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Amazing Grace (2018)

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A documentary presenting Aretha Franklin with choir at the New Bethel Baptist Church in Watts, Los Angeles in January 1972.
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1 win & 4 nominations. See more awards »

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Cast

Credited cast:
Aretha Franklin ... Herself (archive footage)
James Cleveland James Cleveland ... Himself (archive footage)
Rest of cast listed alphabetically:
Southern California Community Choir Southern California Community Choir ... Themselves
C.L. Franklin C.L. Franklin ... Himself (archive footage)
Alexander Hamilton Alexander Hamilton ... Himself (archive footage)
Bernard Pretty Purdie Bernard Pretty Purdie ... Himself (archive footage) (as Bernard Purdie)
Chuck Rainey Chuck Rainey ... Himself (archive footage)
Clara Ward ... Herself (archive footage)
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Storyline

A documentary presenting Aretha Franklin with choir at the New Bethel Baptist Church in Watts, Los Angeles in January 1972.

Plot Summary | Add Synopsis

Genres:

Documentary | Music

Certificate:

G | See all certifications »
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Details

Official Sites:

Official site

Country:

USA

Language:

English

Release Date:

10 May 2019 (UK) See more »

Also Known As:

Amazing Grace See more »

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Box Office

Gross USA:

$4,446,414
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Color:

Color

Aspect Ratio:

1.78 : 1
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Did You Know?

Trivia

Mick Jagger and Charlie Watts can be seen rocking out in the back of the church. Perhaps not coincidentally, they were about to record "Exile on Main Street", the Rolling Stones' most overtly gospel-influenced album. See more »

Crazy Credits

The film concludes with a 1972-era Warner Bros. ending card, even though WB technically no longer has any ties to the film, to suggest how it would have played out had the project been completed and released when initially intended. See more »

Soundtracks

Mary Don,t You Weep
Sung by Aretha Franklin
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User Reviews

 
"My soul looks back and wonders how I got over"
23 April 2019 | by Michael FargoSee all my reviews

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.


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