully and with conviction by Ackie who lip-syncs to Houston quite effectively. Other moments felt like they belonged on Lifetime with honest revelations few and far between.