Amazing Grace

I saw this film at its world premiere in NY at the NYDoc Fest. The Rev Al Sharpton gave the invocation. And the Great Rev. James Barber further illuminated all of us about the meaning of Arentha's worrying a note. In between was one of the most remarkable, moving, inspiring evenings I have ever spent in any kind of theater ever. Of course, I'm a fan, I do work in the industry, but I'm first a fan of young Aretha's. There was nothing but grace on the screen and the loving community of church. One is blessed to see this film. Period. I just want to add - I would love to know who the absolute genius was that thought of sending Sidney to film this live recording. He or she should receive an Oscar all his or her own.

Right from the first few seconds of the new film, Amazing Grace, we are given some astounding and fascinating tidbits of news about how the whole concert came to be and why up until now it has never been seen by viewers except for those who were actually in attendance at the church where it was filmed. Award winning director, Sidney Pollack was hired by Warner Brothers to film a live concert recording of then well known and very popular soul singer, Aretha Franklin as she performs at a California Baptist Church and sings the songs that she grew up with and learned herself having gone to church and having sung these gospel songs since she was a child. Whilst filming, the performance went on for two nights in a row with Aretha on vocals accompanied by the reverend on piano and a host of backup singers doing backup vocals and harmony. We are told several times that during the taping and filming of this concert which was originally meant to be aired on television, that there were so many technical difficulties amongst other problems that the filming crew ran into (some of which we witness whilst watching the film) and the film we see today before us has only been moderately restored and some of the technical glitches such as with editing and pacing remain intact, but this does not hamper, or detract from the film in any way, but instead makes the whole thing more of a historic relic from almost 50 years ago now and what an absolute treat it is for us viewers to see it for the first time after all these years and even with not the best editing, or camera work, the real reason we are all here is to hear Aretha sing these songs and this is fully and completely accomplished with this film and it is a film that truly moved me personally as not all, but enough of these very songs are songs and hymns that I also learned in the church as a child and some that we still sing regularly during morning and evening services on a Sunday. While the opening credits were rolling, I saw the logo for Spike Lee's production company, 40 Acres and a Mule which I later found out helped fund this rerelease and also that Spike himself was one of the producers on the film. Being a Christian, I found the music to be very moving as well as inspiring throughout the course of the film. Whether this would have the same type of effect on viewers who maybe have never been to church, or perhaps don't consider themselves to be Christians, I do not know. The audience in which I saw the film was completely packed and with those of whom I talked with after the film, all seemed to have really enjoyed it. Some of the attention to detail even with the technical difficulties still shines through as often we see the sweat and perspiration on Aretha and the other singers and players throughout the recording. It was currently January in California, but it must have been a stifling heat and perhaps the church back in 1972 didn't have the same type of air conditioning luxuries that we have today. Nevertheless this just goes on to show that Aretha and company are truly singing from the bottom of their hearts and all their hard work definitely does pay off. This particular recording we are told when on to become the best selling gospel album of all time and it most likely still carries that honour with it today. This is the type of film that is refreshing to see in a day and age of wars, political tension, scandals and violence all around us. This is a film the encourages us by the very persuasive style of music and ultimately lets us know that someone who can do something with all the trials and tribulations we face today can see what we as a people are going through and they also have the ability to help us and they will. This is a film that shows how music as a medium is so powerful as is the message it is getting across as well. With the recent passing of both Sidney Pollack and Aretha Franklin, this is a wonderful send off for both icons and a film that will continue to leave it's powerful influence on generations to come. What a wonder that this was finally released and at just the right time too.

I saw this at the Berlin International Film Festival where the film celebrated its Europe premiere. I don´t remember having such a great time in a cinema ever. This film is so alive and full of joy it makes you tear up. If you can absolutely go watch this in a cinema full of people. One of the best film experiences I ever had!

I've been waiting all my life to see this movie; I'd read inside the album jacket that it was filmed for Warner Bros., but could never find out where it was! Seeing the movements matching everything I digested on this record was like a dream. For me, the entire concert could've just been Aretha, James Cleveland, and organist Ken Lupper, and it still would've been great. I suppose I can understand why Aretha wanted her band to be present, but it seemed mismatched in this setting.

It took me nearly 50 years to see this footage. At 72, I wasn't sure I was going to make it. When this album was released, fans of Ms. Franklin flocked to buy it so we could hear her return to her roots: Gospel, not performed on a stage but in the setting where it originated, in two performances gathered at Los Angeles' New Temple Missionary Baptist Church. In the liner note was the teasing notation, "filmed by Warner Brothers," and it was maddening (in days long before the Internet) not to be able to find out when and where it would be released as a film.

Decades later we learned that it was impossible--with technology available then--to sync up the sound with the film footage and the project had been permanently shelved. The young director, Sydney Pollack, hadn't realized each reel needed a time clapboard for editors to find their way in assembling the footage to properly slate with the live sound recording. Not only that, but Franklin never wanted the film footage to be released (there was heavy post-editing in the audio's final release). So it was with a thunderbolt when we heard people had been working frame by frame to put the sound back in sync with the images (when you watch the film, just imagine what it would be like for an editor to be handed a 10 minute reel and be told "guess where this fits in"; and Pollack used 5 cameras to catch all that was going on with a reported 20 hours of unmarked footage).

It's a miracle to have this film in any form, and not only that but that the director(s) stayed out of the way of what was happening, no fancy edits, or commentary. Nothing but this woman transcending herself and her audience into spiritual ecstasy.

The album only hints at what we finally get to experience. But any performance, much less an entire concert by Ms. Franklin from this era is a gift. She's at her peak and her naturally shy demeanor that masks one of the greatest voices in history peels away and without histrionics or showmanship, she becomes an instrument of her faith. It's exhausting to watch; and, if you're so inclined, transforming.

While the filmmakers handle all of this beautifully, the participants intrude (as they do on the recording), trying to upstage the central reason for this performance. Both the Reverends James Cleveland and her father, C.L. Franklin nearly maul Ms. Franklin either physically or with obsequious lengthy praise. In fairness they have every right to show their pride, but it lessens them. (The choir director, Alexander Hamilton serves the evening much better with his graceful shaping of the choir that's almost a dance but it doesn't distract from the either the soloist or the choir.)

Aretha Franklin, with unparalleled poise and professionalism endures it all without a flinch. She's there to do a job, seems oblivious to the cameras, while using a vocal instrument with a power not seen before or since.