‘Amazing Grace’ Review: Aretha, Reborn

Filmed in 1972 at the New Bethel Baptist Church in Los Angeles and shelved for decades because of unsynchronised sound and video, Sydney Pollack’s “Amazing Grace” has finally been restored by Alan Elliott and modern technology. The documentary captures the magnetic performance of Aretha Franklin over two nights.

“Amazing Grace” is a flooring, vibrant, and enthralling experience that must be seen to be believed. It is a film unlike most others. It relies entirely on the power of Franklin’s voice and the compellingness of its imagery.

The edit and photography are perfect. Filmed in lush 16mm, Elliott, and editor Jeff Buchanan cut where they need to cut, hold when they need to hold, and zoom in or out when necessary. The result is a flowing, brisk 87 minutes.

While the time flies by, the impact of the music is not so light. The pure energy caught on tape in that church generates chills. Franklin was a powerful singer, and she will be missed.

There is also apt screen time devoted to some other key performers. Reverend James Cleveland does a superb and engaging job hosting the event, and Alexander Hamilton directs the choir magnificently. His every movement, tracked by the camera, is full of life. Mick Jagger even makes a guest appearance. But the real stand out is Franklin’s father, C.L. Franklin, a preacher himself, who gives an eloquent speech on his daughter’s talent. He says, “You were impressed by … an intangible quality, something that you can’t quite describe.” And that is the perfect way to describe this documentary. I was hanging on his every word and every word that Franklin the singer belted out.

One of the most impressive things that Elliott and Buchanan accomplish is in cutting to Franklin’s audience. They cut occasionally, but each time it is more and more powerful. I was especially wowed by a shot that zooms in for a close-up of Jagger, clapping and standing to the rhythm. The shot slowly zooms out, and the rest of the congregation is standing and clapping as well. That is authentic, raw, and real. And it is powerful.

There is another moment, in “Amazing Grace”, that stuck out to me. During Franklin’s swooning rendition of the titular song, Cleveland, who had accompanied her on piano, has to take a break. Hamilton swaps in for him, and the Reverend takes a seat in a pew, burying his face in a handkerchief. He is so moved by the music that he can’t hold in his sweat and tears. If you were just to see that one scene, out of context, you might ask: how can music move a person to tears? This documentary answers that question.

{★★★★}