Amazing Grace

Amazing Grace

In support of a vital American movement that amplifies African-American voices, we have decided to re-publish this article on our main page. For an expanding list of resources providing information on where to donate, how to connect with activists, comprehensive details about the protests and anti-racism readings follow this link. #BlackLivesMatter.

This review was originally published on November 14, 2018.

It’s two days of Baptist church in 90 minutes. Shot in 1972 over a two-day period in Watts’ New Temple Missionary Baptist Church, “Amazing Grace” captured the live recording of Aretha Franklin’s Amazing Grace, the most successful gospel album in history. Having honed her voice in the environment that created it the same environment that nurtured it at the height of her powers (11 number one singles and five Grammys), Franklin went back home; this became her biggest seller and won her an Oscar (which she never got). This film is a love letter to the Black Church: It will shake your soul if you don’t know what you’re looking at or drag you out of your chair if you do.

So I’m here to testify. As my dear readers may remember from previous reviews (most notably last week’s “Wild Rose”), I am a sinner who grew up Baptist; my father was a preacher and deacon, both grandfathers were deacons and uncles still preach today (although I haven’t spoken with them for some time and they might be retired by now).

So my Sundays growing up consisted of sweating profusely in suit and tie while fanning myself with popsicle stick paper fans that were too small for their self-proclaimed purpose; taking side bets with cousins as to who would get happy in church that day; science experiments involving pins stuck into knees, resulting not only in science but also bad words shouted during silent prayer time; singing in the chwhyuh (to use the preacher pronunciation of the word “choir”), where I and my tuneful brethren were instructed by the most animated of choir directors, etc.

The hymns that every Baptist knows. The familiar rhythms and cadences of the service that befell us every Sunday morning. Black church has a soothingly repeated checklist, and though I hadn’t been to worship in at least 25 years (it’s complicated, folks judge not!), I remembered every item on that list, and I sat in the theater happily checking them off as they came up.

Oh yes, like Sundays at your Baptist church with one major exception: You didn’t have Aretha Franklin as your lead soloist. It’s one thing to hear her make a joyful noise unto the Lord courtesy of Atlantic Records; it’s quite another to see her do it. Those rafters you hear raising on the record now have a visual representation: They are being raised by none other than Re’s Master of Ceremonies and partner in crime during these events, gospel legend Reverend James Cleveland.

While both entrances into the church on both nights were appropriately dripped with diva swagger (this is also when we learn she doesn’t like talking over background noise), Re is for the most part very shy on camera until she starts to sing. She speaks perhaps seven words in total while this camera is rolling, but don’t mistake that for insecurity: When she gets conflicting answers about what key she should be singing in during rehearsal from different members of her own band sitting right next to each other (which is hilarious), She gives one look back at Rev. Cleveland so filled with intensity that he immediately stops speaking out of sheer terror for his life.

Rev. Cleveland, the pastor that is one of a kind always joking around and preaching at the same time; playing to the camera (at one point he throws a handkerchief at it); playing to the crowd while maintaining structure and order; stealing the show under normal circumstances but, as he says, these are extraordinary, so he happily cedes control to his lead singer; except for this moment: As Re sings the hymn that gives this movie its name, “Amazing Grace,” he is overcome with emotion and rises from the piano to openly weep in front of it.

His emotion is genuine and infectious. And perfectly placed for us as audience members but you can understand why: she sounds otherworldly on this number. She vibrates as she sings. The camera catches every bead of sweat pouring down her upturned face her body becoming a radiant beacon beaming out unshakeable faith.

Backing them up is the Southern California Community Choir a unisex band of exceptional singers graced with even more exceptional Afros. They’re directed by Alexander Hamilton in the room where it happens… man’s arms wild with energy speak in code all choir members understand. Their call and response backup on songs like gospel staples “How I Got Over” and “The Old Landmark” (the latter was sung by James Brown in “The Blues Brothers”) are memorable as is their assisting on Re’s heavenly take on Marvin Gaye’s “Wholy Holy.” I found myself once again responding to Hamilton’s direction reading it as if I were still wrapped in suffocating yet pretty robes I used to wear back in the day. Once again, this movie impeccably and repeatedly connects us with beats we know by heart (because church does etch them there).

Both nights of filming find New Missionary Baptist Church packed with people dressed in their Sunday bests celebrities like Mick Jagger are in the house but not introduced, but two gospel legends get some well-deserved screen time: Clara Ward (who was a big influence on Aretha Franklin) and the Rev. C.L. Franklin, Re’s father who gives a brief sermon and then rises up from his seat to wipe the sweat from his daughter’s face while she sings at the piano in what becomes the movie’s most tender moment (and believe me, he brings it although Rev. C.L. comes into “Amazing Grace” with as much swagger as his daughter; that old time Baptist minister style). She looks at him with love her face saying she’s still Daddy’s Little Girl at heart; her vulnerability in that moment is as strong as her voice.

After his words, his daughter sings the first song she ever recorded “Never Grow Old” (or, as we used to call it in church: “the song where they have to start dragging people out of here”). My partner tonight, Steven Boone, and I exchange glances just before the congregation erupts with people catching Holy Ghost needing to be restrained while Re singing + playing piano blow doors off joint creating Transcendent Moment I Have Never Experienced In Theater Before Ever.

And it is an absolute must that you see this in a theater. Ifbig if you have the opportunity to see this movie and you watch it alone at home, the weird-looking Jesus painting should strike you like lightning. As mentioned above, though made in 1972, “Amazing Grace” had its world premiere on November 12, 2018. This is because the footage shot by Sydney Pollack and his omnipresent crew (who never even attempt to be discreet on camera) was virtually impossible to sync with sound due to a major technical error.

Consequently, after being picked up as a project by producer Alan Elliott, the footage sat in a vault at Warner Bros. for 35 years. With Pollack’s death in 2008 and many bouts with lawyers and red tape, it took another 11 years before the finished product was seen by the public. Currently without a distributor, there is still cautious optimism about a wide release.

Regardless of whether or not you’re religious, if given the chance you should absolutely see this film. You will see how much love and feeling went into making the resulting album. Also, ”Amazing Grace” is deeply emotional and extremely comforting. We could use some good comfort these days. I mean hell if we ever needed this film before we sure do need it now paraphrasing another gospel standard.

Watch Amazing Grace For Free On Gomovies.